От Michael Baryshnikov (2:5023/24.3243) к All
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Hello All!
Залиты диски Jordsjo:
(2018)_Jord
(2019)_Nattfiolen
Новое имя на сервере. Молодая норвежская прогрессив-рок-группа.
Играют 100%-но олд-скульный прог-фолк/прог-рок.
Временами, правда, напоминают Джетро Талл (не флейтой, а всем остальным). Если бы пели не на норвежском, а на английском, напоминали бы ещё больше. К счастью (?) поют не много.
В целом - красиво, интересно.
РЕКОМЕНДУЮ!
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Jordsjo biography
Founded in Oslo, Norway in 2014
JORDSJO is one of those bands that help me to keep my faith in Symphonic survival intact, because when I believe that there's nothing able to resurrect my capacity of surprise, this relatively new bands from countries like Norway take me by assault with original material that combines several genres creating a new breed of Symphonic.
The band was formed around 2014 by Hakon Oftung (Vocals, flute, guitars & keys) and Kristian Froland (Drums & Percussion) and their debut "Jordsjo" saw the light on September 6, 2016, and even though blended Symphonic with some sort of Prog Folk, immediately caught my attention.
In their next album "Jordsjo II", they retake the original path, but with less folk passages but a more aggressive edge that captured me as a fan.
Their third release (Well, a joint album with the Norwegian Synth Project BREIDABLIK) "Songs From The Northern Wasteland" didn't impressed me as much, being that it was oriented towards Electronic Prog, a genre that I don't listen very often, but it was obvious that the magic touch was there and we only had to wait and see how they would evolve.
But the moment of truth came in January 2017 when they release the fantastic "Jord", a clearly Scandinavian album, with reminiscences of ANGLAGARD, one of my top then desert island bands, but in this case apart of the pristine symphonic, they blend different sounds and styles that make the genre richer.
As usual, only time will tell and the band will decide what path to take, but I?m sure they will keep providing us interesting music that will save Symphonic Prog from oblivion.
(c) Ivan Melgar-Morey, PA
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JORD
(c) Review by Ivan_Melgar_M, PA
Surprising Scandinavian Duo
Years ago I failed to give proper attention to Scandinavian bands, but after all the marvelous music that came from that region, never made that mistake again, and honestly the vast majority of bands from this part of the world haven't disappointed me, so when the Norwegian band JORDSJÃ? was suggested to Symphonic, listened to the samples and bought Jord immediately.
My first impression of Jord was of delight and surprise, especially when found that the band consists of a duo (Håkon Oftung in the vocals, flute, guitars & keys and the percussionist Kristian Frøland), something unusual for such an elaborate recording, but let's go to the album which is the reason why we are here
Jord is opened by Over Vidda a flute and percussion preamble that places the listener in the mood for a mysterious an elaborate album, it's nice and refreshing but the real deal starts with the frantic Abstraksjoner Fra Et Dunkelt Kammer, a 6:50 mini epic that starts with a soft and melodic introduction that lasts for more or less two minutes, followed by a vocal section that goes "in crescendo" until it explodes in a blast of sounds and musical ideas where the synths take the lead but always having aggressive guitar passages. Simply delightful and the drumming is impeccable.
After this frenetic start the band changes direction with the folksy Finske Skoge a rhythmic track that reminds me of the softer GENESIS tracks with a touch of JETHRO TULL and some killer guitar riffs and again a sober percussion enhanced by Robert William Robert William Dall Frøseth as guest in the bass.
Now it's the turn for Jord I, another explosive song that reminds me of Jordrock by ANGLAGARD due to the multiple dramatic changes and that marvelous Mellotron that takes me back to the glorious 70s. The vocals (Even when I don't understand a word) help to create that mysterious and dense atmosphere that falls over the listener as a thick mist. Again they hit the nail right in the head.
From the start it's evident that Jord II is a sequel to the previous song, but they manage to maintain the individuality of both tracks with heavier sections and traces of PÄR LINDH's organ, but what impressed me more is the guitar and drums duets when both musicians show their skills. Another high moment in the album.
