New Canterbury-tinged Jazz-Rock Fusion from a Norwegian "supergroup" that includes members who have played with the likes of Jordsjø, Panzerpappa, Tusmørke, Lupa, Meer, and Chronicles Of Father Robin. These are experienced professionals.

1.  https://www.blogger.com/blog/post/edit/4177889769726575312/1588659880212902889#" rel="nofollow - Pönk på svenska  (5:50) right out of the gate this driving instrumental sounds like an expanded-band format of a MOTORPSYCHO song. Great melodies coming from multiple noodlers, including electric keys, guitars, and saxophone. They all provide a very tight but surprisingly straightforward music---especially when compared to the other songs on the album. (8.875/10)
https://www.blogger.com/blog/post/edit/4177889769726575312/1588659880212902889#" rel="nofollow -
2.  https://www.blogger.com/blog/post/edit/4177889769726575312/1588659880212902889#" rel="nofollow - En behagelig durakkord som sier noe om hvordan det er å se uten å bli sett  (6:21) a powerful and, at times, quite theatric prog song. The vocalist--and some motifs--feel very close to the sound and effect of countrymates SEVEN IMPALE--especially in the buildup during the awesome second half. I like the Northettes-like background vocals in the fifth minute. (8.75/10)
https://www.blogger.com/blog/post/edit/4177889769726575312/1588659880212902889#" rel="nofollow -
3.  https://www.blogger.com/blog/post/edit/4177889769726575312/1588659880212902889#" rel="nofollow - Gadgetry cum dystopia  (6:33) opening with a "Larks Ascending"-like solo violin before soft, jazzy keyboards join in and lead into a new, contemplative and classical- and folk-tinged instrumental section, it's not until 2:10 that the real style is revealed with the entry of a heavily-effected psychedelic vocal, but this is only a minor element in the song's overall, overarching span; the delicate and sometimes-dynamic, shifting, instrumental weaves are the true star here--as evidenced by the outburst of a quite dark and heavy section at 4:10. But this then fades into distant memory when, at 4:50, we return to the more colloquial folk themes and instrumentation. A very interesting, condensed, story-like musical vehicle. Almost a top three song for me. (9/10)
https://www.blogger.com/blog/post/edit/4177889769726575312/1588659880212902889#" rel="nofollow -
4.  https://www.blogger.com/blog/post/edit/4177889769726575312/1588659880212902889#" rel="nofollow - Peaches en Ulven  (4:09) despite a spacious, syncopated introductory opening minute, this little instrumental turns into something fast and dense (again reminding me of both Motorpsycho and Seven Impale) yet it expresses quite the Canterbury energy and spirit. Vocal scatting join in during the end of the second minute mirrors the light, upbeat melody lines being expressed by the keyboard for about a minute until the music flattens out a bit later in the third minute to again conjure up comparisons to Motorpsycho, Then at 3:10 there is a stop-and-restart with lovely Amanda Parsons-like vocalise accompanied solely by a bank of low brass-sounding chords and, at the end, harp. Really nice tune! A top three to be sure. (9.25/10)

https://www.blogger.com/blog/post/edit/4177889769726575312/1588659880212902889#" rel="nofollow -
5.  https://www.blogger.com/blog/post/edit/4177889769726575312/1588659880212902889#" rel="nofollow - Jesus i min bod  (7:19) This one has quite a little GENTLE GIANT feel to it, if a bit heavier and darker. A lot of angular chord progressions explored through staccato instrument play with both female and male vocalise taking turns within the mix. The stop gap in the very middle is interesting, while the jazz motif picked up at the end of the fifth minute is quite striking for its similarity to the music on this year's wonderful OIAPOK album, OisoLün. Lovely stuff with its long vocal notes held over shifting chord and key changes beneath. I LOVE this! The closing 20 seconds are quite spacious, dreamy, while remaining jazzy. Brilliant! My favorite song on the album. (14/15)

https://www.blogger.com/blog/post/edit/4177889769726575312/1588659880212902889#" rel="nofollow -
6.  https://www.blogger.com/blog/post/edit/4177889769726575312/1588659880212902889#" rel="nofollow - Ensomhet er bare en følelse  (9:17) great start with some variable weaves of great melodies. The vocal is a bit unexpected--especially as its melody lines feel as if contributing yet another harmonic counterpoint to the rest of the instruments. (I love that the band sticks to its own native language for its singing and song titles.) (18.5/20)

The result is a series of highly sophisticated song compositions--all of which bear witness to the band members' serious intentions in this collaboration as well as their extraordinary work ethic in polishing these songs to such high levels.  

91.16667 on the Fishscales = A-/five stars; a masterpiece of progressive rock that continues to explore the inspiration of "future directions" of progressive jazz-rock fusion music in the spirit of the Canterbury Scene as well as the new pioneers like OIAPOK, and iNFiNiEN.