OAK

"No Such Thing (Place)" kicks off with a crossover to anchor itself, an ethereal, alternative, and icy pop tune, a captivating melody with a melancholic trumpet, syncopated drum beats, and distant piano, like those NASA voiceovers. A hint of clarinet to stroll through a decidedly bucolic atmosphere. "London" and its electric reverberation, a purely Wilsonian feel in the writing; cold, cinematic rock, leaning towards the 80s for its dark wave and progressive spirit. Reminiscences of ANTIMATTER for its languorous side. "Run Into the Sun" delves even deeper into this coldness with a drift of piano and rock guitar, polyrhythms between the vocals and the instrumentation, a sound reminiscent of OPETH's progressive experiments drifting between progressive and melancholy. A bit of PINK FLOYD or even DREAM THEATER from their album 'Systematic Chaos'. "Shimmer" is a nod to the first album 'Stars Under Water', with the captivating, melancholic ostinato enhanced by traditional instruments, amplifying the austere, icy folk spirit that emanates from it. A sparkling, gloomy sound that ends with a new age coda and the captivating chorus.

"Shapeshifter" with the drum giving a little more intensity to the basic piano and Simen's desperate vocals. Electric piano for the break, rolling pads, the weighted intensity swells with a stereo effect like in the good old days. The guitar flirts a few notes with that of PINK FLOYD, ANATHEMA, bands inscribed in memories today. The final solo is almost heavy, violent, on another dreamlike coda with the haunting keyboard. "Borders" amplifies the basic sounds letting the guitar sound develop until then in the background, the air forming an osmosis between SOEN, KATATONIA, ANTIMATTER. A beautiful dark spleen rise on a languorous keyboard of time and an intimate fade before the nervous guitar riff tumbling on "Sensory Overload" with again this expressive martial pad; reminiscences of Steven WILSON for this confrontation sweetness and violence. This vocal romanticism with orchestral deluge, latent is truly captivating. The derivation seems simple, basic, and demonstrates a modern progressive exploration with the introduction of a hysterical sax followed by distant screamed vocals. The atmosphere builds to a final, explosive, Opethian growl, conducive to apoplectic trance. Originally on Profilprog.(4.5)

1. "We, the Drowned" (5:24) Nice opener. That voice of lead singer Simen Valldal Johannessen is so intriguing! (8.875/10)

2. "Claire de Lune" (7:16) NOT the Debussey version! I feel, hear absolutely no connection between this and the iconic classical piece. (13.125/15)

3. "False Memory Archive" (4:47) a bit of a boring, one-dimensional let down--especially for the album's title song! (8.75/10)

4. "Lost Causes" (8:30) Simen here starting out with a LEONARD COHEN-like deep singing voice to talk-sing his opening lyrics. (17.5/20)

5. "Intermezzo" (1:42) the real "Claire de Lune"! How funny! But then it's "damaged" or intruded upon by electro-static buzzing sounds before being totally immersed and finally quashed by the buzzing. (4.5/5)

6. "The Lights" (10:34) An unusual and creative song design--which is good--explores a darker, almost disturbing mood. The synth and sound effects work on this is brilliant--and the droning play of other instruments (bass, guitar, sax, vocal) really helps to drive home that mentally-desturbed/deranged effect. (17.875/20)

7. "These Are the Stars We're Aiming For" (4:19) traipsing into prog metal territory, as if just testing the waters but deciding to not commit fully, this is another interesting song (with banjo!) (8.875/10)

8. "Transparent Eyes" (4:59) a nice sound palette provides the setting for one of Simen's more sedate vocal performances. Nice jazzy-pop song. I like the added aural effects and pretty jazz-pop piano foundation (and solo work at the end). (8.875/10)

9. "Psalm 51" (7:25) soft-picked acoustic guitar and droning radio samples in the low end precede the piano foundation and entry of Simen's delicate, touchingly tender vocal. Though not quite as proggy--or jazzy--I find myself fully engaged and enjoying this song very much. The instrumental buildup in the fourth minute is awesome and enticing, but then there is a sudden flip of a switch and we're down to a beautiful two-chord PINK FLOYD-like vamp over/within which volume-pedal-controlled guitar solos for a bit before being usurped by the sound of television voices. But the end of the sixth minute sees the return of the lead guitar--playing some awesome tremolo notes--while full band (including rock drums) and saxophone join in to take the song to its finish. Cool song--probably my favorite on the album. (13.75/15)

Total Time 54:56

I'm fascinated by the unusual/eccentric Mark Hollis/Finnish band Khatsturjan-like tone/timbre of lead vocalist Simen Valldal Johannessen. While I enjoy the music and creative song constructions on this album, I am not ready to climb on the Oak bandwagon. But, I will be waiting to check out and see if the band grows when their next release comes out.

