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Gentle Knife

Crossover Prog

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Gentle Knife Clock Unwound album cover
3.90 | 83 ratings | 3 reviews | 24% 5 stars

Excellent addition to any
prog rock music collection

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Studio Album, released in 2017

Songs / Tracks Listing

1. Prelude: Incipit (Instrumental) (3:21)
2. The Clock Unwound (15:56)
3. Fade Away (7:23)
4. Smother (8:48)
5. Plans Askew (9:21)
6. Resignation (10:16)

Total Time 55:05


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Music tabs (tablatures)

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Line-up / Musicians

- Astraea Antal / flutes, woodwinds and visuals
- Pål Bjørseth / keyboards, vocals, trumpet
- Odd Grønvold / bass
- Thomas Hylland Eriksen / sax and woodwinds
- Veronika Hørven Jensen / vocals
- Håkon Kavli / vocals, guitars
- Eivind Lorentzen / guitars and synths
- Charlotte Valstad Nielsen / sax
- Ove Christian Owe / guitars
- Ole Martin Svendsen / drums, percussion
- Brian M. Talgo / samples, words, vocals, visions and artwork

Releases information

Label: Just for Kicks Music
Format: CD, Digital
June 15, 2017

Thanks to mbzr48 for the addition
and to Quinino for the last updates
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Buy GENTLE KNIFE Clock Unwound Music

Clock UnwoundClock Unwound
BAJKA 2017
Audio CD$14.62
$21.26 (used)

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GENTLE KNIFE Clock Unwound ratings distribution

(83 ratings)
Essential: a masterpiece of progressive rock music(24%)
Excellent addition to any prog rock music collection(41%)
Good, but non-essential (22%)
Collectors/fans only (9%)
Poor. Only for completionists (5%)

GENTLE KNIFE Clock Unwound reviews

Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by Matti
4 stars The Norwegian 10-piece (now 11!) group debuted two years ago with the eponymous album, which perhaps didn't get the deserved recognition. I used the word "promising" back then, and this new release is a valid answer to the expectations of maturing and artistic progress. There are some changes in the line-up. One more saxophonist has been added, and bright-voiced but slightly amateurish Melina Oz (who mostly sang simultaneously with the male vocalist) is replaced by Veronika Horven Jensen. Only, her excellent voice could have been put to much wider use here. Concerning the large combo, one is bound to estimate how much sonic variety it brings to the music. For the most part, it's not remarkably much.

They play the usual modern, tradition-friendly prog that favours extended song-form, some degree of complexity, and the part-instrumental dynamics, guitar and keyboards upfront. The colourful use of reeds brings some extra, but don't expect a breath-taking sonic rollercoaster ride. However, as a band Gentle Knife (categorized as Crossover Prog) approaches both Symphonic and Eclectic areas with some Neo flavour. One may think of bands such as UNITOPIA, IZZ or DELUSION SQUARED.

As an album whole, the progress is notable. The conceptual debut suffered e.g. from an ill-chosen running order (for example the Crimsonesque instrumental Coda broke the coherence in the end). Clock Unwound starts gently with a moody, classically oriented instrumental featuring mostly piano and trumpet, followed by the edgiest and longest track of the same name. Powerful guitars, but I'm glad the band didn't take a heavier path as too many prog bands tend to do nowadays. The epic proceeds from intensity with wailing saxes to delicate passages with a beautiful flute. The mostly male vocals deepen the emotion. 'Fade Away' starts with an acoustic guitar, flute and Mellotron sample. Male and female vocals appear both in turns and together. It's another fine prog track shifting between delicacy and edginess. Ah, the flute!

'Smother' operates on the rockier side, but it brings a fresh surprise in its jazzy, groovy section. If one hasn't yet noticed how much better the drums are on this album compared to the debut, now it's impossible not to notice. More of that, please! 'Plans Askew' is pretty good too, in its dynamic, semi-instrumental form. The reeds widen the sonic pallette again, though perhaps slightly too cautiously. But then 'Resignation' functions excellently as the closing track, giving a lot of room for the various saxes. This is basically an instrumental featuring low spoken words. - Not necessarily among the most unique prog albums of the year, but very satisfying.

Review by kev rowland
5 stars This is the second album from Norwegian act Gentle Knife, but the first I have come across, and to try and give some idea of what it sounds like let's look at the line-up. They have no guests, as with this many people they really don't need any more! It must be one of the largest line-ups of a progressive rock band I have ever come across, but each has their place. Astraea Antal (flutes, woodwinds and visuals), Pål Bjørseth (keyboards, vocals, trumpet), Odd Grønvold (bass), Thomas Hylland Eriksen (sax and woodwinds), Veronika Hørven Jensen (vocals), Håkon Kavli (vocals, guitars), Eivind Lorentzen (guitars and synths), Charlotte Valstad Nielsen (sax), Ove Christian Owe (guitars), Ole Martin Svendsen (drums, percussion) and Brian M. Talgo (samples, words, vocals, visions and artwork) have put together one of the most interesting albums of the year.

That it is progressive is beyond doubt, but as to what sub-genre it belongs to is more of a discussion. The band have been claimed by Crossover, but they could easily have gone into eclectic if it wasn't for the majestic beauty of some of the passages that transcend all thoughts of prog into stunning classic rock pop. The production has a large part to play on this album, and in many ways, can almost be thought of you as yet an additional instrument, as it is the clarity and separateness of all those involved that prevent this from turning into a muddy mess. There is an emotional use of a baritone sax on the fifteen-minute- long title cut where the notes resonate against the gently picked electric guitar with quite devastating effect and impact. They aren't afraid to use volume, driving riffs and screaming guitars when the need is right, or to move from melody into atonal noise where everything crashes together, before moving into yet another space and time.

This is music that is exciting, vibrant and with a controlled chaos that is rarely heard in today's scene. The arrangements are complex and perfectly executed, and in many ways this album is reminiscent of the most rich and fragrant paella one could come across: take a bite, give it a stir, and the next bite could be totally different as firstly one tastes mussels, and the next chorizos, yet at all times the rice is providing a balance and continuity. I think this is the first time I have ever compared an album to food, and I have written many thousands, but this is comfortable, intriguing, welcoming and inviting, just like a good meal. Needless to say, a good drop of South Otago Pinot Noir goes with it very nicely indeed, thank you very much.

In some ways very Seventies, and in others very up to date, this wonderful album should be heard by all progheads. It is simply stunning.

Latest members reviews

3 stars I have really mixed opinion about this album. The one hand, I like their song writing, playing and arrangement. I really like that they use so many different instruments in their arrangement! And mix and sound quality are definitely above average. Now, why 3 stars only? You know, there are som ... (read more)

Report this review (#1816201) | Posted by Booba Kastorsky | Wednesday, October 25, 2017 | Review Permanlink

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