VARJEVNDOGNSNATT

Another band that desperately needs attention in terms of positive reviews is this Norwegian symphonic instrumental combo whose career has been nothing short of genius, with highly rated works that have made an impact in Progland (I have all four albums and love them all!). Essentially a talented trio since day one, back in 2017, featuring Odd-Roar Bakken on guitars and keyboards, bassist Nils Larsen and Anton Larsen on the drumkit, offering zero vocals to their visionary and philharmonic prog suites that sonically paint vivid soundscapes that encourage drifting into dreamland. The cinematographic tracks are elongated affairs that are structured in such a manner as to keep the arrangements in constant progression mode, spanning a variety of styles, from pastoral acoustic, to bombastic symphonics, as well as Scandinavian folk elements in that inimitable tone. Lengthy soloing on both guitar and keys elevate the passion to glorious levels.

The adventurous "Sendebud Fra Vest" elegantly unveils a bucolic setting, guided by some masterful acoustic guitars, organ underpinning, a delicate flute joining in perfectly, combine to entrance the listener into an ethereal universe. When the swaying bass and the drums kick into gear, its only to establish the platform for a prolonged and shimmering electric guitar solo. The transition to a rather unexpected Japanese sounding theme stimulates the mood further, violin orchestrations taking over diligently, a perfect Celtic variation for another protracted fretboard incursion, synths allied in the effort, and crashing cymbals notwithstanding. Acoustic guitar resumes the initial medieval thematic that just keeps rising to a higher plane, influenced by a pushy organ, a rousing Larsen bass intrusion and a swerving synthesizer melody that unites them all. Brother Anton ups the ante on the percussive side, leading the arrangement into a mellow jazzy ride, the bass and piano in full regalia before finalizing this epic 17 minute+ ride with a final pastoral curtsy.

Scandinavian folk involves a fair amount of mythical forest creatures and "Huldras Hale" beginning cautiously and naively perhaps with some sweet low-key meanderings, the seductive keyboards carrying most of the load. Its just the opening stages of a spirited adventure that seems to explode out of nowhere, a communion of spirits that expands into that broiling organ sound once again, the jolting rhythm picking up steam, hauntingly crisp and magical like the Norse winds. The electric guitar smoothly enters the discourse, restrained at first as it seeks to construct a build-up of emotions, confiding in the piano and the rhythmic pulse to move forward. The stirred-up organ seems to be the catalyst for the more rousing outcomes, ultimately passing the baton to a sprinting synth line that hauls the others along for the ride. The elastic bass and lavish piano work in tandem to shift into a different sidebar, a melancholic pool of feudal revelry, at times forlorn and taciturn, a classic Norse characteristic if there ever was one. A riveting guitar solo finally screeches in through the clouds to simply slay the beast. Tragically beautiful music.

The aural camera keeps filming in the deepest forest on "Den Dype Skogen", an astute collage of contrasts, the cold and warm realms that only Mother Nature can create in all her glory. Cottony softness, velvet layers and satin sheen are delivered through a variety of acoustic elements, a church organ blending in to veer the atmosphere towards a more solemn reality, where the percussive side percolates, the burly bass slicing into stormier gales, and more complex movements abound. When the exuberant Bakken guitar decides to screech, it does so unapologetically. This collision of heavy and light is utterly fascinating throughout the composition, even when the transitions forge new pathways through the lush timberland. The expert orchestrations excel in creating the springboards necessary to keep the flow unremitting. Both the organ and guitar underline the melody that was there all along, blossoming finally into a pipe organ flourish to settle the score.

Kornmo opts for a more experimental mission on "Altets Hav", a 9 minute+ keyboard festival that chains together a plethora of vintage sounds, the spotlight on synthesizer and churning organ carving out the melody, repeated by the guitar and violin resonances. Ultimately, the mood gets chaotic, almost dissonant, frenetic and almost schizoid before falling back on a jazz lounge feel that showcases the opposite extreme, verging on a serenade. Electric guitar rages just enough to keep the tension on full alert, before sweeping into a fluttering synthesizer extension that had classic Camel all over it.

Like any worthy epilogue, "Ly (Vuggesang)" retraces the rustic sense that opened the curtain on this magnificent ride. Acoustic guitar and organ connect their efforts to evoke a distant past, a time when longships unleashed their sails and sent the valiant Norsemen on their epic oceanic voyages around the globe. Effortlessly melodic, imaginative beyond the normal prog boundaries, the flute sounds submit the soul to profound introspection, the guitar caressing the heart, the orchestrations laying down the foundations to search for dreamland. A much- needed panacea in our current, unusually troubled world. One of the most soothing tracks I have heard in many a decade.

