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OAK

Crossover Prog • Norway


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Oak biography
Founded in Oslo, Norway in 2013

Oak is an Oslo based quartet made up by Simen Valldal Johannessen (vocals, keyboards), Øystein Sootholtet (bass), Ole Michael Bjørndal (guitars) and Sigbjørn Reiakvam (drums, percussion, programming). All the band members are in their late 20's or early 30's and have mostly grown up in the Oslo area. They have a huge variation in their musical inspirations - everything from classical composers and singer/songwriters to electronica, progressive rock and metal.

Oak released their debut album, Lighthouse as a digital release in September 2013. In addition a limited run of CD's was produced for promotional purposes and to accommodate sales at gigs. The album was mixed and mastered at Fascination Street Studios by noted producer Jens Bogren (Opeth, Katatonia, Symphony X, Paradise Lost).

As of January 2015 the band is working on new material for their second album, and are working towards getting international distribution for this forthcoming album as well as becoming a more active band in the live circuit.

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OAK discography


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OAK top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.78 | 37 ratings
Lighthouse
2013
3.88 | 63 ratings
False Memory Archive
2018
3.77 | 25 ratings
The Quiet Rebellion of Compromise
2022

OAK Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

OAK Videos (DVD, Blu-ray, VHS etc)

OAK Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

OAK Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.80 | 5 ratings
Silent Night
2021

OAK Reviews


Showing last 10 reviews only
 Lighthouse by OAK album cover Studio Album, 2013
3.78 | 37 ratings

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Lighthouse
Oak Crossover Prog

Review by Dirkteur

3 stars After my interest for this band had been awakened with listening to QRoC (their third), I tried their former music, to check how they got this high without me noticing. This debut definitively renders what they're capable of. Especially the 'first half' of the album has some nice melodies, with Munich above all. They're playing with multiple voices, of course with the center role for the lead singer, who has an broad vocal range. Drums, piano, guitars - they're gently giving each other way, but know also how to accumulate all. The variation in scenes & themes makes the threshold higher for starters, but when you're persistent, you'll have a treasure added to your collection.
 The Quiet Rebellion of Compromise by OAK album cover Studio Album, 2022
3.77 | 25 ratings

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The Quiet Rebellion of Compromise
Oak Crossover Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars Yet another band from Norway churning out quality prog--this more of the atmospheric Goth metal like FIELDS Of THE NEPHILIM, though not quite as heavy, despite the mental health topics (including suicide) permeating all songs on the album.

1. "Highest Tower, Deepest Well" (5:58) the ehavy Norwegian folk vibe is very present in this--not unlike the stylings of Ivar Bjørnsen and Einar Selvik though not using anachronistic folk instruments. (8.75/10)

2. "Quiet Rebellion" (4:51) Again the folk metal strains in the foundational sounds and instruments here are too big to ignore, yet the music never ramps up into full metal expression, always remains melodic and atmospheric. A very nicely constructed and restrained song. (9/10)

3. "Dreamless Sleep" (5:37) a hypnotic vocal, rhythm track, steeped in atmospheric synth washes almost lulls one into submission before Simen's treated vocal ramps up for the chorus. A little bit of Mark Hollis in Simen's voice here. Interesting. I like presence of the uncredited saxophone just before the second chorus. (8.75/10)

4. "Sunday 8 AM" (5:55) SYLVAN Posthumous Silence-like in its palette--and power. I LOVE the brilliant use of space and pace over the course of the subtly-piano-based song. The second half conjures up a lot of KEVIN MOORE's CHROMA KEY stuff from 20 years ago. Again: Why aren't the saxophones credited? A definite top three song for me. (9.5/10)

5. "Demagogue Communion" (6:16) the harshest song on the album--but almost in a BROTHER APE or PORCUPINE TREE kind of way: very melodic chord structure and nice spacious and soft sections in which Simen's singing verses (which are very BRUCE COCKBURN like) fill. Some very compelling earworms. A great song--another top three song. (9.75/10)

