AVKRVST

AVKRVST is a Norwegian progressive metal band. Their debut album, "The Approbation" (2023), was produced in a cabin deep in the Norwegian forest, far from civilization, and garnered widespread attention. The band made a huge impression at the MidWinter Prog Festival in Utrecht, the Netherlands, on January 25th.

Following their conceptual debut about a desolate, stranded soul living alone in a cabin, far from civilization, and trying to come to terms with death, Waving at the Sky builds on everything the band had going for them, telling a dark and devastating story that takes it to the next level.

The reception for their previous album was greater than the band ever imagined. Since its release, the band has performed live in Norway, as well as in the UK, Germany, and the Netherlands, but to stay true to themselves, the members have repeatedly returned to the mountain cabin where they began. There, they delved deeper into their musicality and faced various challenges, resulting in this album, which takes the band in a more original direction. Story- wise, "Waving at the Sky" is a prequel to their previous album, "The Approbation," and is inspired by a tragic family tragedy. Very interesting album.

A band of promising young Norwegians are showing their serious enthusiasm for a career in music as they have, with this album, returned (in less than two years) with their sophomore album release.

1. "Preceding" (3:13) solid instrumental power prog with a great sound palette, great rhythmic force, and cool engineering. I'm not as much of a fan of the monotonous single chord motif that dominates the third minute, but otherwise a song that gives me great promise for the rest of the album. (9/10)

2. "The Trauma" (5:17) picking right back up from where "Preceding" left off, I'm discovering reminders of bands like Distorted Harmony, Stare At The Clouds, Atmospheres, and Taylor Watson as I listen to this. When Simon Bergseth's vocals enter to become the featured item of the song, my associations to American and Australian Heavy Prog/Prog Metal bands only increases--and then you get the Death Metal growls at the end and the categorization is complete! I like it! (9.125/10)

3. "Families are Forever" (7:49) the requisite slowed down, spacious complex drum play that seems so common to 21st Century Prog Metal bands--especially the good ones who use atmospheric sections in some of their songs. Here is where the quality and skill of a singer's voice is really tested and Simon flies through with great results! He's no Ian Kenny (Karnivool) or Einar Solberg (Leprous) but he is great--on a level with The Contortionist's Michael Lessard and others. Awesome synth-wash-backed guitar solo in the seventh and eighth minutes! A song worthy of a place in the pantheon of great atmospheric Prog Metal songs! (14.375/15)

4. "Conflating Memories" (6:59) what starts out fine seals the deal with that awesome key/chord change at 0:49! Genius (and daring)! The multi-voice chorus singing is a bit hokey/fake sounding, but the compositional surprises and rich sonosphere more than make up for it. In the fourth minute Edvard Seim gives us another guitar solo that really grabs the listener's attention: it's not so flashy just solid, melodic, smooth, and satisfying--like something by Mirek Gil or perhaps David Gilmour. Then, at the end of the fifth minute a Moog-like synthesizer solo takes over as the band shifts into a darker, heavier minor chord structure. A little more singing, a little more guitar soloing, and the band decides on a long fade out to end it. Great stuff! (9.25/10)

5. "The Malevolent" (3:24) a solid song that feels like a 21st Century sound palette presentation of a 1990s LINKIN PARK song--and it sounds so easy for them: they sound like their just cruising along on laid back autopilot! At the same time, something minor is missing: I'm not sure if it's enthusiasm or originality but there's just a little too much ease. (8.875/10)

6. "Ghosts of Yesteryear" (6:17) a complex and challenging composition in which the band display some quite diverse and sophisticated stylistic and sonic faces: after starting out with some high-speed intricate instrumental djenty metal play while incorprating some B parts with Haken-like synths they suddenly switch early in the third minute to a Motorpsycho/Needlepoint-like pastoral acoustic vocal folk sound and motif--and then back to the crashing metal motif at the end of the fourth, employing the folk melody for a bit before descending back into the sophisticated djenty stuff! And then they kind of combine it all with Simon singing in a mellifluous voice. Very interesting . . . and bold! (9.125/10)

7. "Waving at the Sky" (12:19) the album's only epic, it comes in three parts, ABAB-CD-EF. The first two minutes sounding very much like the Naughties' hot Manchester band, DOVES, the next section (chorus) coming across as more THE PINEAPPLE THIEF despite the return to the opening motif after the first chorus. At the 4:00 mark, segueing from the second chorus, the band sways into a C section before devolving into a cacophony of distorted gremlin voices seeming to be in the middle of arguing while a PORCUPINE TREE-like motif materializes at 5:45 from behind before taking over. The ensuing synth-arpeggiated three-chord odd-timed motif is as much like Fear of a Blank Planet PT as anything, but then in the first half of the eighth minute Simon's death metal growls segue into some of that middle-register saw-synth soloing that we hear near the end of "Conflating Memories." But then we come out "into the Light" with a Neo-Prog like ending. Great drumming--as it has been throughout the album; mega kudos to stick man Martin Utby. (23/25)

Total Time 45:21

The band's 2023 debut, The Approbation, leapt onto the scene to great acclaim, presenting a band with great promise. Well I'm here to tell you that that promise (or potential) is being realized!

