JORDSJØ

10 years of Prog

If you're into classic modern progressive rock, chances are you already know Jordsjø. But fewer may be familiar with Breidablik, a project that, until recently, flew under my radar. I've been a huge fan of Jordsjø for a while, but I only listened to Breidablik for the first time yesterday?and I was genuinely impressed. Think Tangerine Dream, Mike Oldfield, or Jean-Michel Jarre. It's techno-ambient, old-school, beautifully crafted, and with a distinctly vintage sound. In short: a very good band that deserves more attention.

Now, these two Norwegian acts have come together to release a split album celebrating their 10th anniversaries. One side is Jordsjø, the other is Breidablik. Despite coming from different corners of the prog universe, the combination works surprisingly well. Jordsjø already stands as a major name in the current Norwegian scene, but paired with the atmospheric touch of Breidablik, the result is something even more immersive.

Jordsjø contributes a nearly 20-minute epic titled "Kontraster", and Breidablik answers with a piece of similar length. Both tracks explore the same central theme, but in their own signature styles?Jordsjø through organic, symphonic prog textures, and Breidablik through layered electronic ambiance. It's like hearing two different languages express the same thought, and it works beautifully.

What's most striking is that these two bands have almost nothing in common musically?except that they both come from Norway. Yet this split is a powerful example of the diversity within the prog scene, especially when approached with this level of professionalism and creativity.

I loved the record from the very first listen. It's one of those rare collaborations where both artists elevate each other. Without a doubt, this album deserves to be high on any end-of-year list.

Ever since I discovered Jordsjø in 2017, there were two things I wished for and one was to record a side-length piece, another was to get Lars Fredrik Frøislie to make a guest appearance. Well, it looks like one of my wishes came true, and that's to record a side-length piece. As for Lars appearing, that hasn't happened. Probably because he wishes to record in his own home studio (the fact much of his gear is of authentic vintage, he probably doesn't want to move them around due to reliability issues, especially because much of it is at least 50 years old now). Kontraster is the second split release by Jordsjø with Breidablik, after Songs from the Northern Wasteland back in 2016. Kontraster is Norwegian for "Contrasts", which could have been easily guessed by me. And that aptly describes this. First side is Jorsdjø's piece. No surprise it's all Håkon Oftung on vocals, guitar, flute, and assorted keyboards, and Kristian Frøland on drums. It sounds like what you expect from these two guys, great retro-prog with lots of great vintage keys, vocals in Norwegian, and flute, and it's great to see them pull off an almost 20-minute piece. I knew they could pull that off, so I can't imagine that stopping them on a proper full-on Jordsjø release. I imagine Håkon wasn't confident he could pull off a 20-minute piece, as no Jordsjø piece ever went much beyond 10 minutes. Either that, or he was fearing a Tales from Topographic Oceans type of album from them (I couldn't imagine that. Jordsjø has always been too modest for that). Breidablik's contribution is, unsurprisingly much more electronic, with lots of eerie ambient passages and sequencer-dominated passages as well. He gets Håkon to play guitar and flute, as well as a real drummer, not Kristian Frøland, but Trond Gjellum, a drummer that's not familiar to me. That's the first time I ever heard real drums on a Breidablik recording, as usually it's a drum machine (but only used occasionally), as most of the time, Breidablik recordings is entirely by Morten Birkeland Nielsen himself. This is incredible stuff, and it shows how Jordsjø is some of the greatest prog going these days as Breidablik is for electronic music.

The heirs of the north

Jordsjø meaning, jord earth and sjø means sea. This duality between land and water mirrors the band's music, which flows between grounded, pastoral melodies and more fluid, dynamic movements, evoking a sense of natural balance. The album's title, Jord, emphasizes this connection to the earth, underscoring the band's thematic focus on nature, mythology, and the elements.

Jordsjø appears in the nordic progressive scene to fill the space that leaves Änglagård and Anekdoten and stand right side of Wobbler and Tusmorke influenced from UK. bands like King Crimson and Genesis, Jord weaves together pastoral melodies and intricate compositions. The presence of the mellotron, flute, and acoustic guitar gives the music a vintage warmth. Jordsjø excels at shifting seamlessly between tranquil, melodic sections and more complex, energetic passages, creating a dynamic and immersive listening experience.

Jord by Jordsjø can be considered a conceptual album, though it's not a traditional narrative concept album. The overarching theme of the record revolves around nature, mythology, and the mystical connection between the earth and the sea, as suggested by the band's name and the album title. The music evokes the landscapes and folklore of Norway, creating a cohesive atmosphere throughout the album.

