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NEEDLEPOINT

Crossover Prog • Norway


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Needlepoint biography
An Oslo-oriented combo NEEDLEPOINTwere founded in 2010 as a trio by Bjørn KLAKEGG (guitar), Nikolai EILERTSEN (bass), and Thomas STRØNEN (drums), obviously influenced by jazz, rock (especially late-60s or early-70s psychedelic rock), and 70s progressive rock scene.

Their debut opus "The Woods Are Not What They Seem" was released via Bjørn's own label BJK Music in March 2010, whilst gigging at venues, or attending lots of festivals around Norway. In their second album "Outside the Screen", released in 2012, David WALLUMRØD (keyboards) joined them and Bjørn made his debut as a vocalist. In the fall of 2014, they invited Olaf OLSEN as the new drummer, and in the following year released their third creation "Aimless Mary".

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NEEDLEPOINT discography


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NEEDLEPOINT top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.03 | 16 ratings
The Woods Are Not What They Seem
2010
3.21 | 24 ratings
Outside the Screen
2012
3.96 | 42 ratings
Aimless Mary
2015
3.96 | 40 ratings
The Diary of Robert Reverie
2018
4.09 | 98 ratings
Walking Up That Valley
2021

NEEDLEPOINT Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

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NEEDLEPOINT Reviews


Showing last 10 reviews only
 Walking Up That Valley by NEEDLEPOINT album cover Studio Album, 2021
4.09 | 98 ratings

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Walking Up That Valley
Needlepoint Crossover Prog

Review by Mellotron Storm
Prog Reviewer

5 stars This is a very talented four piece band out of Norway and "Walking Up That Valley" sits only behind SHAMBLEMATH's second record when it comes to my favourite albums from 2021. Norway is taking over! The bass player plays in MOSTER! and ELEPHANT9. We get a guest Swedish drummer and guest choir. The singer has this whimsical, Canterbury-like voice and he plays guitar, violin, cello and flute. The keyboardist adds clavinet, organ, harpsichord, fender rhodes and synths. And I have to mention the drummer who is a very much in demand session guy but also plays on a lot of tours for bands. Anyway he really stood out to the point of me looking him up. Very active. This album is all about the details. The overall mood is light and sunny but man there are some fiery passages along with distortion and dissonance. This album has it all and I actually right now have it tied with "Aimless Mary" as my favourites from them. Two absolutely incredible 5 star albums.

I was surprised at how moved I was at times, the lyrics really resonate with me, especially the ones about nature. While I do have a top three here I have checked every song but one and that's "So far Away" a relaxed 3 minute folky piece but the rest are outstanding and the reason this gets 5 stars. Top three songs for me include the second track "I Offered You The Moon" along with the final two tracks "Another Day" which is so moving and the title track that ends this record. Check out the lyrics on that title track. Just takes me to another place. I have fallen hard for this one, it's just perfect.

 The Woods Are Not What They Seem by NEEDLEPOINT album cover Studio Album, 2010
2.03 | 16 ratings

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The Woods Are Not What They Seem
Needlepoint Crossover Prog

Review by DangHeck
Prog Reviewer

1 stars In albums future-hence, Needlepoint are a Norwegian Jazz-Rock band that combines an occasionally progressive focus with Roots Rock and Psychedelic Pop-Rock. I have to admit, and you can see my reviews and ratings for their following two albums, I'm a bit of a skeptic, but I know they have a lot to offer and at their best, they are excellent. I can't sing any praises here.

This, their debut LP, opens with "Reynard", a jazzy Funk jam. It's a jam and no more. Some nice textures. This is followed by "Next Peg", a low and slow sort of bluesy number, with groovin' drums and clean, melodic guitar soloing. It's very safe. Don't need it. Then we have the more bombastic, rolling rhythm of "Out of Wives" [hilarious name, by the way], which initially feels like a call to the Jazz Fusion of, perhaps, John Abercrombie (a compliment, in the least). Much more confidence here from seemingly all camps coming off that last one. Guitar and electric (and again funky) organ(?) trade off solos over this solid groove. This crescendos to a pretty bright blaze. It's the apparent (deeply effected and fuzzy, though crunchy and alien) bass at the end that really drives it home. Anyways, though, just way too long... I can't help but say how aimless it feels.