6. "Paperwings" (13:52) long and rather boring music despite the compelling story/lyrics. Definitely not my favorite prog epic of the year. (24.5/30)

7. "Guest of Honour" (7:03) same drum beat/pattern as the previous song. Nice, sensitive vocal from Simen using nice chordal and melodic patterns. A song that sounds as if it comes from another album--far less proggy than balladic. My final top three song. (13.25/15)

Total Time 49:32

I am a sucker for this kind of Viking Goth music. The musical landscapes are often a bit unusual--almost seeming "poorly engineered" but I think the slightly off-kilter, unsettling effect is intentional.

B+/4.5 stars; a near-masterpiece of dark atmospheric folk metal (I guess) with some absolutely killer songs--a find for any prog lover's music collection.

 The Quiet Rebellion of Compromise by OAK album cover Studio Album, 2022
3.77 | 25 ratings

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The Quiet Rebellion of Compromise
Oak Crossover Prog

Review by alainPP

4 stars OAK is the quartet made up of Simen, Øystein, Stephan and Sigbjørn, talented young musicians working in classical, electronic, folk and progressive dark metal since 2013; The cinematic aspect has since been added to talk about mental health at the heart of our world; a dynamic and melancholic sound drawing on RIVERSIDE, PORCUPINE TREE, OSI and ANATHEMA with major psychedelic wanderings.

'Highest Tower, Deepest Well' crystalline piano on a heavy riff, cosmic choirs, hovering break and baritone voice for a hypnotic tune where progression comes to light and; catchy explosive finale. 'Quiet Rebellion' eavesdrops on their singular shivering arpeggio sound, a classic bombastic mix where trumpets accompany military percussion; a soft- pop of TAMMATOYS in the background, a heady title with the slide guitar with proven spleen. 'Dreamless Sleep' with dark electro intro, sax synth pop tune to reinforce the meditative darkness; deep Gabriel voice and dreamlike crescendo on the disaster of dark thoughts; title that can shock by its metronomic air. 'Sunday 8 AM' again piano and military drums, hymn with incoming electro and jazzy sax; its apart you have to sit down to appreciate; the spleen guitar slope sinks on the post rock aspect, musical malmstrom in itself and the screaming sax at this moment for a sad and cottony finale; at the meeting between PINEAPPLE THIEF, AIRBAG and the dark-psyche cinematic, a whole program. 'Demagogue Communion' refers to ANTIMATTER for the voice, the bluffing riff between cosmic and sirens with divine harmonies; spatial break before returning to heady, vibrant and unstructured tunes. 'Paperwings' centerpiece therefore risk-taking; MASSIVE ATTACK again to show the breadth of the musical spectrum, vocals to RAMMSTEIN; it's going up on latest generation OPETH, angelic voice all of a sudden; it is hovering and latent; the gradual drift is modern, Achilles piano just to show the weakness of the start; as soon as the 5 minutes go up it just becomes enjoyable; the masters PORCUPINE TREE are not far off but much better than on their last album; masterpiece opening like a progressive tulip with drooping petals; dreamlike, grandiloquent, breathtaking end with a staggering growl, pulverizing the musical drawers, I am close to ecstasy. 'Guest of Honor' to conclude on a depressive, electro, hang pop rhyme with Simen who shows himself to the vocals bringing the foggy atmosphere in our heads and a spleen slide guitar. OAK hit hard playing between symphonic, psychedelia and neo dark metal prog... soft and hypnotic rhythms on the edge of pop then heavy wanderings; the themes on psychiatric health made me ask to chronicle an extraordinary album which will be a milestone in 2022, which risks planting itself like an oak tree in the best opuses of the month.

