OVRFWRD

1. "Red Blanket" (8:13) heavy drum and bass play, two chords, alternating back and forth, while "flute," "trumpet," and electric guitars take turns front-lining as soloists. It's okay if you're into long jams, but the lack of change (their is one key change around the three-minute mark and a dynamic dim around 4:00 as well as a turn into heavy metal rock territory at 5:26) and development is a bit disappointing. The trumpet sounds almost real, but, since it is uncredited, it must be assumed that it's keyboard generated. The multiple tracks dedicated to multiple guitars works well. (13.125/15)

2. "Eagle Plains" (7:58) opens like a still summer's day standing on a bluff looking out over the sea. Piano and heavily- chorused slide guitar join in, slowly establishing a sound palette, before heavy guitar power chords and deep pulsing bass and drum enter to provide the full sonic field. Something in the drum sound sounds off (muted recording of the snare and toms?) while Chris Malmgren's piano sounds too "in house" alongside his Mellotron chords, Arp-strings solo lines and Mark Ilaug's raunchy guitar shredding. Melodically, I'd say this song is a step above the previous one for intrigue and allure, it's just so jumbled and messy/murky. (13.25/15)

3. "The Virtue of..." (5:52) (/10) 4. "Flatlander" (3:14) (/10) 5. "Tramp Hollow" (5:28) (/10)

6. "Notes of the Concubine" (8:20) Chris Malmgren's piano and Hammond give this heavy, rather plodding song a little much-needed spice and variety. Mark Ilaug's lead guitar work is impressive and refined but has too much polish and not enough soul. (17.5/20)

7. "Eyota" (12:39) this song is opened by some solo classical lounge piano before the rest of the band join in around the 30-second mark. Their reunion is notable for the John Coltrane/Mahavishnu Orcehstra way they seem to feel around each other without quite going anywhere for over three minutes before settling into a forward-moving motif-- which is also piano-led. I've always liked the experimental nature of these musicians' career, and this just perpetuates this feeling. Experimenting and growing. My only wish for them (one that I've expressed before) is that they somehow figure out how to let a vocalist into their fold--maybe not even until the music is finished--just to add that further dimension and variable to their wonderful weaves. At 6:10 a heartrending blues-jazzy melody is presented by the piano and lead guitar and further developed, also in tandem, as the bass and drums support the drama. At the end of the ninth minute the motif is taken into the domain of more sophisticated prog bombast for about a minute before every one backs off to let the "classical" piano again have sole possession of the spotlight. In the eleventh minute the other band members rally around Chris's piano playing with the warm layering of an Eskimo out in the cold. Lead guitar gets another go at a bit of a solo just before it's time to draw to a close. Not what you'd expect from a prog band--or jazz-rock fusion. Not even the Italians are usually as maudlin and extravagant as this one. (21.75/25)

8. "Chateau La Barre" (2:12) (/5) 9. "Serpentine" (6:54) (/15) 10. "The Way" (7:30) (/15)

Total Time 68:20

An album of pleasant, rather innocuous and perhaps standard fare that I just don't care to finish reviewing.

3.5 stars; a good but non-essential album. Recommended for your own determination.

It would be easy to say the band relies heavily on the skill and musicianship of Mark and Chris to drive the melodies, such is the interplay between them and the way they mix and weave the threads, taking over or leading the other one in, but that would greatly diminish the roles of Kyle and Richard who are key to the overall success. Take "Eyota" for example, for the vast majority of that piece it is just Mark and Chris, with the others eventually making their presence felt, but it is the not playing and allowing space to breathe which really makes this. That this album was recorded in just five days last August is hard to comprehend, which shows there must have been a lot of live interaction between them. A special note should also be made of trumpeter Dave Foley who plays on opening number "Red Blanket", taking the band much more in a JRF fashion, yet that is just for one song as here we have a band revelling in heavy prog, with some neo tendencies here and there (and some symphonic). This never feels like a prog band out to demonstrate just how clever they are, but instead there is a focus and direction which is often missing with instrumental acts.

Five albums in, and they continue to surprise and delight, long may it continue.

