FIRE FORTELLINGER

Track 1: Rytter av dommedag: This is a modern prog rock masterpiece, "Rytter av dommedag," a vintage keyboard aficionado's dream come true. From the ethereal mellotron soundscape that bookends the track to the intricate riffs on the ARP and Moog synthesizers, every moment is a testament to the enduring power of classic keyboard instruments.

Lars Hammond C3 layering adds a rich, organic texture to the mix, whether it's just heavily overdriven rhythmic chords or percussive melodies, while a symphony of other keyboards weave in and out, creating a sonic tapestry that is both intricate and captivating. But it's the eruption of the 15/8 Moog riff towards the climax that truly showcases the brilliance of this composition. As the music reaches this peak, it's impossible not to surrender to the urge to headbang. Despite not understanding the juxtaposed Norwegian verses, the sheer emotional impact of the sound transcends language barriers. This is Symphonic Prog at its finest, a testament to the enduring legacy of vintage keyboards in the modern prog scene.

Track 2: Elsted under himmelhvelvet "Et sted under himmelhvelvet" emerges as a seamless continuation/spiritual successor of the sonic journey initiated by the previous piece (despite being a standalone track). Once again, we're treated to the intoxicating allure of vintage keyboards, with the unmistakable charm of Moog tones leading the charge this time.

As the track unfolds, the rhythmic backbone provided by the chunky 12/8 Rickenbacker bassline adds depth and drive, while a sublime Moog solo takes center stage, intertwining effortlessly with mellotron strings that echo its melodic phrasing. One of the true marvels of this composition lies in its attention to detail. The flute sections, expertly mixed, blur the lines between reality and illusion, showcasing Lars' meticulous craftsmanship. The reason for this is because it is the mellotron, and unless one is extremely familiar with the instrument, you likely wouldn't be able to tell the difference between real flutes or mellotron.

As the journey draws to a close, we find ourselves back where we started, enveloped in a grand, orchestrated vintage organ soundscape. It's a fitting conclusion, tying together the thematic threads that run through both this track and its predecessor, and leaving us in awe of the masterful storytelling achieved through the language of vintage keyboards!

Track 3: Jærtegn "Jærtegn" ventures into territory reminiscent of the distinct soundscapes often found on Wobbler albums, and for fans of this unique style, that's an absolute treat. There's a sense of familiarity and comfort in the familiarity of this sound, a testament to the enduring appeal of a genre steeped in tradition. At the heart of this track lies a standout moment: Lars' theremin solo (in fact, it is definitely not a theremin but it really sounds like one). It's a masterclass in virtuosity and innovation, showcasing his ability to push the boundaries of sound and transport listeners to otherworldly realms. This solo elevates "Jærtegn" to a new level of sonic excellence, making it a standout gem in its own right.

While this track may stand alone compared to the other tunes, it doesn't exist in isolation. It's a vital part of the greater tapestry woven by the album, contributing its own unique hue to the overall sonic palette. And for vintage keyboard enthusiasts, it's yet another reason to celebrate the enduring legacy of this timeless genre.

Track 4: Naturens katedral "Naturens katedral" unfolds as a journey into darker realms, offering a tonal depth that sets it apart from its predecessors. While the rhythm remains steady, it's the atmospheric nuances that transport listeners to a place where the glorious slow headbang feels inevitable.

At the forefront of this track is Lars' vocal prowess, showcasing his ability to command attention with his unique Norwegian singing style. Whether delivering high-energy chants or soft-spoken verses, Lars proves himself a master of many trades, capable of completely carrying the album on his own.

As the music evolves, we're treated to familiar echoes of the "Rites At Dawn" era, with swinging rhythms complemented by the spectacular interplay of Moog and Leslie-treated Hammond. The mellotron adds its ethereal choir-like effect, blending seamlessly with Lars' vocals to create a majestic soundscape that envelops the listener.

But it's the sinister turn halfway through that truly captivates, evoking the raw, classical sound of 90s Norwegian prog. The atmosphere becomes imbued with darkness and cold, reminiscent of black metal and dungeon synth influences, yet firmly rooted in the progressive rock tradition. Lars' trademark organ sound and tone brings the track to a haunting conclusion, leaving a lasting impression.

As a listener from New Zealand, the music's connection to Norway feels extremely relatable, adding an extra layer of depth to the experience, and at the same time it makes me think of the wilderness and ranges near where I live. I'd been eagerly awaiting receiving this CD and have been listening to it for the past two weeks before I wrote my review. I very rarely give out a 5 star on this website, but this one simply meets the mark and requirements of an essential masterpiece.