A-/five stars; a minor masterpiece of refreshing new prog. Highly recommended for all prog lovers.

"Preceding" with a syncopated sound, a frenetic staccato pad, Steven Wilson on one side, the raging bass on the other, an electric tune followed by a honeyed groove. An instrumental full of amphetamines, the sound reminding me of OSI in some way; real lyrics taken from the trial and the court is open. "The Trauma" follows, OPETH in sight; riff, electric, a propulsive pad for vitamin-packed progressive metal. Simon uses his clear voice as he pleases to move and attack the magnitude of the story; the languid acoustic guitar amplifies the perceived pain with the targeted growled final vocal. "Families are Forever" contemplative tune with the acoustic guitar supporting the melancholic keyboard, depressed voice then a hellish growl for a time, like a foreshadowing undertow. The synths are warm and captivating, with a djent feel, an acoustic exploration and a growl explosion, creating a weighty, oppressive instrumental atmosphere. The guitar brings the track to a head, distilling a message of hope. The solo melts into the feeling, oozing with melancholy, and the hairs suddenly stand on end. The Genesis-esque keyboard suddenly amplifies the pastoral atmosphere; a stunning piece combining emotion, aggression, and sensitivity. "Conflating Memories" features an ostinato guitar, an ethereal vocal variation followed by a folk flute entrechat; a fluid, consensual, monolithic melody that gradually builds and builds, the highlight of the track taking its time... It's time for Auver's hushed, rich, joyful, intense, and intimate keyboard solo, all within. The vocals return and launch Edvard's guitar solo to capsize any potential recalcitrant, as does the final fade-out vintage organ.

"The Malevolent" with the participation of Ross from HAKEN on a sound... of HAKEN and OPETH in addition doom; the solemn, Dantesque chorus, the captivating choirs, concentrated to give a little more madness and publicity to this group of which I had spoken as one of the best first prog albums upon its release. "Ghosts of Yesteryear" continues, mysterious intro, electro-jazzy-rock air, the bass and the djent guitar at will. The drum pad maintains a hellish rhythm during these two minutes before Simon speaks softly of a terrible drowning: flute, keyboard and lead guitar to erase this terrible moment, delicious climate becoming explosive with the tenacious riff. A concentrate of clarity, sweetness, languor and dynamite. "Waving at the Sky" also continues for the eponymous title; redundant acoustic on an atmospheric synth pad, languor of the vocal, rise of the piece. The opening section is conventional, latent, supported by synthesizers worthy of Porcupine Tree. The vocal break with effects and its drum variation launches into the hypnotic, enterprising, repetitive keyboard solo; the syncopated keyboard gives way to a growl for a moment before returning to a more academic sound, resolutely modern, symphonic, and solemn with its distant elegiac choirs. The rise never ends, like the horror enunciated, but the music is there to lift one to heaven and greet those who will be there. The outro fades in for a languid vibration of our crazy society; dive into its musical drawer like medicine.

AVKRVST has created a conceptual album without being a concept; a prog rock album of the 2020s with a tenuous, fleshy, captivating, malleable, and catchy sound, flirting with OPETH. A sound guiding one toward exaltation and reflection; A true evolution of today's prog sound. Originally from Profilprog.

This is the second album from this Norwegian band. The music features heavy progressive elements and strong melodies, showcasing some breathtaking moments. 45 minutes that go so fast that you want more. There is the use of clean vocals and occasional growls throughout the album. Also, I enjoyed the loud bass sound and the cool drum parts. The band can go on a fast pace with some heavy passages and slow things down with some beautiful acoustic guitar parts. The songs have a natural flow in them that keeps you focused until the end. You can hear some influences from the Swedish school of Opeth and Anekdoten, which gives you an idea of how the music sounds here. If all the songs are excellent, and you don't want to skip any one of them, my favorites would be the angry "The Trauma" and the last one, "Waving to the Sky," displaying all the elements that the band uses on the previous songs with some tempo changes. The presence of Ross Jennings on one song brings the Haken influence, but I don't think it represents the sound of the album here.

