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OVRFWRD

Heavy Prog • United States


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Ovrfwrd biography
Founded in Minneapolis, USA in 2012

This is a four piece American band that plays instrumental progressive rock. They were formed in 2012 with drummer Rikki DAVENPORT, guitarist Mark ILAUG, bassist Kyle LUND and keyboardist Chris MALMGREN. They came together with diverse and complex backgrounds and musical influences. Initially the band was supposed to have a vocalist, but he didn't show up at the recording sessions. Beyond the Visible Light was recorded in 5 days and is a adventure with many colors and textures. They show some influences from many bands of the 70's Prog Rock scene with some intrusion in the Jazz Rock genre. Their debut "Beyond the Visible" Light was released in 2014 and is an adventurous listening journey with many colors and textures. In 2015 they released "Fantasy Absent Reason" (vinyl) continuing on the path of sonic textures and soundscapes.

Following "Fantasy Absent Reason" is the album "Blurring the Lines...(a Democracy Manifect)" in 2018, and then "StarStuff" in 2020.


Together they have a common goal; to create and perform powerful, colorful, interesting and sonically descriptive music, engaging and pushing forward on the musical journey.

The band has released a live album in 2018 called "Occumpations of Uninhabited Space" containing tracks from the first 2 albums and new tracks, on both cd and Blu-Ray.

The 5th studio album by OVRFWRD, "There Are No Ordinary Moments" (2024) is a 10-song journey through the sonic world that is OVRFWRD firing on all cylinders, recorded 8/10/23 - 8/15/23 at Flowers Studios in Minneapolis MN. These 10 songs are the culmination of 2 years' worth of writing, playing, living, and exploring musical moments.

The first single- Serpentine, was released early October 2023. Official album release date, 1/12/2024.

While on tour in 2022, OVRFWRD stopped at Orion Studios on 10/8/22 and captured the performance off the soundboard live. "OVRFWRD Live in Baltimore". The setlist draws from OVRFWRD's full catalog, including Can We Keep the Elephant, Utopia Planitia, Wretch, StarStuff, as wel las tracks from the upcoming release "There Are No Ordinary Moments".

Bio by Chris Malmgren

OVRFWRD Videos (YouTube and more)


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OVRFWRD discography


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

3.68 | 30 ratings
Beyond the Visible Light
2014
3.77 | 38 ratings
Fantasy Absent Reason
2015
4.09 | 193 ratings
Blurring the Lines ... A Democracy Manifest
2018
4.03 | 58 ratings
StarStuff
2020
4.21 | 39 ratings
There Are No Ordinary Moments
2024

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

4.43 | 15 ratings
Occupations of Uninhabited Space
2018

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

4.05 | 3 ratings
Occupations of Uninhabited Space
2019

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

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

OVRFWRD Reviews


Showing last 10 reviews only
 There Are No Ordinary Moments by OVRFWRD album cover Studio Album, 2024
4.21 | 39 ratings

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There Are No Ordinary Moments
Ovrfwrd Heavy Prog

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

4 stars Keeping prog rock relevant in Minneapolis since 2012, this four piece who became instrumental because the singer didn't show up to rehearsals has been cranking it out and turning it up for over a decade now and returns in 2024 four years after 2020's "StarStuff." Lucky to keep the exact same lineup of Rikki Davenport (drums, percussion), Kyle Lund (bass), Mark Ilaug (guitar) and Chris Malmgren (keyboards) for 12 years now, OVRFWRD is back with its fifth studio album THERE ARE NO ORDINARY MOMENTS. This album is the band's longest yet and features 10 tracks that add up to over 68 minutes of playing time.

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.

 There Are No Ordinary Moments by OVRFWRD album cover Studio Album, 2024
4.21 | 39 ratings

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There Are No Ordinary Moments
Ovrfwrd Heavy Prog

Review by memowakeman
Special Collaborator Honorary Collaborator

4 stars A great album!

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!

 There Are No Ordinary Moments by OVRFWRD album cover Studio Album, 2024
4.21 | 39 ratings

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There Are No Ordinary Moments
Ovrfwrd Heavy Prog

Review by alainPP

5 stars OVRFWRD is the blood-injecting modern prog band, a universe that is difficult to describe.

"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.

 There Are No Ordinary Moments by OVRFWRD album cover Studio Album, 2024
4.21 | 39 ratings

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There Are No Ordinary Moments
Ovrfwrd Heavy Prog

Review by Hector Enrique
Prog Reviewer

4 stars Structuring a band without a singer, who is usually the most direct vehicle of communication to express the ideas developed in words, is an additional challenge for those who travel this route. But for the Americans Ovrfwrd, it doesn't seem to be much of a problem, and with "There are no Ordinary Moments", their fifth album, they prove it. An album that develops fluidly, with pieces that recreate landscapes of clear seventies influence spiced with jazz ingredients, like the watery "Notes of the Concubine" and its experimental Crimsonian airs, or the lively "Serpentine" and its walls of sound that at times resemble the Rush of their second and most recognisable period.

