GAMLE MESTER

1. Demring for the ascent with the different keyboards, a touch of early GENESIS, the majesty of the piano, the old sound, it reminds me a bit of CEN-PROJEKT 2. Jakten På Det Kalydonske Villsvin for the 1000% vintage atmosphere. From the keyboard, a vocal typical of the area, not just any Norwegian; beautiful in the genre, but hey, it's 2025, we should think about it a little; the finale with its old-fashioned flute is worth the trip, between solemn and elegiac, 3. Gamle Mester for the 'rendez-vous en terre inconnue', fresh air, lively, danceable, almost a snub to this outdated genre locked in its blinkers; The track then moves into a nostalgic, psychedelic suite with hints of the 60s, a time when prog was still in the gargantuan belly of rock.

4. Medusas Flåte is noteworthy for its combination of voices and instruments of the time; for the distant organ that taunts the drums; the once jazzy finale suddenly deviates into the territory of John Lord of DEEP PURPLE, the sound rises, there's even a wind of fury before the return of the Norwegian voice, reminding us that we're in the middle of an icy desert. 5. De Tre Gratier, for the folk harpsichord intro, the ballad of the last days of wandering in the dark steppes; a familiar progressive moment that will make those immersed in this outdated but oh so melancholic and nostalgic atmosphere regress with pleasure, leading the listener to isolate themselves from the surrounding world. The album finally finds its feet by offering a fresh, energetic, and invigorating folk sound. The finale is all about the stacked and stored layers, a fine stylistic exercise lacking the prog blood that brings life; here it's dry. 6. Skumring for the piano, choir, and keyboard finale, or the solemn piece that sends shivers down the spine; there's this archaic stroll through Genesis time that freezes time.

A beautiful album that doesn't bring anything new; beautiful keyboards, melodies but with this already seen, already heard that doesn't move me enough. Released 20 years ago I would have still remained silent but here the gap with these instruments of distant times is a little too important to find it excellent.

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