B-/3.5 stars; a collection of very creative, wonderfully-atmospheric songs that heralds tremendous potential. Another Norwegian band to watch!

1. "Highest Tower, Deepest Well" (5:58) the ehavy Norwegian folk vibe is very present in this--not unlike the stylings of Ivar Bjørnsen and Einar Selvik though not using anachronistic folk instruments. (8.75/10)

2. "Quiet Rebellion" (4:51) Again the folk metal strains in the foundational sounds and instruments here are too big to ignore, yet the music never ramps up into full metal expression, always remains melodic and atmospheric. A very nicely constructed and restrained song. (9/10)

3. "Dreamless Sleep" (5:37) a hypnotic vocal, rhythm track, steeped in atmospheric synth washes almost lulls one into submission before Simen's treated vocal ramps up for the chorus. A little bit of Mark Hollis in Simen's voice here. Interesting. I like presence of the uncredited saxophone just before the second chorus. (8.75/10)

4. "Sunday 8 AM" (5:55) SYLVAN Posthumous Silence-like in its palette--and power. I LOVE the brilliant use of space and pace over the course of the subtly-piano-based song. The second half conjures up a lot of KEVIN MOORE's CHROMA KEY stuff from 20 years ago. Again: Why aren't the saxophones credited? A definite top three song for me. (9.5/10)

5. "Demagogue Communion" (6:16) the harshest song on the album--but almost in a BROTHER APE or PORCUPINE TREE kind of way: very melodic chord structure and nice spacious and soft sections in which Simen's singing verses (which are very BRUCE COCKBURN like) fill. Some very compelling earworms. A great song--another top three song. (9.75/10)

6. "Paperwings" (13:52) long and rather boring music despite the compelling story/lyrics. Definitely not my favorite prog epic of the year. (24.5/30)

7. "Guest of Honour" (7:03) same drum beat/pattern as the previous song. Nice, sensitive vocal from Simen using nice chordal and melodic patterns. A song that sounds as if it comes from another album--far less proggy than balladic. My final top three song. (13.25/15)

Total Time 49:32

I am a sucker for this kind of Viking Goth music. The musical landscapes are often a bit unusual--almost seeming "poorly engineered" but I think the slightly off-kilter, unsettling effect is intentional.

B+/4.5 stars; a near-masterpiece of dark atmospheric folk metal (I guess) with some absolutely killer songs--a find for any prog lover's music collection.

'Highest Tower, Deepest Well' crystalline piano on a heavy riff, cosmic choirs, hovering break and baritone voice for a hypnotic tune where progression comes to light and; catchy explosive finale. 'Quiet Rebellion' eavesdrops on their singular shivering arpeggio sound, a classic bombastic mix where trumpets accompany military percussion; a soft- pop of TAMMATOYS in the background, a heady title with the slide guitar with proven spleen. 'Dreamless Sleep' with dark electro intro, sax synth pop tune to reinforce the meditative darkness; deep Gabriel voice and dreamlike crescendo on the disaster of dark thoughts; title that can shock by its metronomic air. 'Sunday 8 AM' again piano and military drums, hymn with incoming electro and jazzy sax; its apart you have to sit down to appreciate; the spleen guitar slope sinks on the post rock aspect, musical malmstrom in itself and the screaming sax at this moment for a sad and cottony finale; at the meeting between PINEAPPLE THIEF, AIRBAG and the dark-psyche cinematic, a whole program. 'Demagogue Communion' refers to ANTIMATTER for the voice, the bluffing riff between cosmic and sirens with divine harmonies; spatial break before returning to heady, vibrant and unstructured tunes. 'Paperwings' centerpiece therefore risk-taking; MASSIVE ATTACK again to show the breadth of the musical spectrum, vocals to RAMMSTEIN; it's going up on latest generation OPETH, angelic voice all of a sudden; it is hovering and latent; the gradual drift is modern, Achilles piano just to show the weakness of the start; as soon as the 5 minutes go up it just becomes enjoyable; the masters PORCUPINE TREE are not far off but much better than on their last album; masterpiece opening like a progressive tulip with drooping petals; dreamlike, grandiloquent, breathtaking end with a staggering growl, pulverizing the musical drawers, I am close to ecstasy. 'Guest of Honor' to conclude on a depressive, electro, hang pop rhyme with Simen who shows himself to the vocals bringing the foggy atmosphere in our heads and a spleen slide guitar. OAK hit hard playing between symphonic, psychedelia and neo dark metal prog... soft and hypnotic rhythms on the edge of pop then heavy wanderings; the themes on psychiatric health made me ask to chronicle an extraordinary album which will be a milestone in 2022, which risks planting itself like an oak tree in the best opuses of the month.