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

 There Are No Ordinary Moments by OVRFWRD album cover Studio Album, 2024
4.21 | 39 ratings

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There Are No Ordinary Moments
Ovrfwrd Heavy Prog

Review by Deadwing

5 stars "There Are No Ordinary Moments" from OVRFWRD is a fantastic instrumental album that feels like a modern version of Agusa: The guitar tone is heavier, but it adds a unique flavour to the soundscape, added by great keyboards, such as piano + synthetizers and jazzy and - peharps - improvised chops through all the songs.

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.

 There Are No Ordinary Moments by OVRFWRD album cover Studio Album, 2024
4.21 | 39 ratings

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There Are No Ordinary Moments
Ovrfwrd Heavy Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars I am occasionally criticized for rarely being a proper music critic in that I never consider posting negative reviews and demolishing verbally some struggling artist is something I am loathe to do. Why? Two main reasons: I witnessed the Rise of the Glory days of Prog in the very late 60s and its agonizing Fall in the late 70s, "panzer blitzkrieged" into a massive venom spittoon by astute anti-prog losers like Lester Bangs, Robert Christgau, the turncoats at Melody Maker and New Musical Express, to name just a few. If you don't like this style, why bother at all? A vegetarian has no business or credibility in discussing their highly opinionated thoughts on a steakhouse, and vice versa. Number two: There is sooooo much amazing music emerging on an hourly basis, 24/7 since the mid Eighties that keeps prog alive and very well, thank you. I purchase a dozen releases a week and I still struggle to catch up! Supporting creative music by being a fan, is my mission, above all else. Rant over!

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

 There Are No Ordinary Moments by OVRFWRD album cover Studio Album, 2024
4.21 | 39 ratings

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There Are No Ordinary Moments
Ovrfwrd Heavy Prog

Review by Heart of the Matter

4 stars Every time I see the tag "heavy" attached to some piece of music, I just tend to think of it as a massive sounding thing, with a lot of thundering distorted guitars riffing all over. Whatever the reason may be for such a biassed perception, dear reader, I really don't know, but one thing is sure: it prevents any association with fusion music, and even more with bands like Oregon, which come to my mind at certain passages of this record.

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.

 There Are No Ordinary Moments by OVRFWRD album cover Studio Album, 2024
4.21 | 39 ratings

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There Are No Ordinary Moments
Ovrfwrd Heavy Prog

Review by bartymj

4 stars Privileged to have been sent this album by Chris Malmgren to review ahead of its release. Full disclosure, I've given Blurring the Lines a 5 star review, and StarStuff 4 stars, so I've gone in as a fan of the prior two releases, although not with fresh listens to them in mind! I'm also not a pro reviewer, nor is my musical vocabulary much cop? Anyway? my review of the fifth studio album by American instrumental prog band Ovrfwrd. First thing to reference is the album cover, a zoomed in shot of an hourglass, which is great in its relative simplicity. Time, moments etc. The other point to make is that Ovrfwrd are one of that great number of bands that shouldn't be pinned down to a single genre. Yes, generally heavy prog, but you'll find Jazz, Space, Classical, and many other influences throughout. After all, the title does promise nothing ordinary...

Red Blanket ? a really strong opening track, and a perfect example of where Ovrfwrd sit in the middle of a Venn diagram of Heavy and Jazz Rock. Someone with better musical ears will need to tell me whether there's guest wind and brass instruments or whether they're programmed in. The initial five minute section of this track is mid-paced, and really tight, with bass and keys playing almost the same melody alongside some really tight drumming. Guitars and the wind/brass instruments weave in and out throughout, the end result being quite the toe tapper! The pace get slightly faster for the final two minutes or so, in a passage more like a 'standard' heavy prog instrumental, before fading into a few trumpet notes. Very good start.

Eagle Plains ? A notable track for how it takes a swirly, spacey opening into a short passage from 3 minutes which makes simple but brilliant use of the far left end of the keyboard in in combo with some deep growling guitar.

The Virtue Of ? A good example of Ovrfwrd can bounce between styles but without it feeling like its happening just for the sake of changing it up. At the start of the track we have a slow building winding river type of atmosphere, which then goes through a couple of complex time signatures (complex for my daft brain anyway), before we end up almost in post-punk revival territory. Half expected Alex Kapranos of Franz Ferdinand to pipe up with some surprise vocals.

Flatlander ? Possibly the closest thing track to a 'standard' heavy rock instrumental thus far, and in that respect a bit of an interlude.