Next is the title track, "The Woods Are Not What They Seem". It is low and slow and the drums are simplistic (though with clever little tings on the cymbals). Soft guitar solos slowly over this even slower rhythm... Hmmm... And that's the whole song. I skipped through it, honestly. Then we have the even longer "Drift", but at least these drums are cool as hell. I'm once again hearing some twang, reminiscent to me before (I had noted) of Guthrie Govan, the master of genre bending/blending. This might as well be a Grateful Dead song, though... But like in a bad way. I had also mentioned Krautrock and this has a spacy sort of jam feel that is very comparable to that (again, not in a way that I would prefer--and I don't dislike Krautrock in the least). Again, it's 12 minutes and again, it just feels so aimless to me.

Entering into our final tracks, we have "Half the Man". And I feel I've been severed here... by absolute boredom... Yeesh. Just happy to be writing another negative review hahahaha (I really do love it). 'R'ain't nothin' here for me. Next, "Trapdoor" is another sort of spacy psychedelic jam. But it brings nothing new or interesting to the table (I mean, I'm not expecting anything totally new from Psych, but you get it). And with the finale, I'm bored to death again (it is pretty... not that I care). "Eyes Shut"? More like ears shut... I'm done. Bye.

True Rate: 1.5/5.0

 Aimless Mary by NEEDLEPOINT album cover Studio Album, 2015
3.96 | 42 ratings

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Aimless Mary
Needlepoint Crossover Prog

Review by DangHeck
Prog Reviewer

3 stars The third LP by this Norwegian band, they combine Pop hook with proggy Jazz Rock, but really only on occasion is it truly progressive, truly compositionally interesting. I was unsure about their second, Outside the Screen with which I started, but I figured I would give them a better chance (and I'm certainly somewhat trustworthy of our community's positivity) [even now...]. Even so, as mentioned below (and in the review for that album), their main M.O. is texture, and not composition: that's where you'll lose me 90% of the time.

Right off though, "Fear" starts out most strongly. The melody, in its softness, is so solid and the instrumentation is just flying forward at 100 mph. Hypnotic rhythm spurned on by the main guitar/bass riff met then with awesome organ, flying off the handle after minute 2. What an opener. It ends then with a beautiful, apparently (at times) glissando-style guitar solo. Something super familiar, super classic occurs on the next, "Why". It's a neo-psychedelia that, I suppose, reminds me somewhat of the bits of King Gizz I do know. Just a super cool Psych, mixed with hints of what feels to me like Roots Rock.

Next, "Soaring" starts off so very sweet, with electric piano interlocking with guitar and a melodic bassline. Around minute 3, there's this Progressive Electronic sort of shift, with thumping (yet low) synths and a rhythm that picks up from the nearly melancholic intro. This continues to crescendo and crescendo, building with organ and a light intensity from the drums, nearly all the way to the end. And the ending is of its own feel. It was a bit much, like the noisescape excesses of Krautrock that just aren't quite for me. "Shattered Into Memories" picks it up next, with more from their sweet, soft rhythm section. From the rolling basslines to the church-readied organ, this feels like innumerous callbacks to the early-70s. Then, in the middle, there are just some beautiful sonic choices from synths and guitar, the latter in a long jazzy solo (and an excellent one at that). It jams on for quite a bit and then there's another end with a progressive and wild ending. I'll take it!