 The Quiet Rebellion of Compromise by OAK album cover Studio Album, 2022
3.77 | 25 ratings

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The Quiet Rebellion of Compromise
Oak Crossover Prog

Review by lukretio

3 stars Fans of dark progressive rock/metal music take heed: Norwegian quartet Oak have just released via Karisma Records their third LP The Quiet Rebellion of Compromise - a poignant exploration of themes related to mental health and suicide that draws from a diverse musical palette, including piano-driven progressive rock, chamber pop, dark electronica and hard-rock/metal. The result is a collection of songs that combine umbratile atmospheres, exquisite melodies and surprisingly sharp edges that will appeal to fans of bands like Porcupine Tree, Leprous, Katatonia and Gazpacho.

I have been following the Norwegians since their 2013 debut LP Lighthouse. That album caught my attention for its rather unique sound: moody piano lines and bass grooves laid the foundations of the songwriting, while guitars, sax and strings were used in a more complementary role, to inject splashes of colour and add variation to the arrangements. That gave the record an unusual feel, dark and airy at the same time, forming an ideal background for Simen Valldal Johannessen's deep, velvety voice. Oak's 2018 sophomore album False Memory Archives built on similar sonic ideals, but with a stronger sense of composition and better balance between accessibility and songwriting subtlety.

The Quiet Rebellion of Compromise does not stray too far from the previous two records, but lets the guitars take a more central role, adding much sharper edges to the sound and moving it closer to the kind of prog metal/rock that Steven Wilson and Porcupine Tree have pioneered since the beginning of the century. The UK prog icons constitute a rather prominent influence for this album, much more so than for Oak's previous records. Wilson-esque melodies and vocal harmonies abound, while songs like "Demagogue Communion" embrace the kind of staccato chord progressions that are a trademark of Porcupine Tree's songwriting. Elsewhere, "Dreamless Sleep" and "Paperwings" take the direction of dark electro-rock that one can find in Steven Wilson's more recent solo work, like Grace for Drowning or Hand.Cannot.Erase. The latter record in particular constitutes a fitting reference point for The Quiet Rebellion of Compromise, both thematically and sonically. Both albums explore similar themes of isolation, mental struggle and suicide, using subtle shifts in intensity and dynamics, in an incessant play of light and shadows that projects a poignant emotional arc from beginning to end.

I normally try not to draw such overt comparisons between a band and their influences in my reviews, but this time I felt an exception was necessary, because the similarities between The Quiet Rebellion of Compromise and Steven Wilson's work are ultimately what holds this record back somewhat. With their previous albums, Oak had cemented a reputation for a band with a unique voice, which one could immediately recognize as soon as the first notes of a song were played. I feel that, by leaning a tad too heavily on its influences, the new LP somewhat lost that uniqueness. It is a pity because, in all other respects, The Quiet Rebellion of Compromise is a massive step forward for Oak. The band have managed to strike an almost perfect balance between immediacy and resonance here. The new songs float fluidly through a rollercoaster of dynamics and mood shifts, but eventually always coalesce around memorable hooks that give the music a sense of purpose and direction - something that the band had not always achieved on earlier albums. This strong sense of direction is maintained even when the music takes off towards more experimental soundscapes, like when a sax solo emerges from a dark forest of electronic beats on the Ulver-esque "Sunday 8AM", or in the almost rapped verses of "Paperwings". I really love the addition of these more left-field moments that push the album into more uncharted waters and yet do not perturb at all its core sonic identity. The album's production, curated by David Castillo (Katatonia, Leprous Opeth, etc.), and Tony Lindgren, is also terrific - crisp and clear, and packing a good punch too.

As I wrap up this review, I come to the realization of the paradox that The Quiet Rebellion of Compromise represents for me. It is album from Oak that I like the most and the least at the same time. There is no doubt in my mind that this is the most accomplished release from the Norwegian band, fully overcoming the slightly unfocused songwriting that had characterized some of their previous work. At the same time, it is the least characteristic and original of the three albums the Norwegians have released so far. Ultimately, though, what we are really facing here is a luxury problem. Oak are a phenomenal young band and The Quiet Rebellion of Compromise is a marvellous album, condensing in its nearly 50 minutes everything I love about progressive rock and metal music: it is heavy without losing sight of melody, catchy but deep, dark but not lightless, experimental but at the same time familiar. Fans of any of the bands mentioned in this review will do themselves a favour by checking this out.

