AIRBAG

Airbag creates dreamy atmospheres à la Gazpacho, No Man, the later Marillion, Blackfield, No Sound and Porcupine Tree, but there is also a lot of melancholy in their music as we know from alternative bands like Radiohead and especially Saybia. The comparison with the latter is quickly made since the voice of Asle Tostrup with its long sweeps resembles Saybia frontman Søren Huss a lot. Having said so doesn't mean that Airbag does not have its own identity, they do. There are more dogs named Fikkie.

"Identity" contains the material of the previously digitally released EPs. It is nice that the eight songs together form a consistent whole. The album opens with Prelude where the soundscapes trumps. The relaxed song with its warm keyboard playing is a nice preview of what is to come. The subsequent No Escape is a fine song with a remarkably produced ending. However, the six that come after that are all brilliant. They show a beautiful mixture of extremely melodic guitar interpretations and solos combined with various tastemakers. There are rolling organ sounds, stately strings, monumental mellotron chords, steaming piano touches, rousing beats of the acoustic guitar, deep basses, industrially designed drum rhythms and a lot of gripping vocals and singing together of the catchy kind. We can no longer distinguish the east from the west.

Airbag is mainly a band that has to have subtle playing, which is well reflected in the guitar-key moment of the beautiful Safe Like You. Very strong are also the solos in Steal My Soul and Sounds That I Hear where the goosebumps take on dermatologically scary proportions.

Still, in my opinion, the best song on the album is an ordinary song. Colours is so indescribably beautiful. It makes this CD a beautiful pearl, because that is "Identity" and airbag can write that on his ID card.

Orginally posted on www.progenrock.com

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.

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.

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)

This is simply a very consistent record with all six tracks bringing lots to the table that I like. Emotional vocals, emotional soaring guitar leads, interesting lyrics are all part of this album. This is around the time that Norway was just starting to leave a mark in the Prog community, a mark that has continued to grow in 2023 to the point that Norway is at the very forefront of progressive music, leading the way. Like PINK FLOYD this band are masters at contrasting the mellow and powerful sections to great affect. PINK FLOYD is the first band that I noticed used to this style back on "Dark Side Of The Moon" even though it wasn't new or anything at that point.

I really like how uniform the sound is here and can't get enough of that spacey atmosphere and those soaring guitars. A 4 star album without question.

But you can look into it, on the other side of crime reporting, madness, abductions, terror.

This is probably the "darkest" album of the brilliant Airbag. Where every song is someone's tortured soul. Which one is the best? Crap! I can't choose - they are all perfect! And you will never know where is "modern progressive", where is the blues, where is psychedelia, where is stadium rock, where is art-rock. They mixed everything together, overtaking their older 'brothers in trade'.

This is the first album of the band, dated 2009, and it already stands in line with the recognized classics of the genre, overtaking many (if not all).

The rhythm section, as well as the keyboards, is still in its "infancy" here, but you should pay attention to the vocals and the lead guitar.

"Steal My Soul" - what is it if not the best example of classic art rock, or psychedelia, or modern progressive? I don't know, damn it! Because this is all of the above, depending on what you want! It feels like their lead guitarist Bjorn Riis combines Pink Floyd and Camel, in a single person, adding Steven Wilson's modernism and Muse's paranoia (only without the hysteria and 'involvement' of the latter). Crap! Are there too many comparisons? But I can't do anything with myself, I just can't describe this mesmerizing, viscous piece of dark magic in another way! They seem to bite into your brain and themselves "steal your soul." Just a guy with a gun in his hand, whose mind is hopelessly broken, and "something" that makes you do something inevitable, inhuman.

They make you feel the dark that is hidden behind each of us, something that can break out, eerie and inexplicable. And so the whole disc, from which it is impossible to single out anything at all, because it is monolithic and unique.

Airbag is probably the scariest band I know. They achieve this effect without the "heaviness", syncopated metallized percussion and other overloads. Their music is light enough, though heavy, but in a different sense of the word. Not the happiest group, but in terms of its effectiveness it has no equal, even among the older, more famous 'brothers', which the group have floored, recording on the move such a masterpiece as Identity. Simple Norwegian guys with gray faces and an absolutely unclear fate at that time. They made a huge layer of music just secondary to themselves.

Subjective opinion? Maybe. Crap! I listened to too much "modern progressive" music and I was always missing something. There is everything at once! All that I have not even tried to look for!

The main part of this album, great in every sense, is, in my opinion, "No Escape" - the can opener of the album, with a song structure characteristic of early Airbag.

These guys make you believe that their music sounds right from your head, not from the speakers. The uncomplicated rhythm and fairly simple chords are complemented by the incredible power of the vocalist's voice and mind-blowing lyrics that tell about the ruthlessness and transience of the world around them, about destinies and roads, and about what leaves forever, and you cannot keep it. Where everything becomes unreal, and the mind is like a dark room, releasing creepy monsters.

