FALSE MEMORY ARCHIVE

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

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.

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.

The Norwegian band's first album since their 2013 debut, Lighthouse, sees the quartet amidst the departure of founding guitarist Ole Michael Bjørndahl. Here OMB plays on two songs while new and future stable mate (and former PYMLICO and future CALIGONAUT guitarist) Stephan Hvinden settles into his new role. (OMB, collaborator with PYMLICO, ARIBAG, BJØRN RIIS and CALIGONAUT will go on to work with all of the above except OAK.)

1. "We, the Drowned" (5:24) Nice opener. That voice of lead singer Simen Valldal Johannessen is so intriguing! (8.875/10)

2. "Claire de Lune" (7:16) NOT the Debussey version! I feel, hear absolutely no connection between this and the iconic classical piece. (13.125/15)

3. "False Memory Archive" (4:47) a bit of a boring, one-dimensional let down--especially for the album's title song! (8.75/10)

4. "Lost Causes" (8:30) Simen here starting out with a LEONARD COHEN-like deep singing voice to talk-sing his opening lyrics. (17.5/20)

5. "Intermezzo" (1:42) the real "Claire de Lune"! How funny! But then it's "damaged" or intruded upon by electro-static buzzing sounds before being totally immersed and finally quashed by the buzzing. (4.5/5)

6. "The Lights" (10:34) An unusual and creative song design--which is good--explores a darker, almost disturbing mood. The synth and sound effects work on this is brilliant--and the droning play of other instruments (bass, guitar, sax, vocal) really helps to drive home that mentally-desturbed/deranged effect. (17.875/20)

7. "These Are the Stars We're Aiming For" (4:19) traipsing into prog metal territory, as if just testing the waters but deciding to not commit fully, this is another interesting song (with banjo!) (8.875/10)

8. "Transparent Eyes" (4:59) a nice sound palette provides the setting for one of Simen's more sedate vocal performances. Nice jazzy-pop song. I like the added aural effects and pretty jazz-pop piano foundation (and solo work at the end). (8.875/10)

9. "Psalm 51" (7:25) soft-picked acoustic guitar and droning radio samples in the low end precede the piano foundation and entry of Simen's delicate, touchingly tender vocal. Though not quite as proggy--or jazzy--I find myself fully engaged and enjoying this song very much. The instrumental buildup in the fourth minute is awesome and enticing, but then there is a sudden flip of a switch and we're down to a beautiful two-chord PINK FLOYD-like vamp over/within which volume-pedal-controlled guitar solos for a bit before being usurped by the sound of television voices. But the end of the sixth minute sees the return of the lead guitar--playing some awesome tremolo notes--while full band (including rock drums) and saxophone join in to take the song to its finish. Cool song--probably my favorite on the album. (13.75/15)

Total Time 54:56

I'm fascinated by the unusual/eccentric Mark Hollis/Finnish band Khatsturjan-like tone/timbre of lead vocalist Simen Valldal Johannessen. While I enjoy the music and creative song constructions on this album, I am not ready to climb on the Oak bandwagon. But, I will be waiting to check out and see if the band grows when their next release comes out.

B-/3.5 stars; a collection of very creative, wonderfully-atmospheric songs that heralds tremendous potential. Another Norwegian band to watch!