Instrumental music played by gifted and passionate performers, who let their musical tools do all the messaging needed. 4.5 Glittering auroras

Norwegian trio Kornmo arose early 2015 from the ashes of the band Morild that disbanded around 2014. Chief composer and bass player Nils Larsen wished to continue making music, but sought a slightly different challenge this time, namely focussing entirely on instrumental music. Along with his friend of 50 years and previous band mate from Morild, Odd-Roar Bakken, he started a new musical project to fulfil this wish. To complete the band, Nils asked his son Anton Larsen to join on drums, now Kornmo was formed. This is a project that solely records original progressive instrumental music, and the band does not perform any live gigs but released four albums: Svartisen (2017), Vandring (2019), Fimbulvinter (2021) and recently Vårjevndøgnsnatt (2024). About their previous effort Fimbulvinter (2021) I wrote: "I am pleased with this new Kornmo album, to me it sounds as their most elaborate and compelling effort, recommended to fans of vintage keyboards, and melodic and harmonic symphonic rock like Seventies Camel, Barclay James Harvest and Mike Oldfield."

Band info: "The new album Vårjevndøgnsnatt (Night of the Spring Equinox) is Kornmo's fourth concept album, based on a story that begins in Ireland and ends in the deep Norwegian forests. This is reflected in the musical expression, both compositionally and through the choice of instruments. Science, philosophy, myths and folklore colour the story that Vårjevndøgnsnatt is based on, which can be read in both Norwegian and English in the accompanying booklet."

Because I have reviewed the previous 3 Kornmo albums I got this new album so I have become more or less a 'connaisseur' of the Kornmo sound, haha. Their can be described as a simply structured but vere tastefully arranged blend of symphonic rock, folk and classical, with the focus on colouring the music with moving guitar work and pleasant vintage keyboard layers, backed by a solid rhythm-section. To me the omnipresent Mellotron sounds as a kind of voice in the instrumental music, especially the flute-section. About the influences, Kornmo reminds me of Camel, BJH, Anthony Phillips and Mike Oldfield, and the mellow side of fellow Skandinavian bands Anglagard and Landberk. Most of the atmospheres are pastoral sonic landscapes, every now and then the moods shift to a mid- tempo or sumptuous eruptions, to keep the attention, with dynamics and tension.

Each of the five long compositions (between 9 and 20 minutes) has its own musical developments and the trio succeeds to deliver a pleasant amount of variety with the instruments.

Sendebud Fra Vest (17:44) : Lots of flowing changing atmospheres, from dreamy to mid-tempo and bombastic outbursts, wonderfully embellished with Mellotron flutes and violins, Hammond, Minimoog, piano, acoustic guitar and a Scottish bagpipe sound.

Huldras Hale (19:24) : This longest track generates a lot of pleasant musical moments. From a slow rhythm featuring sensitive electric guitar, Mellotron flute and Minimoog solo to a brassy Mellotron and a Mike Oldfield-like medieval climate. From fiery electric guitar and soaring Hammond in a slow rhythm to a bombastic eruption with swirling Hammond and rock guitar, topped with a Minimoog solo a la Rick Wakeman. From a mellow part with piano, acoustic guitar and soft synthesizer flights to 24-carat bombastic symphonic rock with Hammond and Minimoog. And from soaring tremolo Hammond to a sumptuous conclusion featuring howling electric guitar, Minimoog joins and finally a Mellotron flute, wow.

Den Dype Skogen (15:41) : This long composition delivers a lot of fine musical ideas and flowing shifting moods, with a strong balance between mellow and more lush and bombastic parts. The instrumentation varies from dreamy Mellotron flutes and - violins to majestic church organ, howling electric guitar and Rick Wakeman inspired Minimoog runs. Top notch 70s inspired symphonic rock!

Altets Hav (9:11) : This shortest composition (only 9 minutes, haha) alternates frequently between dreamy and bombastic, with Vintage Keyboard Heaven (from swirling Hammond to spacey Minimoog) and lots of rock guitar.

Ly (Vuggesang) (11:50) : The final track is the most mellow one featuring an intense blend of acoustic guitar, soaring Hammond and tender Mellotron cello and - flute, simply beautiful!

Highly recommended to the fans of symphonic rock with pastoral overtones.