THE CENTURY OF THE SELF

Airbag is far from a newcomer to us nostalgic fans of 70s progressive rock?in fact, it's quite the opposite. This brilliant project, initiated in Oslo, Norway, in the 90s (though they only released their debut album in 2009), is known for blending the best of 70s prog with more modern, chill, and atmospheric sounds, creating immersive and enriched constructions of melancholic, deeply introspective progressive rock. Airbag is essentially a power trio (not to be confused with the Argentine pop-rock trio of the same name), currently made up of the three fundamental pillars that have defined the group's personality for around fifteen years.

Guitarist Bjørn Riis, highly regarded for his magical sound inspired by David Gilmour, and for his very inspired solo albums, leads the trio. Alongside him are Asle Tostrup on vocals and Henrik Fossum on drums, with excellent session musicians on bass and keyboards. Kristian Hultgren, who had already accompanied them as a bassist on their 2020 album A Day at the Beach, continues his role here. With this album, the band introduces a dose of power and aggression that hadn't been expressed before, or at least not in this way.

At many moments, these songs feel piercing and cathartic, tackling political themes like censorship and demagogy amidst all the melancholy. We can find various explosive moments scattered throughout these long and incessant compositions, perfectly contrasting with their latent and hypnotic nature, creating a very intense emotional connection with the listener. This is one of those LPs with channels, crossings, waterfalls, valleys, and crests all over.

Moments as varied as these come as small epiphanies within the vastness of a sea of electronic sounds, pads, and atmospheric guitars. Here, the influences of Porcupine Tree/Steven Wilson or Kraftwerk are especially noticeable, with a well-executed production and Asle Tostrup's direct, focused, and captivating voice. The foray into post-rock is also quite evident, with the infinite guitar tremolos and long build-up sections composing these epic, slow-burner tracks.

With "Dysphoria," the group presents us with an incredible on-repeat riff in B minor accompanied by a smooth groove that develops over nearly eleven minutes. Just when we think Tostrup's genuine voice might be lost in the consonance of the verses, a spectacular chorus breaks down all our expectations, infusing the song with undeniable hyperactivity that evolves until the final climax filled with distorted guitars and a chant that reproaches us, "Who do you feel you are today?"

"Tyrants and Kings" reflects the essence of Machines and Men from their previous album. A post-punk-influenced rhythm base beats and fills us with tension, while our singer rants against institutions, much like Adam Curtis's documentary "The Century of the Self." This song seeks emancipation, and its combative tone clearly mirrors a distant hope, expressed in a beautiful chorus and a final guitar solo that shines like a rising sun.

We move to the acoustic realm with "Awakening," which is one of the singles already available for listening. This song is much softer, reviving the early Airbag sound, heavily drawing on atmospheres, sequencers, and clearly Gilmour-esque guitar. It doesn't have sharply marked climaxes and is more of a gentle transition full of beauty and harmony, contrasting significantly with the dense and dark tone the album carries.

"Erase" is a powerful song, showcasing Airbag in full protest against cancel culture, a war cry expressed through a post- metal track that could very well be the heaviest the band has ever made. From the bassline to the widespread distortion that gradually takes over the mix, we have a composition that, in its fiery breath, moves and excites us. It's good to hear Bjørn break into a solo like the one in the last minute of this track, escaping his usual calm and reflective style.

And for the finale, as is customary with Airbag (and many prog bands!), we get a fifteen-minute epic, multifaceted and sublime in the most Kantian sense of the word. "Tear it Down" is a true experience that feels beyond rational analysis? lights off and pure transcendence.

From pure minimalism, layers begin to stack: the drums start, followed by synth 1, the vocals, synth 2; suddenly, other atmospheric sounds appear, then the guitar?all progressively, creating a solemn sense of immersion. It's not my intention to spoil the song's blazing character, but I must highlight the unleashed intensity of the chorus, brimming with harmonic distortion and rhythmic riffs that even remind me of Opeth. The influence of Steven Wilson is particularly felt in this last track, filled with changes and innovations, with an extremely clear and appropriate production. And let's not forget the more progressive sections: there's an impressive keyboard solo (believe me, it's almost indescribable, I've never heard a tone like it), bass lines reminiscent of Chris Squire, and almost a minute where it seems like everything has ended, only to come back and close the album magnificently, as one would expect.

This is a work of ambient, romantic progressive rock, full of twists, that never errs on the side of excess?it doesn't fall into the tedium of overly long ambient sections without pay-off, nor into excesses of virtuosity or pomposity. Despite being heavily inspired by other projects, it never feels derivative or unoriginal. It carries the distinctive emblem of Airbag and delivers a powerful message about the century of selfishness. We recommend this album to any progressive rock listener ready to embark on an emotional and perfectly balanced journey.

Originally written for: Nacion Progresiva.