Next, our title track, "Aimless Mary", picks things up from the previous bombast, soft and balladic. I feel like tracks like this (and what "Shattered" appeared to be) have me reflecting on Outside the Screen: it's some decent singer-songwriter matched with really excellent musicianship, but frankly I'm just not interested in that right now (and perhaps nor you) [Wow, the English language really is something, huh?]. Nor am I interested much in that ever, I suppose. Again though, the musicianship, as I reflected on with previous tracks, is there, and yet... the overall focus is just not gripping to me personally.

The Rootsy, classic feel returns on the soft "Half Awake" and then.... around minute 2, the organ (and bass?) comes in low, but with heft. Once again, like their aforementioned sophomore release, this is atmospheric music, music of texture, not necessarily of composition (though they've proved they have that, too). There's even less here for me than on "Aimless Mary"... Finally, we have "Imaginary Plane". The melodies are sweet and once again we're in the low and slow. An interesting form to end your album out with. But I'm not them. And I've certainly never stepped foot in Norway haha.

I think, like one of their contemporaries Krokofant, only some of their material really appeals to me at all. Whether or not they fit the bill of "Progressive Rock" is questionable to me, though it's clear they're capable.

 Outside the Screen by NEEDLEPOINT album cover Studio Album, 2012
3.21 | 24 ratings

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Outside the Screen
Needlepoint Crossover Prog

Review by DangHeck
Prog Reviewer

2 stars "Outside the Screen" rolls into your ears from without. Very cool. It shimmers with the guitar-organ interplay. There's something "cowboy" about this haha. More precisely though, Southern Rock goings on?

"Johnny the Player" is hurried and quirky. Soft vocals. The guitar glimmers here and then blazes in solo. Interesting to see this all on ProgArchives, but then my mind does go to the fact that The ARISTOCRATS exist--from the viewpoint from this album, though, they don't have much to offer in the way they do.

"Tree on a Hill" is very sort of classic and sweet. Very lowly music. Very low to the ground. A common vibe here.

"If I Turned Left" begins with a sort of tribal hit of the toms. It meanders softly. There's something that reminds me of perhaps More by PINK FLOYD. Very soft and very ominous. Filmscore-ready.

"Magpie" has a sort of rolling nature that to me struck as something that may be found on a BEARDFISH release (and yet the guitar at the end actually reminds me of FRUSCIANTE). But again, everything is mixed so low and soft. It's very much music of a certain vibe, for the sake of textures. It ramps up at the end, but from what?

"Ten Seconds" ironically lasts 44x that haha. Not a whole lot here. Again, music for textures. A tad experimental, psychedelic even.

"Snoring Husband" picks things back up, with rolling rhythms and heavier guitarings. Is it Prog though, here? Not really. And really, I don't have much of anything to say about the closer, "Sikup Sinanni".

Overall, I'm not too impressed. I wouldn't really recommend it for progressive music's sake.

True Rate: 2.5/5.0

 Aimless Mary by NEEDLEPOINT album cover Studio Album, 2015
3.96 | 42 ratings

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Aimless Mary
Needlepoint Crossover Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars The third album release from these nostalgic Norwegians, this is the first with drummer Olaf Olsen, a move that makes a difference. (Not that previous drummers were bad, it's just that Olaf makes the listener stand up and listen. A lot.)

1. "Fear" (5:47) opens with a Motown-like motif and sound before turning Curtis Mayfield and then, with the vocals, a funked up early YES or ELP-like song. (8.5/10)

2. "Why" (6:12) Love the affected accent in the vocal sounding like a Reggae Tim Buckley. Very much like the Boston dream prog-pop band, GHOSTS OF JUPITER. Great melodic hooks in both the vocal and the instrumental threads. Also a great sing-along lyric. Easily my favorite song on the album. (9.5/10)

3. "Soaring" (8:15) sounds like a collaboration between Mark Isahm, David Torn, Ståle Storløkken and The Amazing. (13.5/15)

4. "Shattered into Memories" (5:01) jazzy psych-pop over strong swirling Hammond organ play. Lots of interesting guitar sounds used, as well--jazzy hollow-muted strings, as well as continuous fast-running bass play. Interesting. (8.5/10)