Follow up to one of my albums of the year: the Approbation ( 2023) Scandinavia have usurped Italy in the prog rock canon these last few years and Avkrvst are living proof. I see Haken as a main comparison -and Ross Jennings does appear on one track here. Preceding is a short track opening with keyboards and evolving into heavier territory before an anthemic middle and heavier ending with spoken words 9/10 The Trauma has an angry instrumental beginning - Porcupine Tree like - guitar comes in near 2 minutes ( brilliant) with vocals reminding me of Haken ( in English by the way) Growls at 5 minutes to end 9/10 Families are Forever. A longer track at 7.50 -beautiful intro,acoustic guitar follows by softer vocals. The vocals on this album are superb. Brief growls at 2.17 which I don't usually like but contrast nicely with the laid back song. Keys come in at 3.50 - also a highlight of this album. The guitar and keys at 6 minutes are wonderful. 10/10 Conflating Memories. A similar start to the previous track - clean vocals -more great guitar at 3 minutes when the track becomes fuller -heavier at 4.45 when a great synth solo comes in and lead guitar closes - superb 10/10 The Malevolent. Haken Ross Jennings adds vocals to this short,catchy rocker - very Haken - play loud in the car ! 10/10 Ghosts of Yesteryear. Heavy beginning,great bass -keys come in at 1.36 -quietens at 2.15 with vocals over a mellotron sound,before guitar joins in -note Edvard Seim for guitarist of the year - pace quickens again after 4 minutes when tension builds,then relents. A feature of Avkrvst -they keep you guessing as to where the music goes. 10/10 Waving at the Sky. Title track and longest at 12.19. Everything the band does well is encapsulated in the wonderful track. Simon Bergseth vocals ( another contender for male vocalist) begins the track slowly with great backing vocals and at 3.35 the track builds magnificently and enter a new phase with spoken male and female vocals. At 5.45 the pace quickens with keys leading the way -growls come in at 7.14 not for long and a wonderful synth solo follows before the magnificent ending from the whole band 10/10 A modern masterpiece - must be an album of the year or the decade come to that.

'The Approbation' is the debut studio release by Norwegian collective Avkrvst, a young band that has just come onto the scene, presenting a somber collection of 2000s prog metal-tinted compositions, sometimes explicitly heavy and aggressive, other times more melodic, melancholic and desperate-sounding, with a sound that could be described as reminiscent of bands like Opeth (perhaps 'Damnation' era), Porcupine Tree (with notches to 'Deadwing' and 'Fear of a Blank Planet') and bits of Anekdoten, Leprous, and what have you more.

The sound that the band seems to be going for on this very bold and far-reaching album jumbles between progressive metal with hints of black metal here and there, symphonic prog (in terms of technicality and odd time signatures) and more traditional heavy prog, the one associated with the abovementioned bands. Interestingly enough, the vocals are pretty melancholic, a bit dense sometimes, but almost entirely clean; very few sections here see the use of harsh vocals, an inspiration that could be coming from the metal background of the band members. This is a mostly low tempo album, as the band does not depend too much on fast technical playing, that one could traditionally associate with standard progressive metal. The ominous riffs are building up in a more controlled manner, still grim and bruiting, more in the vein of early Black Sabbath, for example. All of the comparisons and references are necessary here, as they are pretty prevalent all over the album. Additionally, in the case of a newer band one would like to link them to a specific context and in the case of Avkrvst one could safely say that they like to wear their influences on their sleeves.

'The Approbation' opens up with a 30-second instrumental build-up that transitions into the opening track 'The Pale Moon', a bleak exploration on the life of the supposed album protagonist. This tracks begins heavily and as soon as it reaches the verse it changes shape into something like an unreleased track off of Opeth's 'Damnation' album. Intense, dense and soothing at the same time, this is a very good song. Then comes the predominantly instrumental 'Isolation', illustrative of the directions that the band had undertaken for 'The Approbation'- bleakness, aggression, sometimes introspection or loss. The story that they're telling for sure matches the sound. 'The Great White River' is a fantastic track, too. Quite similar to the ones coming before it. Then 'Arcane Clouds' sits as a tiny bit more forgettable than the rest of the songs on here, and this is where the album begins to sound a bit dense and monotonous overall, in my humble opinion. The longer tracks, unfortunately, do not manage to grippingly take off, as there is a great promise there, but it washes out somewhere in the middle of both 'Anodyne' and the 13-minute long title track.