"There's a corner in my house

They're telling me it's mine

Why does it feel like I've been here before

Please pull me out of this dream and out of this life

'Cause nothing that I see is for real

Not anymore. "

Something makes me stand up when I hear these words! Every time!

No wonder they say that the ingenious is always simple. Here we are talking not only about one of the best compositions of the Airbag group, but about one of the best compositions in the genre of modern prog rock, since we have a group at the peak of its power, and automatically the strongest representative of the direction, remained in the shadow of more successful 'brothers'.

For the first time in my life I write one review twice, but at different times. Perhaps this review of the latest release to date by one of the greatest rock bands of our time will serve to write a number of articles devoted to their previous albums, well, at least I would like to.

It will be about the last year's album of the Norwegians Airbag "A Day at the Beach", which caused me a mixed reaction at that time (Summer 2020). Now, having treated with understanding some of the new nuances of the group and having listened to this album several times, my attitude towards it is changing for the better, albeit not radically, but slowly and confidently. I'm not going to describe the general, rather gloomy style and concept of the band now; I hope that this will be revealed in subsequent articles dedicated to the group, their brighter albums.

Into The Unknown is perhaps the most important part of the record. As the deepest, most diverse and multifaceted palette of moves, it also most vividly reflects the band's signature sound, which was shaped 10 years ago. The composition really seems to float into the unknown, then emerging from the pool with beautiful landscapes, then diving into desperate abysses. Here the talents of the lead guitarist Björn Riis, a kind of new David Gilmour, are most widely manifested, as well as the extraordinary beauty of the voice of the vocalist and guitarist Asle Tostrup, whose lyrics can touch even the most "impenetrable" listener. Music is like a distant landscape that sweeps in front of you at different speeds, now moving away, now approaching.

Sunsets is the second "coolest" thing on the album, darker and more straightforward than the one described above. The atmosphere of sunset, desolation, pursuit and loneliness. Like something dark, rising from the swamps behind your back, from which you run. It is not the healthiest state, but what to do - such is the complex and gloomy, but beautifully attractive world of Airbag. And this composition is another confirmation of this.

Beautiful keyboards suddenly became one of the fundamental parts of the band's sound, which was not evident on earlier records. This creates a somewhat ambiguous effect at first. But this time they made the sound much richer than on the earlier albums, however, having lost a particle of sharpness. In general, if you are a radical fan of this great band, you should be more careful when listening to this opus, if not - the earlier albums will do you more good and should stay on them. Everything is already stated in theses releases. But we will speak more about these albums in the future!

With a powerful and epic opening track in Machines and men the Norwegian melancholic prog masters open their fifth (and latest for now) studio album. Like in every album that precedes Riis amazing guitar work is the center of all musical atmospheres created by the band, with the unmistakable perfectly spoken vocals by Asle, pronouncing every word for us to rapidly understand the concept of the album...a man leaving his family to adventure himself into the unknown. Lyrically and musically a prog masterpiece. Into the unknown confirms that electronic music principally influences in the late 80's scene has been very influential in recording this album. Melodic but dark with Bjørn soloing like there's no tomorrow believing every note of uncertainty that accompanies the band through the concept by them created.

Sunsets... maybe the most "in your face" hard prog song in the album constantly growing with different guitar textures until it all fades away to give way to yet another calming tune... like it's first part, A day at the beach part II, only that this time it's seems to be anger and frustration behind the keys textures and some infinite sadness sustained by the entrance of the tight (and down tempo) rhythmic section, brilliant! Megalomaniac was/is/will be the perfect closing to this emotional music experience... Tostrup vocals and Riis guitars again showing pain in such a beautiful way! Wait! Is that even possible? Airbag guarantees it is possible, they are sure we can picture the naked soul of the concept's main character for all of us to see and cherish. Speechless and torn away... looking forward to new music from this amazing band.

If ever an album was grower then it is this, as after the first two or three plays I really was not at all convinced as their modern take on Pink Floyd, soundscapes, Radiohead, Kraftwerk, recent Marillion et al just did not do it for me. I knew the guys were trying to build an emotional connection, with laid back music which often contained high separation of instruments and loads of space, but somehow it still just felt too clinical. But the more I played it, the more I started to fall into the world, and it all seemed to make sense. Once one gets past the rather disturbing cover photo of teddy bears having their heads buried in the sand, there is progressive crossover electronic art rock music which is cinematic and has real breadth. This is music which does really need to be listened to as otherwise it will fall into the background, but for those who are prepared to spend the time and effort they will get something out of this. The vocals are front and centre, but there are also long passages when the band play purely instrumentally, often veering into electronic and ambient territory. Personally, I would have liked to have heard more guitars, as the electronica is too much for my personal taste, but all in all this is an interesting album. But it does need time to drop into the brain.