[Originally written for The Metal Observer]

 False Memory Archive by OAK album cover Studio Album, 2018
3.88 | 63 ratings

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False Memory Archive
Oak Crossover Prog

Review by ProgPariah77

4 stars Love this album. In my experience, it's a (relatively) rare disc in the "progressive rock" genre that speaks to the heart as well as the mind, but this one has done that for me. Long after I've stopped being intrigued by the "nuts and bolts" of what's happening in the music, I find myself returning to this album again and again, still basking in the atmosphere and the "vibe." This work fits nicely into a niche between Porcupine Tree and Lunatic Soul, while simultaneously creating a space all its own. If you can find it online, Oak have a re-harmonized version of the Christmas hymn "Silent Night" that is revelatory. I also recommend "Lighthouse" (their prior album), and I look forward to what they may produce going forward.
 False Memory Archive by OAK album cover Studio Album, 2018
3.88 | 63 ratings

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False Memory Archive
Oak Crossover Prog

Review by shaunch

4 stars I really like this. It is thoughtful, melodic, dark and moody. I enjoyed it even more, once I had got those, "where I have I heard this before' niggles out of the way. This started on track one with "We, the Drowned". There is an Arena groove going on from the "Moviedrome" album followed by a sneaky piano line from the album " The Incident" (Porcupine Tree). It took me a day to figure out the main tune during "the lights" which is "Sound of contact" and then the obvious clapping from "Trains" from PT which also appears in the title track. (That could become a distraction) Now I could start listening, I enjoyed "Claire De Lune" with a Lunatic soul or No-man vibe, the title track with it's reference to polaroids and faded dreams of summers past, "The Lights" which has a groove with a spoken word, reminded me of Depeche Mode or Placebo, not sure why.

On the first few listens, I thought the album faded a little after this, but actually, after repeated listens I actually enjoyed the mood of the last three tracks, in particular, "Psalm 51" which rounds everything off with a Floydian feel with saxophone (not my fav but used well here) and underlying voices reminiscent of DSOTM.

This has the sound of their previous album because it is unmistakable due to the vocals which remind me of Colin Vearcombe of "Black" from the eighties which I think is a good thing, however, there is more variety in the use of instruments and style. At times you can make comparisons to other artists, in a positive way, but their sound is unique and it gives me melodic and moody sounds that I enjoy, I suppose like a more accessible Thomas Thielen or hook filled "Mice on Stilts" (New Zealand band worth a listen if you like this)

This band is up there with Gazpacho and Airbag, adding to the Norwegian list of top artists producing this type of music.

 False Memory Archive by OAK album cover Studio Album, 2018
3.88 | 63 ratings

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False Memory Archive
Oak Crossover Prog

Review by Antonis Kalamoutsos

4 stars I was recently told a story in which a teacher told his student: ''Don't let the potential of Great destroy what it's already Good''. Naturally, an encouragement like this seems to be a bit discrepant in our beautiful capitalistic world, where creators of any sort have to be competitive and constantly prove their excellence. The teacher obviously meant that pursuing excellence may distract a creator from the simpler forms of creating/producing that should rule his/her everyday life and I can do nothing more than agree, adding to this that many creators in the world of music got lost into some extravagant ambition. We can agree that there are serious risks if a band decides to spend a lot of time in creating something unique. This is a risk that Oak from Norway took and thankfully succeeded.