And to summarize, one could say that this is a strong and impressive debut album coming from a band that clearly wants to be associated with the heavier side of the progressive rock scene. Certain moments here make me think that I have already heard some of these tracks before but done better. Also, I believe that progressive metal has better albums to offer generally but there is by all means a great promise - Avkrvst seems to go to too many directions which lead the listener nowhere (not all the time), wondering which one they would like to take on and develop in future releases - the more melodic-symphonic side, the poppier and more accessible-experimental side, or the heavier, darker, doomier side.

AVKRVST to your wishes, yes it's easy... A group coming from nowhere and launching an album set in the prog pond, yes it is!

1. Østerdalen premonitory guitar arpeggio of a new sound? 2. The Pale Moon confirms my words, an imposing djent riff before falling into a soft Opethian tune, haunting with Edvard's guitar; soaring reminiscence, spleen dark-melodic; the final vocal growl can surprise the sleeping progue, come on OPETH had suffered the same criticism 3. Isolation follows on a more nervous rhythm, drums and heavy riff; it moves with the triple pedal; vintage synth break and dark solo which continues on a contemplative tune from which we expect the explosion; title which seems instrumental because the voice is associated with the instruments and a final keyboard solo from the time when prog metal did not yet exist, well if that of Anekdoten for example 4. The Great White River arrives, well it's AVKRVST but this Kashmiri tune in the intro is serious; Simon uses his voice on a fruity, surprising pop tune, on Talk-Talk for example; halfway through and the variation with the chiseled riff and the growl voice... and then it goes down again and we wonder if we didn't dream of this surge of sound

5. Arcane Clouds continues with Auver's very romantic, melancholy vintage keyboards, forcing memories; AVKRVST launches a separate sound with old and modern, to attract a little the large sphere of prog fans, in any case it's well done! 6. Anodyne intro of 4.5 minutes, soft, explosive, catchy with again this keyboard borrowed from Deep Purple for example; throbbing guitar, yes the key word of this album. The warm guitar arpeggio as an announcement of the vocal, we come closer to Scandinavian musical experiences there with the image of snow blowing on arid, desolate steppes; slow dark pop-rock piece with echoing vocals, then a cappella vocals to finish this oh-so-singular track; a layer of cinematic sounds, rain and passing train, launch 7. The Approval for the consecration of the opus; rolling drums, acoustic guitar, Mellotron in the distance, the tone is set; then Simon sings in vocoder, sampled voice, on a Wilson in research, on an experimental OSI; the bass and drum bell are aided by a heavy, heady riff; 3'30 and this vintage prog rock psyche break à la King Crimson on 'Red' then Edvard's heavy solo which brings a violent crescendo musically but emotionally calm, return of bells and wind and the guitar arpeggio returns with the organ hot which leers on the astonishing solos of Adam Holzman with a melodic variation, plaintive, warm, intimate... Major!

Yet another Norwegian band pops into Prog World--yet this one is more exciting than most in that its members are all quite youthful--and none of them have participated (yet) in the rather incestuous member-swapping that has produced so many "new" bands in the past ten years. I really like the isolated winter cabin concept (from René Magritte's "The Lovers") behind these songs.

1. "Østerdalen" (0:26) a couple guitar arpeggios lead into: 2. "The Pale Moon" (6:15) powerful opening leads into a very sedate yet satisfying multi-instrument weave. In the second half of the second minute a pleasing sustained-note electric guitar enters, shifts a couple times, and then disappears to be replaced by Mellotron before the vocals begin. The vocals and their melodies are quite nice, sounding a bit like mid-2010s VOTUM or KARNIVOOL. Great sound palette--full dynamic spread. At 5:15 some heavy power chords and riffs take over, giving the song quite an ominous downturn as the wailing sustained lead guitar rejoins. Then at 6:00 growl vocals enter to finish the song. Wow! Impressive! (9.25/10)

3. "Isolation" (5:40) opens like a fairly standard with syncopated "Eye of the Tiger"-like guitar chord intro with second guitar shredding fast arpeggi riffs. The music takes a few turns in the second minute--as if this is an overture (since there has been no singing up to this point)--a feeling that is augmenteed by yet another mood and stylistic shift in the second half of the third minute. Gentle singing voice enters at 3:15 over this gentler (though still metal--latent with potential energy) section as if just another instrument. Guitar riffing returns (though in the background) between vocal passages. Another tempo and stylistic shift works its way out at the end of the fifth minute allowing for a nice synth solo in the sixth. Very interesting song yet it feels like an awful lot of unresolved issues have been left loose. (8.875/10)

