BELIEVERS & DECEIVERS

As some have already stated so convincingly, this recording is a quantum leap forward (truly honing their style and progressing) from earlier material. In fact, I returned my copy of their debut; it just didn't hit any kind of chord. Some may wonder why a generous rater as yours truly even has dud albums to review but I just coldly get rid of them (sorry too many amazing albums out there!). This is certainly lethal material, incorporating old school exhilarations with modern ornamentations and proposing first-rate vocals to boot. "Pointless Living" launches forward with a current undertone of rage led by an obese and highly trebled bass torpedo recalling the Squire ways, with stunning melodies that slash harshly and just as quickly subside into quasi-folkloric settings, nothing overstaying their welcome, when the vocalist blitzes ahead, escorting his backing vocal cohorts into the land of sublime harmony. A blistering synth solo adds more lather to the spume, rippling uncontrollably. There are hints of classic Caravan or even a proggier version of Pure Reason Revolution (those darn harmony vocals) that explain the traditional way of doing things. Guitarist Öijen (now that's a name for you) unleashes a few intriguing lines, both rhythmically as well as soloing with furious aplomb. "After the Storm" suggests odder environments, jazzier noodlings that appear out of seemingly nowhere, recalling the jazz- rock greats (you know who you are) of the past. The guitar solo is masterful, with touches of Holdsworthian slipperiness, searing notes a la Santana if needed and a rabble rousing synth blast only seduces more. With 2 accomplished and full-time keyboardist (Linus Kase and Per Hallman), a rock solid drummer in Erik Hammarström and the propelled bass bottoms fingered by Kristofer Eng, the colossal 20 minute + "The Harvest" presents church organ and Hammond organ up front and center, buttered by deep mellotron layers and gashed by some weird ambient atmospherics. Verging on gruesome, the bass eruptions are tectonic, bathed in chaotic fuzz until a slowly blossoming theme takes this into another direction. Even though one can easily detect some overt liftings (a Genesis rhythmic snippet here, a touch of Emersonian bravado, some later counterpoint harmony singing that would make Gentle Giant blush with envy), all is done within context and extreme reverence , the introduction of a jazzy saxophone confirming their intelligence in keeping the listener off guard. A restrained respite of gentle ambience prepares a main chorus that recall the simplest innocence , swirling synths patrolling the skies, opaque waves of mellotron filling in the blanks, torching it off to the guitarman , who takes this sucker into the stratosphere. Now if that wasn't enough, catch your breath because the finale is a mastodon epic, the 34 minute "The Great Event" and suavely incorporates all the ingredients that make this a must have addition to any collection. Not to many epics that can knock this one off the podium, this magnificent musical adventure begins with a classic Floydian grandeur, certainly psychedelic ("How would you like to live in space"), deep felt sax swerves and then boosting it up with a more upbeat section, interrupted by that Giant quote I mentioned earlier (incredible gall) and slammed by some inquisitive keyboard densities. Again the double keyboard attack produces some solid playing, the bass pounding uncontrolled, the sax blurting nicely and the raging guitar kicking you in the guts. The displayed daring is unrelenting and almost cocky, willfully stretching the boundaries while maintaining the basic theme throughout. This is no collage of assorted themes and styles, edited together to make one long pretentious megalith like so many have done in the past but instead a musical whole that has shape, form and depth. The unexpected interventions are welcome diversions that heighten their appeal and it becomes easy to see why fans would love this intensely. It's not an easy listen, requiring repeated plays in the audio system thus undeniably revealing new perceptions and appreciations. The vocal work is quite splendid as mentioned previously, even using effects when least expected, the harmony work is sinfully adept at tingling the spine. When dealing with a colossal piece, it behooves the composers to keep things creative yet clearly structured and these Swedes have certainly passed the grade in flying colors, alternating the hard and the urgent with the sweet and the pastoral, various solos adding to the embrace. Yes, its retro yet very contemporary, fully deserving of the high ratings here. I am pleasantly surprised. Now about that first album.....

4.5 Swedish meatballs served with lingonberries