According to the press release, they started as a folk/rock duo and eventually evolved into a progressive pop/rock band, releasing the debut Lighthouse in 2013. It was right then upon this creative curve that, instead of taking an advantage of the momentum, they decided to take their time to work and to grow. It was probably the only way to make their own personal voice rise above the noisy polyphony of their influences which, in their own words, range from classical and electronica to traditional prog or heavy music. Carefully listening to False Memory Archive indeed one can sense the multifaceted nature of their inspiring origins and feel relieved that their growing procedure and hard work was fruitful. Filtering their influences has been accomplished in an astonishing manner and their personal voice can be heard loud and clear.

To put things into place, the material included in False Memory Archive is that of a great band. To be more precise, most of the regarded as ''big'' bands within the 2018 prog rock cosmos, do not have such good music to offer. It's as simple as that. Being consistent, imaginative and open minded, this David manages to raise his short height and cast an enormous shadow. Moving into a melodic and lyrical rock musical territory ' dominated by their countrymates Gazpacho in recent years -, the artistic quality of False Memory Archive instantly puts Oak in a very prominent place among their context. Let me rephrase: it has been a marvelous year for prog rock and Oak deliver one of the finest albums of the genre. As simple as that.

Oak's style is not necessarily innovative and its progressiveness lies mostly in the atmospheres and the intellectuality of their compositions. Still, it is the exact same compositions that consist of such melodic and arranging richness that can actually be experienced as a flood of colours and emotions. False Memory Archive includes a very wide range of songwriting, from semi-ballads and verse/chorus traditional type of songs to freer, longer 8 to 11 minutes compositions. Both types are equally successful, contributing to the album's very natural flow and the remarkable sequence of lighter and darker parts. Also, you won't find any fillers here, maybe with the slight exception of Transparent Eyes that didn't particularly trip me. Having referred to the dark element, I have to point out the incredible work that has been done to the album's low frequencies in every instrument, frequencies that build a concrete and modern ground for the melodic lines to stand upon. In the above sentence, False Memory Archive 's greatest advantages are being encoded: vocals and production.

Vocals. Simen Johannensen can be proud to own one of those instantly recognizable voices with the very unique timbre, voices that become increasingly rare to find. The warmth and intimacy of his voice is the Trojan horse of Oak's music and his modest performance doesn't disguise the tone quality of a voice fully capable of creeping into one's mind. My personal free associations connect him with the recent legacy of Leprous and of his other countrymen Madrugada, precisely in the middle of their tonal pitch.

Production. Many artists treat studio as an unavoidable obligation but Oak instead have worked their heads off exploring any sonic resources at their disposal, in order to achieve an exquisite and technocratic result. All mixing/processing tools and the perfect use of effects in every instrument at all times make the sound experience a co-star of the album and the music sounding thicker, unpredictable and adventurous. An ideal album to be experienced through good quality headphones so one can dive into its tiny sound details.

We all know very well that music industry is not necessarily fair and no one knows how Oak will develop. What I know though is that the often mentioned ''Home'' in their lyrics, the Home they seek can be easily found in the hearts of their listeners. I know also that this 'Polaroid that's telling a lie about endless summer' may describe many things but not False Memory Archive. For this album tells a small, triumphant truth of a real memory. As simple as that.

Originally written for againstthesilence.com

 Lighthouse by OAK album cover Studio Album, 2013
3.78 | 37 ratings

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Lighthouse
Oak Crossover Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Norwegian band OAK was formed in 2013, and has their base of operation in Oslo. They released their debut album "Lighthouse" as a digital album in 2013. This album was later picked up by the Norwegian label Apollon Records and was officially released on CD in 2016.

Oak's brand of progressive rock is one that ideally should have a fairly broad reach. The careful compositions aren't too far away from a band like Gazpacho in style, while the few harder edged ones take on more of a Porcupine Tree oriented sound. Those who know and treasure the material of both those bands should probably take note of this CD, as my guess is that the greater majority of them will find this record to be an interesting one.

Thanks to windhawk for the artist addition. and to Quinino for the last updates

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