THERE ARE NO ORDINARY MOMENTS pretty much follows in the footsteps of the band's previous canon with knotty instrumental rockers that offer a series of twists and turns usually culminating in energetic guitar solos accompanied by dynamic keyboard runs and the relentless rhythm section of the bass and drums. The band's general mix of jazz, classical and prog is on full display once again with another set of competent tracks that take you on an instrumental journey of a never-ending rotisserie of timbres, tones and stylistic shifts. From mellow yellow to heavier energetic deliveries, the album is fairly consistent in keeping things from stagnating.

While nearly 70 minutes of playing time for an album usually makes me run the other way my desire to review newer music has me checking out albums i probably otherwise would avoid and while perhaps the album could've been edited a bit, THERE ARE NO ORDINARY MOMENTS never seems like it misses a beat or indulges in musical ennui. Somehow this band is adept in crafting various tracks that while firmly in the same camp, differ enough to keep it all interesting. The music is dramatic and boldly drifts through moments of jazzy segments to piano driven prog and then to heavier rock that is just shy of metal. The retro aspects are in the forefront with heavy doses of mellotron and nods to bands like King Crimson and other master instrumentalists of the past but OVRFWRD has developed its own style and therefore stands on its own in the less treaded avenue of all-instrumental prog.

While most tracks are on the shorter side of under five minutes, a few are over eight and the 12 1/2 minute "Eyota" wins for being the longest. This track features the most dynamic shifts of any album with an almost Rachmaninoff playing style of the piano, the most complex on the entire album with more thematic changes than the rest of the lot. Overall OVRFWRD has delivered an excellent playlist of beautifully designed instrumental tracks on THERE ARE NO ORDINARY MOMENTS. The beauty of this album is all about control and OVRFWRD takes special precaution not to let any particular style to drift too far in any particular direction. The musical styles while diverse are tightly reigned in to craft an hour plus' worth of stellar atmospheric prog with heavy moments. Special kudos to the keyboard playing as his ability clearly is on a completely different level.

Typically this style of prog played for this much time would leave me bored to tears but OVERFWRD has mastered the art of subtle melodic flow with all the instruments achieving a complete unity that allows any particular line to create the perfect musical flow where it needs to be. The music isn't rushed therefore it's a rather relaxing album especially with the soft pacifying atmospheric backdrops and even when the guitars get all fiery on ya, there's still an underlying chill to the entire experience. Definitely a unique band that doesn't seem to be on par with many out there and while instrumental prog outside of the more knotty angularities of avant-prog is rarely my bailiwick, i have to surrender to the irresistible charm that OVRFWRD has dished on THERE ARE NO ORDINARY MOMENTS.

Well, time flies and you suddenly realize you've known a band for like 10 years. It is the case of Ovrfwrd, an instrumental four-member band from the US whose first release saw the light in 2014, the same year they reached and introduced me to their music. Now, ten years later, I am happy to listen and review 'There Are No Ordinary Moments', their fifth studio album, because it is undeniable that time also makes us wiser, more mature, better.

This is a ten-track album whose total length is around 68 minutes. It starts with 'Red Blanket' and I though I am sure it wasn't on purpose, its drumming beginning reminded me a lot of Faith No More's 'The Real Thing', well, after this fun fact, it's important to tell you that the song develops into a jazzy and proggy sound, where winds like trumpet and flute appear to give a wonderful contrast to the fast and powerful drums, along with rocky strings. This is an 8- minute track, and it is wonderful how they manage to put different moods, atmospheres, sounds, a very interesting amalgam.

'Eagle Plains' starts in an atmospheric way, a relaxing mood, piano and nature sounds, but then, as we can expect from a dynamic band like Ovrfwrd, it morphs both musically and emotionally, becoming an amazing progressive rock track where they create a perfect balance between keys, drums and strings. They have the capacity of creating explosive passages that sound elegant at the same time. 'The Virtue of...' has cadency in its jazz rock essence, I love the use of vintage keyboards and how they deliciously contrast with delicate piano and raw guitars. 'Flatlander' is a shorter and heavier track where we can find keyboard craziness and a powerful sound. 'Trampo Hollow' is a very nice track where we can appreciate their musicianship, both in composition and performance. Its obvious they have been playing together for several years, so their musical and even their emotional understanding is wonderfully expressed in songs like this.