Tramp Hollow ? One track that does actually stick to the same pace and style mostly throughout, and perhaps because of the variety that came before it I sort of expected it a gear change that never really came. A great guitar solo though. Notes of the Concubine ? Here is the gear change. After a couple of minutes of drifting guitar, we're treated to some avant-jazz, deliberately slightly jarring and awkward.

Eyota ? the longest track on the album. I often take the time to review albums filed as Zeuhl which probably explains why I'm making this reference, but the opening two or three minutes here wouldn't be out of place in an early Magma album, led by keys and drums and bouncing between beautiful atmospheres and more ominous sounding passages. Following that, the track ebbs and flows through a rich soundscape of 'classic' instrumental prog, complete with Floydian guitar solos, but never settling for too long in a single style.

Chateau La Barre ? the transition from Eyota into this short track and then out into Serpentine is a little clunky if I'm honest. Chateau La Barre is a short electronic track, compared to the heavier sounds either side of it, which makes it seem slightly out of place.

Serpentine ? That said, the heavy rock opening of Serpentine does get you going. The track alternates between heavier sections (still with some organ involved) and more complex jazzier passages.

The Way ? A really nice track to finish too, starting with a great jazzy jam but drifting into a spacey sounding atmospheric finish.

Overall, a great album. Loved a lot of it, but being hyper-critical I wasn't as into tracks 4-6 as the rest, and I'm still a bit confused by Chateau La Barre's place in the album. But, I always think an instrumental has to work harder to stand out, and so a lot of credit needs to be given as in many ways it does ? there are indeed no ordinary moments! At the high end of 4 stars in my humble opinion.

 Blurring the Lines ... A Democracy Manifest by OVRFWRD album cover Studio Album, 2018
4.09 | 193 ratings

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Blurring the Lines ... A Democracy Manifest
Ovrfwrd Heavy Prog

Review by b_olariu
Prog Reviewer

3 stars 3.5 stars for sure

Blurring the Lines ... A Democracy Manifest is the third album released in 2018 by this excelllent instrumental heavy prog band from USA. I must confess I like the cover art a lot aswell the booklet and all art.

Well, this is better and more intristing then previous work Fantasy absent and maybe from their first one, solid palying and good musicianship by all mebmers involved. There are lots of audio lanscapes to get into, nice breaks, nice tempo changes, beautiful piano and keyboards, top guitar parts and solid drumming all over, aswell the bass lines are intresting - just to be checked the marvelous Return to Slender, a touch of jazzy passages can be found here and there giving a super atmosphere overall, maybe my fav track from here, followed by Another Afterthought. I hear some King Crimson influences overall specially from Red album era - The Trapper's Daughter is the perfect example, who is btw killer tune.

So, another goody from this band, who try and succeed to improve with each album, to keep an eye on for sure, they desearve it. Quirky instrumental heavy prog with all the ingredients to be spectacular. 3.5 stars for sure for fans of King Crimson, Djam Karet, Quantum Fantay, etc

 Blurring the Lines ... A Democracy Manifest by OVRFWRD album cover Studio Album, 2018
4.09 | 193 ratings

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Blurring the Lines ... A Democracy Manifest
Ovrfwrd Heavy Prog

Review by Zeropikinz

5 stars I knew this band, but my ears did not reach their music and this album (for some reason, the difficult-to-pronounce name of the band repelled me and the cover was not particularly impressed).But all in good time... It was from this recording that I got acquainted with their phenomenal music. The 2018 album "BLURRING THE LINES ... MANIFESTO OF DEMOCRACY".Oh, it's not for nothing that he is in the list of the best records of 2018 on the progarchives!. WHAT an amazing beginning: composition No. 1 "Wretch" sets an excellent creative tone and then we hear a fascinating atmosphere throughout all the compositions of THIS WORK, and excellent surprises and unpredictable turns (example: track No. 6 begins with a shaking sitar floating in meditation, but then everything changes...a certain tension is growing and soon we hear music similar to the King Crimson of the Red 1974 period !!! I'm in the sediment)..It feels like the musicians are getting high from their playing.The keyboardist, guitarist and drummer is beyond praise...the bassist is a little in the shadow of the other instrumentalists.I don't want to compare this band with different grandees of progressive music (everyone will hear their own). Like any talented recording, THIS ONE amazes with each new listening. For those who are looking for new instrumental prog-rock recordings, be sure to listen to this album! Skeptical music lovers who think that nothing interesting is happening in instrumental prog-rock anymore, then urgently listen to this masterpiece! Pay your attention to these Americans, although they have more of an Eastern European spirit (I see a mixture of various Yugoslav prog-rockers whom I really love: it is a certain mixture of instrumental compositions of the late seventies of the 20th century from the groups "IGRA STAKLENIH PERLI","SMAK" and "TAKO". especially in track No. 5). I love you O V R F W R D ! My rating is 5 stars.
Thanks to rdtprog for the artist addition. and to Quinino for the last updates

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