I have been following the Norwegians since their 2013 debut LP Lighthouse. That album caught my attention for its rather unique sound: moody piano lines and bass grooves laid the foundations of the songwriting, while guitars, sax and strings were used in a more complementary role, to inject splashes of colour and add variation to the arrangements. That gave the record an unusual feel, dark and airy at the same time, forming an ideal background for Simen Valldal Johannessen's deep, velvety voice. Oak's 2018 sophomore album False Memory Archives built on similar sonic ideals, but with a stronger sense of composition and better balance between accessibility and songwriting subtlety.

The Quiet Rebellion of Compromise does not stray too far from the previous two records, but lets the guitars take a more central role, adding much sharper edges to the sound and moving it closer to the kind of prog metal/rock that Steven Wilson and Porcupine Tree have pioneered since the beginning of the century. The UK prog icons constitute a rather prominent influence for this album, much more so than for Oak's previous records. Wilson-esque melodies and vocal harmonies abound, while songs like "Demagogue Communion" embrace the kind of staccato chord progressions that are a trademark of Porcupine Tree's songwriting. Elsewhere, "Dreamless Sleep" and "Paperwings" take the direction of dark electro-rock that one can find in Steven Wilson's more recent solo work, like Grace for Drowning or Hand.Cannot.Erase. The latter record in particular constitutes a fitting reference point for The Quiet Rebellion of Compromise, both thematically and sonically. Both albums explore similar themes of isolation, mental struggle and suicide, using subtle shifts in intensity and dynamics, in an incessant play of light and shadows that projects a poignant emotional arc from beginning to end.

I normally try not to draw such overt comparisons between a band and their influences in my reviews, but this time I felt an exception was necessary, because the similarities between The Quiet Rebellion of Compromise and Steven Wilson's work are ultimately what holds this record back somewhat. With their previous albums, Oak had cemented a reputation for a band with a unique voice, which one could immediately recognize as soon as the first notes of a song were played. I feel that, by leaning a tad too heavily on its influences, the new LP somewhat lost that uniqueness. It is a pity because, in all other respects, The Quiet Rebellion of Compromise is a massive step forward for Oak. The band have managed to strike an almost perfect balance between immediacy and resonance here. The new songs float fluidly through a rollercoaster of dynamics and mood shifts, but eventually always coalesce around memorable hooks that give the music a sense of purpose and direction - something that the band had not always achieved on earlier albums. This strong sense of direction is maintained even when the music takes off towards more experimental soundscapes, like when a sax solo emerges from a dark forest of electronic beats on the Ulver-esque "Sunday 8AM", or in the almost rapped verses of "Paperwings". I really love the addition of these more left-field moments that push the album into more uncharted waters and yet do not perturb at all its core sonic identity. The album's production, curated by David Castillo (Katatonia, Leprous Opeth, etc.), and Tony Lindgren, is also terrific - crisp and clear, and packing a good punch too.

As I wrap up this review, I come to the realization of the paradox that The Quiet Rebellion of Compromise represents for me. It is album from Oak that I like the most and the least at the same time. There is no doubt in my mind that this is the most accomplished release from the Norwegian band, fully overcoming the slightly unfocused songwriting that had characterized some of their previous work. At the same time, it is the least characteristic and original of the three albums the Norwegians have released so far. Ultimately, though, what we are really facing here is a luxury problem. Oak are a phenomenal young band and The Quiet Rebellion of Compromise is a marvellous album, condensing in its nearly 50 minutes everything I love about progressive rock and metal music: it is heavy without losing sight of melody, catchy but deep, dark but not lightless, experimental but at the same time familiar. Fans of any of the bands mentioned in this review will do themselves a favour by checking this out.