'Notes of the Concubine' has an acoustic guitar introduction, then piano joins and together create a delicate sound; then at minute two there is a sudden change, tension is introduced and then we can hear some Crimsonian guitars and rhythms. The song structure changes in different moments, and I love how the four of them share freedom while playing, I mean, we can perceive they share music in a very natural way, fluid, not forced at all; each member plays distinctive notes and rhythms that can work alone, but when the pieces are put together, they give us a solid puzzle of sounds.

The longest track comes with the epic 13-minute 'Eyota' it is a killer song. Though it sounds like an improvisation in its first three minutes, they know how to keep us in mystery and wanting for more. So after 3:30 piano delivers delicate notes that guide bass, drums and guitar into a new immersive and exquisite sound, a trip of instrumental prog rock which does not really sound conventional, and that's part of Ovrfwrd's charm. As you can imagine, this track has several passages where we can find delicacy, tranquility, energy, density and emotions. A wonderful composition indeed with a very heartfelt guitar solo, by the way.

'Chateau La Barre' strats with a dark atmosphere but then it morphs into an interesting electronic prism. It is a very nice short intermission, that let us take a breathe after the long epic. 'Serpentine' has a rockier sound, energy is brought here in a bit heavier way at least for some moments, because Ovrfwrd is about contrasts that wonderfully work, so yeah, in spite of the heavy prog delivered here, we can have also moments of an exquisite delicacy.

The album finishes with 'The Way', yeah, a great way to end this adventurous intrsumental journey where four talented musicians and friends can delight people with compositions that make them and us feel free, where exploration is mandatory, where if you bet, you win. So in the end this is a solid four-star album that I've enjoyed since I first listened to it.

Enjoy it!

"Red Blanket" tumbles in bringing a heavy rhythm surfing between rock, space heavy, jazzy-rock; a modern sound with very present drums and languorous, supercharged instrumentation, which is exactly what I criticized AGUSA in the studio but which created a much more heavy rock sound live; addition of the trumpet halfway through then resumed with a hard riff that doesn't leave you alone, that's the goal with a finale that's amazing, a stunning aside on the trumpet calming down. "Eagle Plains" mid tempo air in intro before its rise, progressive research mixing old sounds like a homeopathic trace of LED ZEPPELIN and a crazy keyboard space, RACHMANINOV, PAGANINI, RUDDESS or EMERSON in his time; unpretentious music that swirls, that swirls in the ears, that merges and leaves you speechless, OVRFWRD in that. "The Virtue of?" drums with a dark timbre, yes AGUSA in the line of sight and the MONKEY3, I won't budge; between crazy atmospheric space rock and ambient post-rock, ah this guitar which comes like a torrent of lava to set fire, merging these two groups to bring out the best; a musical force in its raw state with this hard riff grafted onto analog keyboards; another flirtatious riff on the legendary DEEP PURPLE and you will understand that boredom really does not exist. "Flatlander" short title with hard rock riff; a supercharged composition, frantic rhythm like a blow from a club. "Tramp Hollow" change of rhythm and tune with a Japanese flute, Asian percussion; Mark's guitar airy, grainy while Chris' keyboard fills the space, the rhythmic base laying like a fluffy support; final piano rounding everything off, no boredom for the moment.

"Notes of the Concubine" piano and acoustic guitar reverb, distant South American atmosphere that is searching; the guitar that sings Woody's tune; the organ joins in the part for an intense, colorful variation; jazzy piano break and quick ending before the haunting restart. "Eyota" for the musical slap, a slow progression at the start with an acoustic piano, meandering percussion, a dreamlike musical rambling then in the third the weighted explosion with a little flute, the piano is solemn, a roll of cymbals, a mixture of the symphonic, the romantic and the melancholic; a snub to the great KING CRIMSON for its final flight and return of the minimalist piano; the angry guitar and the rhythm section invade the space to remain silent in front. "Chateau La Barre" for the electro keyboard interlude, like drops of icy water flowing, ideal for clearing the ears for a while. "Serpentine" on an energetic tempo, the WHITE STRIPES when they made good rock; Chris' synth is captivating and hypnotic, between a Hammond organ sound and a funky 60's keyboard; the base vibrates and leaves with a heavy space rock tune; the tune sounds modern and reminiscent, mixing the two musical spectrums like no other, AGUSA in the lead again without the flute but with a killer keyboard; heavy disconcerting ending. "The Way" clearer entry at MINIMUM VITAL, it goes up a notch, Kyle's bass puts on a show to the point that we hear a double bass while Richard admirably supports him; the kind of OVRFWRD is always inimitable, hold a metronomic Frippian tune then it starts with the guitar on a tortured ZAPPA; yes it is 2024 and this sound manages to pass over different styles; dark heavy finale, struck percussion that bewitches; yes a new sound has just been born.