One thing I value very much in a record is the balance between vibrant and melodic tracks, not too much aggressiveness to desperate the listener neither too many soft passages to bore, and La Meg Forsvinne! helps to keep that equilibrium with an interesting song that blends rock and Jazz elements.
The album is closed by Postludium, an almost electronic instrumental track that caught me by surprise, being that I expected a bombastic finale, but the band went for a softer option that creates a sensation of relaxation after all the previous emotions. Interesting approach.
Usually I hate when the time to rate comes, being that it's hard not to know if you are awarding the album with an undeserved number of stars or being too exigent and unfair with a low rating, but with Jord I don't have that problem, the album impressed me from the first to the last note, I know that in December it will be in my top 10 list of the year, so without hesitation I go with 5 solid stars.
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NATTFIOLEN
(c) Review by BrufordFreak, PA
A band I've been following since their first Jord releases. I was highly critical of their initial releases due to their lack of maturity both as songwriters, instrumentalists, and cohesive band mates. This album displays how far they have come--as well as how hard they've worked. I'm so glad they took criticism well and continued to persevere cuz it's really paid off.
1. "Ouverture" (1:19) flute-driven acoustic instrumental (4/5)
2. "Stifinner" (7:52) opens with proggy bombast but the band is not rhythmically tight! Acoustic guitar sets tone for next section. Flutes, bass, drums, and organ join in before vocals and fuzzy electric guitars can enter. Lyrics, sung in Swedish, are adequate with a nice melody. There's a little 60s psychedelia in here, as well--in both sound and tension. The instrumental section in the third and fourth minutes has some amazing chord progressions with very nice soli over the top. Things slow down while a swirling organ arpeggio keeps things moving as flutes, fuzz guitar, bass, and percussive rhythm guitar add their flourishes and riffs. This morphs into a more whole-band section with some cohering power chords, but then acoustic guitars, bass and flute take over in a very beautiful, delicate section. The final minute has drums, spoken word, and a kind of GENESIS Trespass/Nursery Cryme ending. Nicely crafted; these guys have really matured. (13.5/15)
3. "Solens Sirkulaere Sang" (7:39) opens feeling very much as if it could come from GENESIS' album Trespass but then moves into KING CRIMSON "Moonchild" territory. Despite the delicate instruments used by this band, they do a very convincing job of portending a deep and heavy mood. (12.75/15)
4. "Septemberbal" (1:49) a folk instrumental on some kind of lute-like instrument with some sounds and stylings that feel as though they came from the Late Mediæval or Renaissance worlds. (5/5)
5. "Mine Templer II" (6:29) flute over jazz guitar accompaniment is soon joined by piano, double bass, organ, and, later, drums. Suddenly at the 0:50 mark a fuzz guitar chord introduces an ominously heavier section--one that feels quite VDGG or DISCIPLINE-like. Piano trills, Stephen Stills-like guitar flourishes, and Hugh Banton-like organ play with multi-voice vocals. The fourth minute ends with a thicker whole-band theme before lapsing back into the ominous main theme. All instruments seem to take a turn offering their tasteful soli until it finally fades with Stills-guitar and Hammond. (14/15)
6. "Til Varen" (9:02) some CAMEL, YES, and GENESIS sounds and styles are melded into this one. When the music quiets down to allow for the singing to start it feels very much like WOBBLER. The music flows in the common A-B-A-C-A-B format with slight and over variations within each repetition of a section. The harmonized vocal sections happen to be my favorite parts of this one (which are, unfortunately, the "B" sections). (17/20)
7. "Ulvenatt" (5:45) feels like a smooth jazz remake of a pop ballad: it's pretty and melodic and bluesy but not the prog I gravitate to (more like CAMEL or some of FOCUS' old ballads). (8.25/10)
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Enjoy!
WBR, Michael Baryshnikov.
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