5. "Aimless Mary" (5:44) sounds like a song from some mid-1960s British psych-pop band--maybe The Zombies, The Animals, or The Soft Machine or even the first Yes or Hatfield albums. (8.75/10)

6. "Half Awake" (4:33) deeper into the simple psych-folk world--the first half could be a Tim Buckley, Syd Barrett, or Donovan song, the second Arthur Brown or even Steeleye Span or the Pentangle. Spooky, gripping song. (9/10)

7. "Imaginary Plane" (3:22) opens like something off of THE AMAZING's 2011 album, Gentle Stream--thought the vocal performance is more reminiscent of AL STEWART. Nice. Love the 1972-4 Stevie Wonder-like synths. (8.75/10)

Total Time 38:54

The band's eclectic retro psychedelic sound continues to evolve, to experiment. Organ sounds and the use of more electronic-based soundscapes seem to dominate this album.

B+/4.5 stars; an excellent addition of dreamy jazz-psych-pop to any prog lover's music collection.

 Walking Up That Valley by NEEDLEPOINT album cover Studio Album, 2021
4.09 | 98 ratings

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Walking Up That Valley
Needlepoint Crossover Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars Refreshing psychedelic folk from Norway that brings back nostalgic feelings from 1967's Summer of Love--when love and optimism were still at the center of the Hippie/Flower Power movement--before the tragic death of cult icon John Griggs in 1969.

1. "Rules of a Mad Man" (5:11) reminds me of The BYRDS, The ASSOCIATION, The West Coast Pop Art Experimental Band, and Sweden's The AMAZING. (8.75/10)

2. "I Offered You the Moon" (7:51) an intricately woven Summer of Love like pop psychedelic song that has an unexpected jazzy feel. Amazing Pat Metheny Group/RTF/Chick Corea-like instrumental passage in the fifth and sixth minutes. Love Erik Nylander's congas! And then the bass, Fender Rhodes, and drums really get to shine over the final 90 seconds. Wow! (14/15)

3. "Web of Worry" (3:34) As if Paul Simon wrote and sang a Stevie Wonder song. At the two minute mark, during the instrumental passage, it turns full Crosby, Stills, Nash, and Young. So cool! (9.25/10)

4. "So Far Away" (3:11) could be acoustic LED ZEPPELIN, BREAD, CELESTE, or PAUL SIMON. And then it goes Massive Attack unplugged at 2:20! Just brilliant. (9/10)

5. "Where the Ocean Meets the Sky" (4:25) more complex, sophisticated jazz-tinged pop psychedelia that sounds like it comes straight out of a California Pop Festival of 1968 or 69. Again, strongly reminiscent of Crosby, Stills, Nash, and Young from this era--especially the front-and-center bass play and perfect vocal harmonies. Brilliant and beautiful. Again, great hand percussion play to go with the gorgeous drumming and richly nuanced instrumental tapestry. (9.25/10)

6. "Carry Me Away" (3:56) has a very Brian Auger's Oblivion Express and, less, Santana feel to it. The guitar solo over the is so straight out of Eumir Deodato's 1973 world-wide jazz funk version of Ricard Strauss' "Also Sprach Zarathustra" as inspired from the 1968 classic film 2001: A Space Odyssey. (9/10)

7. "Another Day" (4:45) despite its interesting instrumental palette (including harpsichord), this one drags a little too much. (8.25/10)