[Originally written for The Metal Observer]

On the first few listens, I thought the album faded a little after this, but actually, after repeated listens I actually enjoyed the mood of the last three tracks, in particular, "Psalm 51" which rounds everything off with a Floydian feel with saxophone (not my fav but used well here) and underlying voices reminiscent of DSOTM.

This has the sound of their previous album because it is unmistakable due to the vocals which remind me of Colin Vearcombe of "Black" from the eighties which I think is a good thing, however, there is more variety in the use of instruments and style. At times you can make comparisons to other artists, in a positive way, but their sound is unique and it gives me melodic and moody sounds that I enjoy, I suppose like a more accessible Thomas Thielen or hook filled "Mice on Stilts" (New Zealand band worth a listen if you like this)

This band is up there with Gazpacho and Airbag, adding to the Norwegian list of top artists producing this type of music.

According to the press release, they started as a folk/rock duo and eventually evolved into a progressive pop/rock band, releasing the debut Lighthouse in 2013. It was right then upon this creative curve that, instead of taking an advantage of the momentum, they decided to take their time to work and to grow. It was probably the only way to make their own personal voice rise above the noisy polyphony of their influences which, in their own words, range from classical and electronica to traditional prog or heavy music. Carefully listening to False Memory Archive indeed one can sense the multifaceted nature of their inspiring origins and feel relieved that their growing procedure and hard work was fruitful. Filtering their influences has been accomplished in an astonishing manner and their personal voice can be heard loud and clear.

To put things into place, the material included in False Memory Archive is that of a great band. To be more precise, most of the regarded as ''big'' bands within the 2018 prog rock cosmos, do not have such good music to offer. It's as simple as that. Being consistent, imaginative and open minded, this David manages to raise his short height and cast an enormous shadow. Moving into a melodic and lyrical rock musical territory ' dominated by their countrymates Gazpacho in recent years -, the artistic quality of False Memory Archive instantly puts Oak in a very prominent place among their context. Let me rephrase: it has been a marvelous year for prog rock and Oak deliver one of the finest albums of the genre. As simple as that.

Oak's style is not necessarily innovative and its progressiveness lies mostly in the atmospheres and the intellectuality of their compositions. Still, it is the exact same compositions that consist of such melodic and arranging richness that can actually be experienced as a flood of colours and emotions. False Memory Archive includes a very wide range of songwriting, from semi-ballads and verse/chorus traditional type of songs to freer, longer 8 to 11 minutes compositions. Both types are equally successful, contributing to the album's very natural flow and the remarkable sequence of lighter and darker parts. Also, you won't find any fillers here, maybe with the slight exception of Transparent Eyes that didn't particularly trip me. Having referred to the dark element, I have to point out the incredible work that has been done to the album's low frequencies in every instrument, frequencies that build a concrete and modern ground for the melodic lines to stand upon. In the above sentence, False Memory Archive 's greatest advantages are being encoded: vocals and production.

Vocals. Simen Johannensen can be proud to own one of those instantly recognizable voices with the very unique timbre, voices that become increasingly rare to find. The warmth and intimacy of his voice is the Trojan horse of Oak's music and his modest performance doesn't disguise the tone quality of a voice fully capable of creeping into one's mind. My personal free associations connect him with the recent legacy of Leprous and of his other countrymen Madrugada, precisely in the middle of their tonal pitch.

Production. Many artists treat studio as an unavoidable obligation but Oak instead have worked their heads off exploring any sonic resources at their disposal, in order to achieve an exquisite and technocratic result. All mixing/processing tools and the perfect use of effects in every instrument at all times make the sound experience a co-star of the album and the music sounding thicker, unpredictable and adventurous. An ideal album to be experienced through good quality headphones so one can dive into its tiny sound details.

We all know very well that music industry is not necessarily fair and no one knows how Oak will develop. What I know though is that the often mentioned ''Home'' in their lyrics, the Home they seek can be easily found in the hearts of their listeners. I know also that this 'Polaroid that's telling a lie about endless summer' may describe many things but not False Memory Archive. For this album tells a small, triumphant truth of a real memory. As simple as that.

Originally written for againstthesilence.com

Oak's brand of progressive rock is one that ideally should have a fairly broad reach. The careful compositions aren't too far away from a band like Gazpacho in style, while the few harder edged ones take on more of a Porcupine Tree oriented sound. Those who know and treasure the material of both those bands should probably take note of this CD, as my guess is that the greater majority of them will find this record to be an interesting one.