The album's connection to Norwegian folklore and nature is unmistakable. With mostly instrumental tracks, Jord allows its atmosphere to take center stage, evoking a sense of mysticism and reverence for the natural world. The minimal use of vocals enhances this mysterious aura, leaving space for the instruments to paint vivid sonic landscapes.

Each track is a journey of its own, with sprawling, multi-layered compositions that build and evolve. The band shows remarkable control over dynamics, transitioning smoothly from soft, acoustic passages to moments of intensity.

Jord is a progressive showcase in the modern Scandinavian movement. It's a delicate interplay between nostalgia and innovation folk and electric prog.

3.5 stars. JORDSJO needs no introduction these days, they are one of the foremost retro styled bands out there. I still remember the ANGLAGARD comparisons at first with the flute, melancholy etc. But this duo have carved their own path and are one of only a handful of bands that I will preorder when hearing of a new release on the horizon. Big fan. Early in their careers they recorded three demo tapes which ended up on cassettes. This 2015 recording is the very first demo tape, and it was only available on cassette or download at the time. I don't download, but I got a co-worker to do this for me then I put it on a cdr.

I have been debating about even reviewing this one because two years after releasing this one they released another self titled record with the same cover art, and it's listed here on the site under compilations and includes the 37 minute original demo tape that I'm reviewing today, but also the other two demo tapes, and released in a two cd format. Should have waited. I was surprised at the British vibe on "UK Original", okay the title should have given it away but also "The Goddess(Of Light)" has that Proto-Prog style. The two short ones to end the album are okay but it's really those three earlier tracks called "Hulderheimen", "Ogion" and my favourite "Bilder Fra En Skog" that reveal that the sky is the limit with this band. There are both Norwegian and English vocals and a lot of keyboards, I would without question seek the compilation version of this record out, especially if your a fanboy. Check out their roots!

The dynamic duo out of Norway are back in 2023 with "Salighet" a 42 1/2 minute, seven track affair. I'm a huge fan of the cover art and as far as the music goes I feel this is their best one yet. It took me the longest of all of their albums to appreciate, I was starting to wonder there, but this is their most serious work and it's an absolute pleasure.

Hakon Oftung again plays a variety of instruments and sings. What a talent. It's his guitar work that stood out for me this time. He's taken those intricate melodies to another level here. But his keyboard work including fender rhodes, organ, clavinet and mellotron are all over this one plus he's is fairly dominant with the flute at times. He also recorded, produced and mixed this album. The drummer Kristian Froland keeps getting better if that's possible and we have three guests with two of them playing clarinet and synths and the other offering backing vocals. The clarinet is such a great add on for me and all three of these guests have been on past JORDSJO albums.

I'm not sure what took me so long to crack this one because it's usually pretty immediate with this band, I love retro music but this one just seemed different and it was harder to figure out at times. I think it was my fourth spin when I decided to really listen to the music and that was the key. I can't pick a top three because I'm right into all of the seven tunes and this has a uniform sound to it thankfully.

I will mention the guitar after 5 1/2 minutes on the closer bringing to mind GILA and POPOL VUH's Conny Veit. Also the distorted organ bringing Canterbury to mind again around 5 1/2 minutes on "Salighet I". And lastly the way the album ends over those 4 minutes or so as it drifts along beautifully. So many highlights though and no hesitation with the 5 stars. I'm excited about this one and yes a top ten for 2023. This one will have staying power.

Watch out for old retro prog approaching, for fans, ultra fans and lovers of the atmospheres of times gone by!

1.Invokasjon intro or not vintage sounds which smell like the sounds of yesteryear, yes you see you still have to be hooked, hooked, in short with teeth, otherwise the shift will act 2.Sankeren shows the extent of their sound field; folk rock borders on psyche with this Nordic voice; a time to get used to it, a break time with a variation ranging from ZAPPA to ÄNGLAGÅRD, from CAMEL to KING CRIMSON and GENESIS for the warm and languorous keyboards, a jazzy touch sprinkled on top and Kristian's characteristic pad which dates back; yes, a good retro prog like I thought I wouldn't listen to anymore; the air calms down before returning to the initial rhythm, complex and hilarious 3.Salighet I acoustic guitar on a Håkon flute that does almost everything; a wandering of sounds from the 70's, vocals from the 60's, the regression goes far, very far; it's beautiful without a doubt, the choirs are warm, the Karisma sound like my favorite group GENESIS did on 'Trespass'; yes, 50 years ago, but now why regress so far and so wildly? The sounds from before are not enough? The guitar solo is cute, invites you to daydream; be careful not to undress and dance naked to the very special folk rhythm 4.Salighet II sequel I don't know but the atmosphere goes on the same muddy paths of dark lands; the voice gives way to the flute for a bucolic break, more psyche than symphonic except for this too short organ finale which is quickly replaced by sound effects and this sax, not baritone, no, in short this traditional instrument