8. "Walking Up That Valley" (10:44) opes like it's going to break into "Hair" by The Cowsills. But with the appearance of the vocal we can see that it is a true folk song--a gorgeous one at that. Simple guitar with solo voce, gradually joined by other guitars and Hammond. At 4:30 we transition into a uptempo, more jazz-rock instrumental passage. The sound palette of guitars, bass, and snare drums and cymbals is very cool thought the flanged lead guitar is nothing too exciting. I'm quite reminded of Gadi Caplan's masterful jazzy Prog Folk album from 2016, Morning Sun. As a matter of fact, this entire album has a similarity to that wonderful album. The guitar solo over the zoom-along AMAZING-like passage in the ninth minute is astonishing! What an amazing passage! Some of Al Stewart and Donovan in the gorgeous next session. The way we're cut off from the continued jam at the end feels like robbery! One of the best prog epics of the year--maybe the best. (19.75/20)

Total Time 43:37

A collection of sophisticated, deeply layered folk psychedelia that issues new and pleasant discoveries with each and every listen. Wonderful. Each and every song seems so lovingly created--from composition, lyrics, and performance to recording and mix. An absolute treasure. One of my favorite albums of 2021.

A-/five stars; clearly a masterpiece of retro-psych Prog Folk; an album that any prog lover will surely appreciate and love--especially the old-timers who were alive in the 1960s.

 The Diary of Robert Reverie by NEEDLEPOINT album cover Studio Album, 2018
3.96 | 40 ratings

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The Diary of Robert Reverie
Needlepoint Crossover Prog

Review by Beautiful Scarlet

3 stars This album may masquerade as a "Canterbury Scene" work but I see beneath the Wyatt esque vocals and instrument choices to see that this is absolutely not Canterbury Scene. The music is actually songs!? No riff salad here, no orgasmic changes, nay what you hear is what you get for short 3 minute tunes that have clear starts and finishes, absurd. Additionally the music is pretty subpar, not very catchy, repetitive and just plain dull to my ears. The music is always constrained by such tasteful concepts as "form". Also for an album sporting an acclaimed Jazz guitarist one would expect instrumentals? Most of the album is vocals, the bridges tending to be actually quite short on this album.

Easy 3/5, aside from the previously mentioned issues I have with this album/band the music is okay. This should appeal to fans of 60/70s Psych music or Indie rock. Definitely don't expect any kind of development on these songs or instrumental prowess, very tame generic fare. Canterbury Sound Score 3/5

 Walking Up That Valley by NEEDLEPOINT album cover Studio Album, 2021
4.09 | 98 ratings

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Walking Up That Valley
Needlepoint Crossover Prog

Review by Beautiful Scarlet

3 stars When I first heard this album I saw other reviews had mentioned that this album/artist sounds like Caravan which led to my somewhat disappointment as the music was not what I had in mind. After further listens I've come to agree with the Caravan vibe, however, I find the this album brings to mind less In The Land Of Grey And Pink and more Blind Dog At St Dunstans. In other words I think this album sounds like the work of Pye Hastings (lead vocalist actually sounds a bit like him) rather than Richard/Dave Sinclair.

The music itself is very chill pretty music with clear inspirations from the late 60s early 70s albeit less raw, better production/mixing. There is a lot of singing not very much instrumental work and the tracks are all around four minutes aside from I Offer You The Moon and Walking Up That Valley. The longer tracks don't really have any instrumental moments, there length being in my eyes a bit of a waste. I think this is very much so a three star album for me, it's good but certainly never excellent or even great.

Overall this is a solid album that should please fans of Caravans Pye Hastings heavy albums and those looking for something pretty lighthearted. Canterbury Sound Score 3/5

 Walking Up That Valley by NEEDLEPOINT album cover Studio Album, 2021
4.09 | 98 ratings

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Walking Up That Valley
Needlepoint Crossover Prog

Review by mental_hygiene

4 stars Walking Up That Valley is the new Needlepoint album, a band that is categorized as "crossover prog", but really should be considered canterbury scene. This seems to be their first album that's catching the attention of the prog community, but is their fifth overall. The most prominent influence throughout this album is Caravan, with Bjorn Klakegg's vocals sometimes verge on sounding just like Pye Hastings. However, I wouldn't reduce this band to just Caravan. The production sometimes reminds me of the softer King Gizzard records. That might be a stretch, but the point is that this is a very interesting blend of psychedelia and canterbury quirkiness in a rather lush and pastoral setting.

