EN FIX FERDIG MANN

'Frå Fyrste Dag' tumbles in, backing vocals, symphonic sound coming from the clouds; a musical orgasm that must be digested for the voice in Norwegian; Arne's captivating keyboard does the job on a unique 70's sound, half hard, half Scandinavian. 'Ein Fix Ferdig Mann' follows, between blues and typical folk, like a melting snowman yes it is; honorable mention to Thore's fat guitar; marshmallowy air that sticks, that gets stuck in your limbo. 'Krig I Opne Landskap' continues to infuse this characteristic sound, blues tinged with a haunting gospel space, the whirring guitar leering over King Crimson while the solemn church organ drives the stake. 'Ei Gåte' continues with aggressive piano and guitar reminiscent of early Scorpions; the sound becomes more refined, the ears become more sensitive. 'Når Natta Kjem Og Tek Meg' ends this convoluted triptych with a dark female vocal, a folk-melodic nursery rhyme with a sharp violin, a bewitched Mellotron.

'Eg Vil Ha Det Eg Vil Ha' returns to the sound of Lucifer with riff, choppy vocals and hilarious rhythm, dancing folk for long, feverish nights with the Tullian flute that made them known. 'Snømann I Sol' slow plattersian with a touch of RPI and spleen crimsonian guitar, on Gary Moore; its unique, apart. Musical delirium on a raw romance ballad, between ephemeral beauty and vintage psyche madness. 'Aftenbøn Til Dauden' a melting pot piece with heavy guitar, bucolic flute, Teutonic choirs narrating the harsh working life; a baroque operetta fresco, a musical vaudeville with a typical folk break. 'Kunsten å Gjere Ingenting' as a final memory of Uriah Heep and Progressive Scorpions; the solemn reminiscence of with Steely Dan for the cool jazzy feel; the plaintive guitar break is worth its weight in nostalgia.

column on Progcensor originally.(3.5)