BETWEEN THE LEAVES

Some albums are just way ahead of their time. This is one of them, Between The Leaves by Norwegian heavy proggers Déjà-Vu is one of them. Recorded in 1976 but buried for decades, this is a perfect example of an obscure Scandinavian prog band rivaling the heights of their British contemporaries. Yet having a much grittier sound. This is Déjà-Vu's only release to this date, it blends emotionally raw vocals with basslines, scorching guitars and a keyboard arsenal that could rival Rick Wakeman.

Otterstad's mastery of multiple keyboard tones is just stunning. Rhodes and Hammond dominate the foreground, but lurking are MiniMoog squeals and Mellotron washes appear just when the songs start to fray into abstraction. They pull the songs back toward cohesion. Rønning's guitar tone isn't overly flashy, but his lines are melodic and assertive. Often counteracting Otterstad's keys.

Underneath it all lies Per Amundsen's bass playing. His playing worked as the unspoken glue. His tone is bold and up- front, not just a background thrum either. But a melodic presence. He didn't just follow the root. His lines weave around the drums and keys with subtle flair which in a way added harmonic richness and unexpected turns that elevated the music's sense of motion.

Then there's Grønlie, whose dual role as a vocalist and drummer laid the foundation for the band. He holds time whilst sculpting it at the same time. His drumming is precise, loose and assertive. He plays kind of light-footed, incorporating jazzy hi-hat work and tom-heavy accents that elevate the rhythmic aspects. The fact that he's doing all of this whilst singing is just mindboggling. Grønlie's vocals don't take away anything from the rest, instead he strengthens everything.

As most prog bands Déjà-Vu excel in long-form composition without falling into the traps of endless noodling. 'Burning Bridges' and 'Somebody Cares' both stretch past the 10 minute mark. Every section feels pieced out, from the commanding organs to the instrumental parts where everything feels like it just collapses on top of each other but in a beautiful and fitting way. They write their songs with arcs (peaks and plateaus) rather than rigid templates. This makes even the most predictable choruses, riffs, fills feel unpredictable.

It's staggering to think that Déjà-Vu's only release sat basically unheard for two decades, it's only a legacy, a couple of white-label pressings and memories of local Norwegian gigs. Had it been released with the backing of a label like Vertigo or Harvest, we might today be speaking of Déjà-Vu alongside Gentle Giant and Camel. Instead it became a buried relic that sounds more and more contemporary each passing decade.

Between The Leaves is one of those albums that just yearns for rediscovery and deserves it as well. This album would please any invested prog rock listener and could even please those who aren't very keen on the genre. Maybe its obscurity is part of its magic. Almost like a half-forgotten forest path, it sits there patiently for those willing to listen with open ears and an open heart.

Between The Leaves (5/5)

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