IDENTITY

Identity is a fine album for everybody that can't get enough of NoMan's recent albums or Nosound's LightDark. Also people that are tired of waiting for the new Anathema might be kept at peace for a little while with this.

Airbag come from Norway and are compared to Gazpacho. I haven't listened a lot to that band yet but I'd say there is indeed a similarity. Both bands cite the same obvious references: the laidback sound of Pink Floyd mixed with strong indie influences from Radiohead.

Generally this is run of the mill indie pop-prog that has little or no elements that make it stand out above anything else in the field. It's an ok album, but to give if it anything above 3 stars, I miss a bit of 'Identity'. (Damn, I had so sworn not to make a joke of the album title!)

One of the most pleasant surprises for me from 2009, Norwegian AIRBAG. At first I pigeonholed them as "just another PORCUPINE TREE wannabes", but the further I listened the more unfair this verdict seemed to me. OK, they're heavily influenced by BLACKFIELD, 80s-90s PINK FLOYD, nowadays ANATHEMA and Hogarth's MARILLION, but geez, you can't write such brilliant songs like "Colours" or "The Sounds that I hear" with JUST BEING INFLUENCED alone! They're talented, they know their music very well, they have a feeling of taste and measure. I'm highly recommending AIRBAG's debut album to anyone who's into Atmospheric Rock/Prog (fans of the bands mentioned above should bother first), take a listen, you won't regret!

A somewhat underwhelming effort first time out by this Norwegian band.

The 8 compositions on this album all follow more or less the same set-up: The songs are slowly paced, with few or none alterations throughout. Fluctuating, lush synths flesh out the compositions, while the guitars add either wandering mellow layers or fragmented licks or themes. Slow, steady rhythms underscore, and a clean, light lead vocal soars on top for the vocal passages.

Light, lush and dreamy soundscapes is the end result. A bit too lush and dreamy actually. It's light, fluffy material perfect for daydreaming, but even guitar soloing in the spirit of David Gilmour doesn't manage to add any real substance to these proceedings.

Identity is an album blending the most atmospheric parts of later day Pink Floyd with similar efforts from later day Hogarth-era Marillion, at least as I regard it, and those that find that description tantalizing should be at the heart of the buying audience for this effort.

What a nice surprise! While some reviewers are displeased at the sameness of this collection of songs, I am pleased by this consistency. Aside from, IMO, one throw-away song ("How I Wanna Be"), the engaging quality of these songs is of a very high and consistent level. Again, IMHO, there are three pieces that I would nominate for that pantheon of greatness known as 'classics' in "Safe Like You," "Colours," and "Feeling Less." Plus, for DAVID GILMOUR lovers, you have an amazing 'Gilmour' solo in "Steal My Soul." Agreed: There are no "new" innovations or complicated structures or time signatures here; instead, what you have is a collection of very pleasant, very listenable, and memorable neo-prog songs.

An excellent and enjoyable addition to any prog lover's music collection. Four stars.

P.S. Does anybody else out there think that the keyboard work on this album is masterful in the way it fills space, fills the background with such gorgeous yet subtle chords and washes?

I'm thinking this Norwegian band named themselves after the RADIOHEAD song because they play in that same dreamy, atmospheric style. Other bands I thought of were BAUER, NOSOUND, ANATHEMA (latest one) and FRAKTAL. I do like this style of music and these guys do it very well for the most part. AIRBAG are (were?) a PINK FLOYD tribute band called THE PINK FLOYD EXPERIENCE. I heard the song "Steal My Soul" last fall and was so impressed I knew I had to check this album out.

"Prelude" opens with the sound of a ticking clock as synths wash in. The guitar before 2 minutes replaces the clock as synths continue. The soundscape is soaked with atmosphere. So good. "No Escape" is my least favourite only because it's less atmospheric and poppier. It settles with vocals quickly but the contrasts between the laid back and fuller sections continue. "Safe Like You" is similar to the previous song but a little better. A beat to start as synths roll in then vocals. Another dreamy track. "Steal My Soul" is a top three for me. Very spacey as keys come in then vocals. Great sound before 3 minutes as we get a thick atmospheric haze briefly. Strummed guitar and organ follow.The guitar simply soars 5 minutes in. Nice.

"Feeling Less" has a good intro especially the guitar. It settles in with vocals followed by guitar and drums. Organ before 3 1/2 minutes. Excellent tune. "Colours" is another top three. Strummed guitar and vocals early. I'm thinking of the new ANATHEMA here. It turns dreamy after a minute. Organ after 4 1/2 minutes as it settles. Guitar follows. Incredible track. "How I Wanna Be" opens with spacey winds and the sounds of people talking in the background. Keys then reserved vocals follow. A fuller sound before 1 1/2 minutes. More powerful 3 1/2 minutes in. "Sounds That I Hear" is the other top three. Atmosphere and piano to start. Vocals follow then strummed guitar before the floating organ arrives. Gorgeous track.

This album has a couple of so-so songs but the rest of this record is quite amazing.

Interesting debut album by this band from Norway. I had this album for a long time but I didn´t exactly hear it propoerly until much recently. I guess the obvious indie pop tendencies of some tracks did not encourage me much to fully appreciated it at the time I got identity. However, at close escrutinity, there´s more than meets the eye: the instrumental of the album have a strong Pink Floyd influence that makes it much more listenable than most releases from groups like Radiohead or Coldplay for instance.

