THE CENTURY OF THE SELF

Just a few lines to talk about the latest AIRBAG... It's excellent: From afar we are looking at the rest of his albums which stand out more and more from the Floydian atmosphere, which is a plus; what is interesting is that the sound becomes a crossover of its own, and demonstrates that it was indeed with Bjorne that prog continued in 2010, the titles forming a conglomeration of notes and progressive atmospheres; in short for those who thought that AIRBAG was going in circles will be disappointed, this album is a must.

1. Dysphoria for the hypnotic minimalist entrance, bass and metronomic crescendo; an outgrowth of PINEAPPLE THIEF longer and also dark for today's prog rock, but the bass wow, the synth is a bit like PORCUPINE TREE from the 90s 2. Tyrants and Kings for the hidden prog slap, yes AIRBAG has fun doing RIIS and that suits them well; a crossover tune which uses notes to go very far, a title which is forgotten because it goes so well, between prog romanticism and rhubarb marshmallow, the piece which pleases 3. Awakening for a nod to Mr Steve WILSON, high-pitched acoustics and vocals; it's soft but misleading with the appearance of the guitar solo which is just enjoyable; nothing to throw away, bewitching, David must listen to it in the evenings when he is not playing on his own guitar, this guitar playing like that of Michał from AMAROK; the solemn, military drum beat, jerks and keeps the rhythm, ah this vintage keyboard from days gone by, all in velvet 4. Erase I liked the bass, I'll take it again! it hums, it swells, the delirium of the FLOYDs can be felt but only in the background; song with a dark dark wave riff which signals nostalgia and amplifies the flights of the chorus; final rise hypnotic trance, calm, controlled and colorful, just to annoy me in the slightly 'provocative' assertion that prog is dead. 5. Tear It Down yes I think back to the fabulous PINEAPPLE THIEF who broke through by offering new prog rock; yes I think about it because prog can be electronic, synthetic, jazzy, folkloric, ethnic, it needs a musical framework... And it is there, right there; ! WILSON in the background, RIIS in front, the bewitching melodic line, linear then bringing a villainous note which floods everything in its path; 10 minutes and we rest from the damage orchestrated by Bjorne's solo, yes I'm familiar with him he throws his guitar notes at me in my room, so we're a bit friends... In short the finale will restart and take even higher, even further... the slap in the face.(4.5)

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.

This Norwegian prog band started in the mid-2000s and has become known for their distinctive blend of progressive, ambient, and alternative rock (with Pink Floyd and Radiohead being the most obvious influences). This is their 6th album, and it does not disappoint, laying down a dark, moody, atmospheric base, punctuated by scorching guitar leads and evocative melodies and vocals. Excellent musicianship and song construction are evident throughout, as they take their time to create an atmosphere and build upon it with fantastic results. The album consists of 5 songs ranging in length from 6 to 15 minutes each, for a satisfying runtime of 47 minutes. Although somewhat dark and moody, it remains quite accessible, with its beauty and power, creating a quite immersive listening experience. Best Tracks: Erase, Dysphoria, Tear It Down, Awakening. Rating: 4 stars

Here is finally the worthy successor to the magnificent 'A Day at the Beach' of 2020. Airbag is back in 5 tracks and 46 minutes with the album 'The Century of the Self'. The Norwegian group further asserts its personality with this album by offering music that appears simple but in which treasures of details are nestled. The style is rather spacey and "Floyd-ian", but it would be simplistic to extract only this component. To give an image, I will compare the group to a kind of sculptor: starting from a very basic raw material (in this case it can be a riff of two notes or three simple chords), the musicians will little by little shape a work by adding a multitude of details for which each sound, each note, each rhythm is perfectly thought out and worked. Of course, appreciating the full dimension of the work will require several listenings in order to become familiar with the structures and appreciate every nook and cranny.

Opening track "Dysphoria" is a perfect example of the band's method for creating an impressive build-up. The basic foundation is made up of a guitar riff of only 3-4 notes, then the drum entry makes us realize that this riff was in fact played off-beat. Well seen. It's very airy, the development really takes its time via the addition of discreet layers of keyboards, then the entry of Asle Tostrup 's vocals , so characteristic, gives a false impression of fragility. The whole thing is completed by some sharp chords from Bjørn Riis' guitar , and the first bass notes only appear after 2'40, giving a new groove to the track. The music gains in thickness until the bridge marked by a bass sound as fat as a duck liver overfed with grain, and a drum rhythm which at a certain moment evokes "Sabotage" of the Beastie boys . At the end of the piece it is again the bass, whose sound has become perfectly round again, which gives a new direction to the title by making it brighter and allowing some guitar incisions.

At this stage, a word on the theme of the album: presenting a less than enthusiastic image of our times, the lyrics evoke the influence of technologies on our lifestyles, cancel culture, the rewriting of personal stories and our dependence to this environment. This is perfectly supported by the music of the group which knows how to develop atmospheres that are sometimes worrying, even depressing, or open to reflection.

"Tyrants and Kings" is carried by a more dynamic approach with a slightly more synthetic sound leading to a particularly effective chorus. Once again, we find remarkable sounds on the bridge, opening the door to a second part which is harmonically enriched until the traditional final guitar solo.

The mood of "Awakening" is given by the acoustic guitar, on which we find the known markers of the Airbag style . A little gem of musical refinement, it is also a call to vigilance, particularly on the chorus ( "Wake up and feel again").

The recipe for musical construction is once again applied on "Erase" which begins with an almost single-note bass plan enriched little by little by the different instruments (note the admirable rhythmic placement), all perfectly served by a high-end production range. The chorus unfortunately seems a little weak to me in comparison with the rest of the album, and that's the only small criticism I can make of the whole record.

For once, it is the drums of Henrik Bergan Fossum which opens the last track "Tear it Down" and its 15 minutes of sumptuous development. The vocals are particularly lively, the keyboard sounds are silky as can be, and the increases in intensity on the chorus are perfect reminders to maintain the dynamic throughout.

There is a fine line between simplicity and ease. In this little game, Airbag comes out with flying colors by offering with 'The Century of the Self' an album which manages to get to the essential, masking a large volume of work under false obviousness and whose repeated listening only reveals shine.

Review originally posted on www.progcritique.com.