But there is not only a festive revival of heroes of the genre, Ovrfwrd contribute their own harvest to combine a balanced and forceful work, highlighting the great versatility and solvency of Mark Ilaug with the guitars, as in the initial Red Blanket and its powerful riffs, one of the best pieces of the album, or the neat accompaniment in "Tramp Hollow", the brief flamenco wink in the aforementioned "Note of Concubine" and the solo in the conclusive "The Way", the mastery of the keyboards that Chris Malmgren impeccably lavishes on the psychedelic chords of "Eagle Pains", the mellotrons of "The Virtue of. ..", or the dripping spacey sound of the brief "Chateau La Barrre", and the percussive intensity of the witless Richard Davenport, as in the hardened "Flatlander" and the extended "Eyota", backed by the sober bass support of Kyle Lund who, as throughout the work, sustains the rhythmic base with aplomb.

"There are no Ordinary Moments", is a very good album, and although the presence of a singer would surely add nuances to Ovrfwrd's wide palette of colours, it doesn't miss his absence and shows a solid band that not only promises but also delivers, and deserves a greater repercussion than it currently has.

3,5 stars

The level of musicianship is fantastic as well, with great playing from drums and bass guitar, that composes a rock solid base to great arrangements and shows how tight the band is.

Some tracks goes to the heavier side, such as Flatlander, or more experimental, such as the weirdly beautiful hypnotic Chateau La Barre, but the album is filled of extended journeys that slowly builds up and resolves the tension in great ways. Red Blanket and is a great opener and Eyota shines on its almost 13 minutes epic journey. Each track is very distinct as well.

4.5/5 stars for me, a great way to start 2024.

I am a huge fan of Minneapolis band OVRFWRD, owner of all their albums and was patiently waiting for the pandemic-driven inspiration period to provide me with another first-rate all-instrumental masterpiece. The quartet is a solid as ever, not a single change of personnel since 2014, proof of how tight these guys are, obviously true bandmates. Over the years, I have communicated with keyboardist Chris Malmgren and bassist Kyle Lund, the baton passing onto my favourite American drummer as Rikki Davenport has taken on the task of sending me their brand-new album, the cleverly titled "There Are No Ordinary Moments". Only guitarist Mark Ilaug is left for my future considerations. These are absolutely first-rate musicians, easily on par with all the heavyweights out there and their brand of powerful and daring prog is a true joy to listen to.

The mood is set on "Red Blanket", to my utter astonishment, the brassy trumpet seems to be the main bristle in this extended track that also features some hyper percussive support from Rikki in a jazzier tendency that is a surprise. Though the heavy jazzy feel is overt as well as compelling, make no mistake about the patented Ovrfwrd sound kicking in, especially when the stringed duo muscles into the arrangement. No ordinary moment here! The sonic palette gets a further widening with the sophisticated charm of "Eagle Plains", ambient skies effortlessly portrayed, twinkling piano elegance and twangy guitar swerves, until Davenport sets down a tight shuffle and elevates it all to a higher level. Needless to say, the piece takes on a robust direction that builds with a swirling synth solo, a grinding guitar, and a menacing disposition that organically flourishes into quite the obsessive shrine. Nothing conventional at this juncture!

The bluesy raunch of "The Virtue of?" is a highlight track, the spotlight on a demented electric guitar rant from Mark that is staunchly assertive, verging on psychedelia, a diversion into a driving sonic hallucination that reeks of the early 70s, all that is missing is the incense. I was tempted to be reminded of Robin Trower's fury on "Whiskey Train". The outro is unorthodox through! Delerium settles the score on the slap your face shortie "Flatlander", a brash, noisy, brazen, and fiery workshop of mechanized brutality that should induce some serious perspiration. Extraordinarily nasty! Apparently, a change of pace is in the cards on "Tramp Hollow", an opportunity for the mellotron to direct the atmosphere, choppy piano, bass and drum rhythms not withstanding, and finished off with an undulating organ bit and a catlike guitar romp where Ilaug gets to shine luminously. A fluid piano outro seals the deal. The outro is unorthodox through!