The music is really laid back, tranquil, sometimes reminding me of that swiss band Metamorphosis, specially their early stuff. The CD quite pleasant most of the time and I found it to be quite promising. Not anything to write home about it, but good anyway. There are no fillers and the songwriting in general shows they can go pretty far if they develop their formula. Asle Tostrup is a good singer, with a fine voice and a convincing delivering of the message. I just loved the keyboards parts (lots of quiet Hammond runs, much in the vein of the late Rick Wright). The guitar parts are also of notice (yes, you guessed it right: very Gilmour-like too), but they could be a little more on the forefront and if Bjørn Riis could be allowed to play more solos, it would be very nice!

All in all I see identity as a valid debut of a talented band. I´m really looking forqard to hear their next works. if they develop their progressive side a little more, they surely will come up with something remarkable. Not enought o warrant a 4 star rating this time, but Identity is a nice start. Promising!

Airbag's 2009 debut came to my attention only once I properly enjoyed their second and third offerings, namely the rather brilliant 'All Rights Removed' (2011) and the more recent 'The Greatest Show on Earth' and both getting high marks in my critical reviews. Guitarist Bjorn Riis also has a solo album, 2014's 'Lullaby in a Car Crash' which provided another more 'floating' chapter to their cause and certified this Norwegian outfit with a determined and flourishing output of quality material. Yes, they are clearly inspired by Pink Floyd, as many prog bands are and have been, just like the zillions of pop bands that have a Beatles influence, proving once again that the Floyd did have a colossal impact on contemporary music, whether one likes it or not! So it really is quite indicative of their artistic intelligence to name their first effort 'Identity', both highlighting the 'meddling' inspiration as well as the slight differences, the most obvious being lead vocalist Asle Torstrup's aching voice which is closer to The Cure's Robert Smith than Roger Waters. Also, their material , while there are occasional drifting episodes that highlight the dense melancholia, the sounds are quite upbeat and aggressive, especially with Riis' ability to blend the classic Gilmourian influences with some harsher rhythm guitar work that is quite prevalent.

'Prelude' is the obligatory and atmospheric primer, a sweeping instrumental that sets the tone from the opening bar, as a clock ticks gently in the background. All the players are introduced so as to blend into a gentle anesthetic, ready to dim the lights, flickering candles and fine Pinot Noir in hand, sit back and relax. 'No Escape' is a tad too commercial to be flaunted about so early on but that is just my take. The following tracks are pure bliss.

On a piece like 'Safe Like You', a sense of comfort takes over immediately, the only surprise is the lingering thought that this is what the Floyd should/could have been doing during their long hiatus, with a bolder singer among the classic sounds and sweeping melodies. Tick-tock drum intro, rolling organ swells, crooning sustain-laden guitar lines and swooning bass, does this sound familiar? Asle sings with clarity and 'pain inside my head and my stomach aches'' that can hint at Radiohead or even recent Anathema, full of agonizing sentiment. A Sleeping Beauty of progressive bliss, a gentle bluesy caress and dream cloud splendor.

The highlight track remains the sublime 'Steal My Soul' which incorporates a gargantuan amount of skin-deep emotion, featuring a spectacular final guitar solo that will tetanize your speakers into abject respect. The minimalistic piano takes the initial lead here, amid a flurry of effects buried under Asle's soporific tone, ('I used to be the boy with the gun') and Bjorn lighting the wick on his sizzling guitar (a Manzanera influence indeed). The tune evolves into an audacious lilt, the vocals now closer to Gilmour and hence, very Floydian but really good Floyd! ('I am still the boy with the gun!'). An astonishing piece of music, period.

The excruciatingly attractive 'Feeling Less' is oddly reminiscent of Porcupine Tree's 'Even Less', as the plaintive vocals are quite close to Steven Wilson's especially if the brooding lyrics are taken to account, a litany of sad words, despondent howls, depressing convulsions and shattering conclusions. Bombastic and explosive, the numbing arrangement glows like a dying wildfire, orange embers and crackling snaps that disrupt the night air.

'Colours' is another ultimate cracker, the discouraging words sung are deeply wounding, his voice overwrought with passion, the lead electric guitar full of agony and sensitivity, a simply splendid jewel of melancholic genius. Lush symphonics kick in to add to the deepening emotion, a distressed organ enters the fray, liberating Riis to discharge another scintillating axe solo into the obscure by cloudy skies, exploding mightily like some fireworks display and all the colours of the universe having now a canvas to display their unique magnificence. Another stellar piece of music, period.

'How I Wanna Be' veers towards even more experimental zones, the mood even more atmospheric, painful and wretched in utter anguish, pretty much a continuing legacy of the previous pieces, definitely doom-laden and despondent. Clearly fans of Anathema will find their fix here. The keyboards are excellent here and throughout the entire album, Jorgen Hagen is a real master colorist that comes forward only if one listens intently.

This thrilling debut is put to rest with a lovely lullaby, Hagen putting his piano to calming sleep, encouraging Asle to 'give up'. 'The Sounds That I Hear' continues the plea to go on, as if acknowledging the past, the present and the future. Bjorn finally ends the torment with a tortured by optimistic solo. A truly interesting debut that begs for attention by fans of the bands mentioned throughout this review. If you pay attention to all the details this music has to offer, you will be rewarded in kind. The best is yet to come'..

4 Eye personalities