5.Ura continues, a rock guitar with a flute showing the direction of the path; rock takes over folk before the oboe, sampled or not, makes the air vibrate; jazzy-rock in the distance before returning to a round, delicate symphonic 6.Danseritualer fra Jordsjø - Prosesjon & Ekstase for the acoustic interlude given the 3 mins; otherwise the tune invites you even more to travel with this crystalline guitar, surfing on the great old ones who simply made music that they loved; the best title so far 7.Stjernestigen solemn piano and instrumentation eyeing a confusing, OLDFIELD; the voice must be practiced so as not to be thrown off track; the guitar solo halfway through is a stunning, symphonic bombast; it leads to a melodic decrescendo giving way to the captivating piano

Scandinavian symphonic, combining several genres and recreating a new breed of 'symphonism'; ÄNGLAGÅRD was to be their bedside band, today it would be TUSMØRKE; during the 90s I found it beautiful and used!

. From the start album delivers an exciting, refreshing, and wonderful sound. There are many similarities with their previous effort but this one has better and more mature songwriting. The band is also more focused on the emotional part of their sound and this is very obvious in each track, while the strong vintage influences are still very evident. The songs are flowing naturally, not jumping from break to break, indicating great musicianship. There is always a nice combination of keys, flute, and melancholic electric guitars. You can hear lots of great riffs, twists, and turns. The lyrics are in Norwegian and I think it's a good thing because it gives a sense of mystery to the overall sound of the band. Stifinner and Til V'ren are the jewels of this album that will satisfy any prog-rock fan at some point.

To quote the liner notes "When "Jord" came out early in 2017, it was a different time for us. This was to date our fourth release and what would be our first proper album. Up until that point, we only sold our 50 home-made tapes to friends and a few die-hard collectors, but "Jord" got us a bigger audience, also outside Norway. The mixing was done badly by Hakon and also with the intent of only a tape release, so we thought it deserved a refreshed look and include the other song we recorded at the same weekend summer 2016. Therefore the "Jord Sessions. There's a new organ track on "Abstraksjoner..." and some bells and percussion on "Se Valinors Lamper", otherwise all tracks remain as the original."

When "Jord" came out I became an instant fan of this band, they reminded me probably more of SINKADUS than anyone else and I love that band. And while it blew me away I always felt there was this amateurish quality about it, a naivety if you will about it. Well this new re-mix has changed that completely. This sounds so much richer with a bounce to the sound you could say. It was originally released on cassette then cd the following year. Lets just say my original "Jord" copy is going in a box somewhere and "Jord Sessions" is my new "Jord".

I'm just so glad I picked this up, it made my week last week spinning these familiar tunes that sound so much better. That over 13 minute bonus track of course fits right in and is one of the better songs on here. I just think if your like me and value this band highly you need to get your "Jord" replaced with this one. I've discussed the actual music in my "Jord" review so I won't rehash that.

More solid Prog folk-based original music from this Norwegian duo here releasing their fourth full-length studio album.

1. "Invokasjon" (2:52) impressive but lacking anything really engaging to the soul. (8.75/10)

2. "Sankeren" (7:22) sounding very much like WOBBLER. I like the mediæval folk third minute best. Besides the solid instrumental performances throughout, this is not anything so very exciting or innovative here. (13.25/15)

3. "Salighet I" (6:17) the opening 75 seconds of folk play is exceptional, followed by a nice passage of psychedelia. My favorite song on the album. (8.875/10)

4. "Salighet II" (6:10) more electrified and Krautrock grooving than its predecessor. Nice folk melodies. Another top three song. (8.875/10)

5. "Ura" (6:39) psychedelia that starts out either a little too sad and down or lacking melodies to hook the listener depite its change into a more 1970s happy-go-lucky JETHRO TULL-like tune. (8.875/10)

6." Danseritualer fra Jordsjø - Prosesjon & Ekstase" (2:55) opens like a true folk rock tune of the circa 1970 era with Hammond organ and blues rock foundation. Guitars and flutes are busy until lead electric guitar takes the lead in the second minute. Nice solo over a MOTORPSYCHO-like foundation. Some great performances of a nice composition. (8.875/10)