4. "The Great White River" (6:30) Very interesting dynamic between the syncopated electric guitar chord strumming and the much calmer, more simplified bass and drum rhythm track. When the vocals enter (over a much calmer, more pop-proggy soundscape) in the second minute I am reminded of a cross between SMALLTAPE/TINYFISH and ALAN PARSONS PROJECT. Very interesting. Surprisingly saccharine melodies. Quite pretty (especially considering the lyrics seem to be about the contemplation of death's unexpected and yet unavoidable arrival). Growl vocals at the four-minute mark, but then we return to the dreamy, floaty APP/TINYFISH sonic field for the finish. A top three song. (8.875/10)

5. "Arcane Clouds" (6:03) a gorgsous song that sounds like a cross between VIENNA CIRCLE and the softer side of KARNIVOOL or THE PINAEAPPLE THIEF. Some very nice, unexpected, shifts in sound and pacing--even style--especially for the excellent choruses and the disquieting finale. Quite pretty and fully/mature proggy. A top three song for me. (9.25/10)

6. "Anodyne" (10:14) the first five minutes are totally instrumental and full-on heavy prog-by-numbers--like a warm up of RUSH, whereas the second half turns into quite the lovely, melodic, atmospheric vocal music. Hard to rate cuz the first half is mediocre though impressive while the second half is pretty though syrupy. (17.5/20)

7. "The Approbation" (13:36) wonderful, bombastic NeoProg opening sounding like something from MYSTERY or NINE STONES CLOSE, backs off to arpeggiated acoustic guitar chords until 1:15 when the NeoProg bombast returns. So nice! At 1:48 the guitars take us into some metal music (though the drums remain rather constant and controlled--very cool!). Muted/effected lead vocals sound metallic--as if the singer might go off into some growls at any minute--but the music slides into surrealistic dreamscapes for the fifth minute as percussives fill all of the sonic field--until, that is, the progression of power chords enters at 4:30 and gradually take us into an instrumental exercise similar to OPETH c. 1998. At the end of the sixth minute the music shifts into more staccato-rapid fire drum and guitar rhythm-making but then we switch back to the OPETH-like motif (and backa nd forth again) while Edvard's lead guitar wails away somewhere in the inner sanctum. At 7:50 everything cuts out--as if a nuclear explosion or EMP just shuts everything down--leaving industrial devastation ... until guitar and Mellotron bring back some forward momentum. Nice drumplay shows progress as power chords plod forward. The surrounding sound builds layer by layer as the melodic chord progression rhythmically repeats over and over. The final 45 seconds are just wrap up and decay. Who knew this was going to be all instrumental?! (26.625/30)

Total Time: 47:04

I really like the unexpected turns and often quite-mature prog songscapes and song constructs this band of young persons uses. They will definitely be a band that I will follow as their career continues to unfold.

B+/4.5 stars; a most excellent addition to any prog lover's music collection. I think everybody's going to like this--even the dinosaurs!

It's a very fun album to listen. It feels like they put a lot of modern prog influences in the mix and got as a result something refreshing and interesting. It sounds a bit like Steven Wilson, but tbh I would describe it more like a Blackwater Park Opeth merged with Frost* last album, if this makes any sense.

Overall the songs are quite good, although some lack more structural consistency: either with disconnected individual sections or ending up abruptly. Keyboards and organ do sound great, as well the punchy or atmospheric guitars.

3.5 stars rounded to 4, highly recommend for those who enjoy modern heavy prog (Porcupine Tree, Opeth, Riverside, Airbag, Pineapple Thief, etc).

Very well made. Musicianship and production are top-notch. The clean vocals do not convince me, they're whiny in a Steven Wilson sense, which does not go well with the otherwise epic/serene feel.

All in all this is much too derivative for me. It is perfectly fine to be inspired by other artists, but you also need to add interesting elements of your own, or combine influences in really interesting ways. This is just citations after citations, and without any attribution, no less.

Tracks:

2. The Pale Moon (3.5 stars): This sounds like straight off of Blackwater Park, albeit with weaker clean vocals.

4. The Great White River (3.5 stars): Goes from minor to major in harmonically awkward ways. I'm not buying it - sure, artists can and should innovate, but in this case it sounds more like artificially inflating complexity.

5. Arcane Clouds (3.5 stars): Nice build-up towards the end. The first track which does not feel too contrived.

6. Anodyne (3.5 stars): Windowpane - with a bit of fluff.

7. The Approbation (3.5 stars): This starts out quite majestic, only to drift into a Porcupine Tree section, In Absentia era, with the processed vocals and heavy riffing. It then shifts gears, becomes more abstract, to arrive in a King Crimson style frenzy, think PT - C/C meets The Power To Believe. And finally we get back to the majestic intro, for whatever reason (there's no musical connection between these sections).

Originally published at tagyourmusic.org