Rules of a Mad Man opens the album and quickly envelops your ears with the excellent blend of acoustic guitars, organ, piano, and the rather charming vocals. Their singer has a strong norwegian accent that might get on your nerves if you're in the wrong mood. I've come full circle, and I think I actually really enjoy it. I love how Rules of a Mad Man strips itself down to a quasi-drum solo section. It's things like this that really evoke the Canterbury sense of jazz while still being rooted in psych rock. I Offered You the Moon follows, another excellent track with a real gem of a synth solo halfway through. Overall, I really appreciate the dynamics on this album. It's refreshing to my ears to hear a 2021 album use so much space and atmosphere in a way that doesn't flood the record.

Web of Worry continues to tone down the record, featuring some excellent drumming that is simultaniously fast paced but atmospheric. I think they generally really nailed the sound of the drums on this record. So Far Away is definitely the most peaceful song on here. It's a very warm and well written ballad. There's even a bit of soul influence on the singing of this song. I cannot get enough of how smooth this album can sound.

Where the Ocean Meets the Sky picks the album back up in energy. While a lot of these songs blend together in atmosphere, it never gets to the point where I can't keep track of each song. The guitars switch often from atmospheric and reverb-drenched comping to orchestrated lines with some interplay with the keys. Carry Me Away continues down this path, this time actually evoking Gong to my ears. Or a less chaotic version of Gong. The choir on the chorus on this song is so beautiful, and I would say is the song that's stuck with me the most from this record. it also is the song that depicts the cover art in its lyrics.

Another Day, the penultimate track, continues with the lush vocal harmonies. The keys add a slight harpsichord-esque classical flair that really compliments the song. Walking Up That Valley, the title track, is an evocative and peaceful track that recounts the titular journey into the valley. The lyrics might be a bit cheesy, but I really appreciate this track regardless. It's the most prog-folk song on this record, driven by acoustic guitar and slowly adding soft percussion and bass as it (oh no I'm gonna say it) progresses. I really appreciate songs that take you on a journey and can pull it off. It's a well executed terminal climax. It sadly ends on a bad note, something I was really disappointed by. It closes on a guitar solo that just fades out, which is really bad because it sounds like the album was supposed to continue. It's a shame that the album doesn't properly close.

Overall, Walking Up That Valley is a very calm, refreshing, and beautiful collection of neo-canterbury songs. I think this is a very masterful record, there's so much detail in each song between the production, the mixing, and the orchestration of it all. I'm looking forward to listening to their earlier albums. Needlepoint is an excellent band, and I really hope that this album is their break into the prog community and hopefully broader.

 Aimless Mary by NEEDLEPOINT album cover Studio Album, 2015
3.96 | 42 ratings

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Aimless Mary
Needlepoint Crossover Prog

Review by Muskrat

4 stars For his third album, NEEDLEPOINT is moving towards more sung and more jazz music. Even if the song is more present, it still gives pride of place to the music. The title track "Aimless Mary" reminds me a lot of BeardFish, especially because of the voice of Bj'rn Klakegg and Gentle Giant structure. I also note a big influence of jazz, even jazzrock ' la Jeff Beck of Blow By Blow (or Il Volo with very doctored guitar sounds) as in the first piece entitled "fear". The compositions are always so dense, mellow and strange. David Wallumr'd has abandoned his Autoharp and focuses on the Clavinet and the Hammond organ. A new drummer joins the group: Olaf Olsen. With "Half Awake", he proves that he is not only there to accompany the music of Neddlepoint, even if he does it excellently. Finally, we find this kind of Laid Back Prog in the song "Why" which reminds me of JJ Cale, or Riders On The Storm of the Doors. Really cool blues. An Excellent addition to any prog rock music collection.
Thanks to dAmOxT7942 for the artist addition.

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