THAERIE WIIGHEN

Under the vision and guidance of keyboardist-main composer Tore Aarnes, the Norwegian symphonic prog outfit Octopus released one only album, a concept-album based on Henrik Ibsen's major opus "Thaerie Wiighen" (or ""). Odd as it may seem, it was released in 1981 just when the guidelines of new-wave, post-punk and techno-pop were defining the rock mainstream and progressive rock was continuously remembered as a sordid aspect in the history of rock music. In fact, you could barely believe the credits when you can easily notice the early 70s sort of sound that goes all the way throughout the album. The Octopus offering basically bears a symphonic core, somehow related to "Attic Thoughts"-era Bo Hansson, as well as classic Novalis, 74-76 Eloy and "Rockpommel's Land"-era Grobschnitt; to a lighter degree, you can also trace shades of Bardens-era Camel, "Remember"-era Nektar and Wakeman. This band is also sensitive to the inclusion of poppish ornaments of the funky kind (some specific passages in 'Del 3', 'Del 7' and 'Del 8'). 'Ouverture / Del 1' kicks off the album with ceremonious wind noises, and then the main body settles in across a harmonious set of well-crafted motifs that deliver a calculated elegance as well as an appealing dynamics. You can tell that a distinct dynamics has been stated in this opener, and both 'Del 2' and 'Del 3' emerge to reinforce it. Since it is longer, the latter takes advantage to expand on a more elaborated colorfulness. 'Del 4' is based on acoustic guitar and flute, in this way providing a moment of bucolic serenity. This band is not really that heavy when compared to Grobschnitt or Nektar, for instance, but one can appreciate the inclusion of rockier moods in 'Del 5' (mostly based on the guitar phrases), but again, the ceremonious expression of symphonic prog remains the dominant resource.On the other hand, 'Del 6' is connected to the band's poppier side (especially 'Del 6') while 'Del 7' delivers an equilibrium between the poppy and the symphonic. The listener may consider the pairing of these two tracks as a passage of musical constraint before the closer 'Del 8' brings back the symphonic thing in full splendor. Its refurbishment of the opener's dominant moods makes it a convenient epilogue to a delightful progressive lost gem. The music of Octopus from Norway, while not as brilliant as Atlas or as challenging Islands, can be appreciated as a Scandinavian prog-rock treasure.