7. "Stjernestigen" (10:21) opens like the unfolding of a folk story being told through ballet movement. As the music develops, slowly and in spurts, it continues to retain this storytelling --in a WOBBLER or CICCADA kind of way. (I keep expecting to hear the dulcet tones of Evangelina Kozoni's crystalline voice.)At 3:20 we get the introduction of Håkon Oftung's vocal, voice doubled up, over supportive organ, bass, and drums with synth soloing in between vocal verses. Nice. Gentle and perpetuating the storytelling feel despite losing the ballet quality. I very much like the chorus buildup and double-guitar-duel of the instrumental passage to follow. In the seventh minute heavily treated vocal precedes an instrumental passage over which piano solos--a melody that is later duplicated and mirrored by the untreated electric guitar. Nice work. It's practically a classical piece the way the two instruments are attuned to one another--even into a tenth minute as the other background support instruments gradually fade into nothingness. By the time the final 30 seconds arrives we are left with only the piano to carry forward the melody line--once again sounding like something that might support a ballet dance. (18/20)

Total Time 42:36

An album of very nicely performed, admirably intricate compositions that somehow fail to reach the heights of masterpiece status.

B+/four stars; an excellent addition of variable prog folk music to any prog lover's music collection--all composed and performed by two artists without any other collaborators.

In the early '70s, progressive rock's center of gravity was clearly in the UK, with the Italians having carved out their own distinct niche as well. In the ensuing decades, prog was largely dominated by Brits and Americans, but since the turn of the century, Scandinavia has become a leader in the genre, with acts like Opeth, Wobbler, and Beardfish.

Jordsjø, a Norwegian duo, follows in the path of their spiritual predecessors, Änglagård. Both acts draw heavily from acts like Yes and King Crimson, but distinctly Norse melodies are woven into anAnglo-prog-inspired backdrop. They've been consistently stellar over their career, and 2019's Nattfiolen was one of my personal favorites from that year.

After a brief, scene-setting intro, "Skumring i Karesuando" is the first proper song on Pastorialia. It's replete with lush Mellotron and synthesizer, lilting flute, idyllic acoustic guitar, and murky, creepy electric passages. There's a fantastic little funky clav break before a guitar solo near the end of the song that I wish they would have expanded upon a little more, but even with its brevity, this is a wonderful song.

The next track, "Mellom Mjødurt, Marisko og Søstermarihånd", follows in a similar vein, if a bit slower. Nordic folk and the gentler side of prog are effortlessly married into something that is both soothing, yet creepy and sinister. In this song's final minute, the intensity is cranked up for an impactful conclusion.

Pastoralia's title track is next, and this piece is the first song to fumble, in my opinion. It doesn't stand out in comparison to the two tracks which preceded it, and the structure feels jumbled and unfocused. There are some very strong ideas in here, but the band ping-pongs between musical themes too rapidly to build any significant tension or momentum. It feels like if you took a bunch of 15-second snippets out of a Gentle Giant record and played them all in a row. "Fuglehviskeren", meanwhile, is a brief interlude led by acoustic guitar and some sort of bassy reed instrument, but it does a great job of developing its central theme.

"Beitemark" opens in some rather jazzy territory. That same bass clarinet(?) helps establish a rhythm over which clean guitar and twinkling keys forge a melody. This song suffers from a milder version of the kitchen sink syndrome which plagued "Pastoralia", but it holds together reasonably well by comparison. The individual ideas are strong, and it's not rapidfire hopping. "Vettedans" is another brief folk interlude, but this one sounds like it's straight off Gryphon's debut record. 

The 10-minute "Jord III" closes Pastoralia. It begins with a typically-Jordsjø-y passage: Flute and lush keys form a distinctive texture as folk-and-jazz inflected guitars carve out a lead line. After around five minutes of instrumental interplay of varying quality, some quiet narration enters and does serious harm to the song's momentum. This experience felt similar to "Pastoralia" with its cycling of musical ideas, but the spoken word section brought "Jord III" to a screeching halt. Even after the narration ends, this song languishes, barely moving forward at all.

Despite my grousing, this is still a decent album. It's definitely Jordsjø's weakest album to date, but with the reputation and catalog that Jordsjø have cultivated, that's still better than a lot of what you're going to find in the contemporary prog scene. Amid the overlong, unfocused songs, there are some very successful integrations of progressive rock with the folk music of Norway.

Review originally posted here: theeliteextremophile.com/2021/06/21/album-review-jordsjo-pastoralia/