Kyle gets to caress his bass on the opening ambient rivulets of sound on "Notes of the Concubine", enough to provide a comfortably numb anaesthesia that is shocked into reality by an oblique abstraction of jarring notes, a murky mixture of lightning guitar runs, binary beats, obsessive piano and a temperament not too distant from recent King Crimson's more abstract compositions. So much for the Rush comparisons, which this writer always found to be way too simplistic. This is a tortured, angst-ridden, possessed, and severe ride that is tempered with softer transitions that cavort with the inner edges of experimental and jazz rock. Extremely (that word is perfect) creative.

As if there could even be a higher level, the whopping central epic, "Eyota" and its nearly 13 minutes, is a tour de force that transcends the routine and the mundane. Named after a town in Minnesota that is derived from a Sioux term meaning the 'greatest', what else could it possible be but a killer track? Relying heavily on a consummate performance from keyboardist Chis Malmgren, who delivers a virtuoso task on the piano, the arrangement voyages through differing outlooks. The middle section's softer moments are crushingly passionate, the melody beyond gorgeous and the restraint shown on the guitar solo is exemplary. A momentary plunge back into the eruptive gear is perfectly handled, raising the emotions once again. Yet, once again, the sensational piano reverts to expressing the nervous tension, gathering in the rest of the band for a final hurrah. This is perhaps the finest track in their repertoire . An intermezzo is a desperate need after such a colossal experience, so "Chateau La Barre" volunteers that task with a surrealistic pillow of symphonic purity. It also beckons the arrival of the sneaky "Serpentine", a cobra-like assault on the senses, featuring a seething guitar outburst that acts like a rattler's tail, a churning organ reminiscent of a coiling boa, a bass furrow longer that an anaconda and a viper fanged synth flutter. Hysterically eccentric!

Perhaps ideally serving as a summary of their progression, the bass propelled "The Way" perfectly illustrates that talent these four gentlemen keep on proposing with apparent ease. Their brand of instrumental exploration offers not only technical expertise but a showcase for visionary heavy prog with endless shifts and enhancements that keep the interest in full rapture. Richard Davenport dazzles on all the tracks, especially this one. I stated this before and I repeat again, he is my fave current US drummer.

The wait was well-worth it as "There Are No Ordinary Moments", really has no ordinary moments, just extraordinary ones.

5 exceptional flashes

And the thing is that, fortunately, this album is an altogether different affair, with a lot of air for open harmonies, and a rich variety of timbric colour, which is really good, specially speaking of an entirely instrumental album. Even so, the guitar is there, don't worry about that, and the axeman contribution to the densification of the otherwise rather ethereal textures is decisive all the way through, adding discrete strokes of tension and a bit of fuzziness to the general transparence pervading the sonic canvas.

The opener, Red Blanket, sets in general terms the model for the construction of the songs: richly syncopated percussion pattern, soaring melodic lines setting the scenary, and then a certain assault of the electric guitar elevates tension, taking the attention requirement to a higher level. Eagle Plains begins with a call of the wild by the piano soaked in effects of bird singing, and soon enough the distorted guitar thickens the plot, just to... well, listen to the music, don't be lazy!

Track four, Flatlander, is the only moment in the album that can be properly called heavy, since the whole band joins the guitar in frenzy distorted style that, honoring the title, moves always into the same (loud) level. On the other hand, track 7, Eyota, is a 12+ minutes mini-suite that breathes with modal melodies convoluting in arabesque patterns, taking all the necessary time to build momentum in preparation for the guitar entrance.

If I didn't speak of the bass player yet, is not his fault, but mine. The guy really does a terrific job underpinning the dynamics of a band full of twists and turns, and also delivering awesome lines when his time to shine comes, like in the beginning of track 6, Notes of the Concubine.

An album where the musicians deliver the goods, and hold nothing for themselves, or for the next record, or for the label. I don't know what do you call that, for me is excellent.