I had discovered the Norwegians from 'The Windmill' with their 3rd album 'Tribus' which dates back to 2018 and they are back with 'Mindscapes' which is shorter than the previous one but which takes up the same construction with a long development of more than 20 minutes and three other shorter compositions. Entirely written and composed by the group's keyboardist, 'Jean Robert Viita', we find the style of this band that takes us into symphonic progressive music, taking us back to the 70s and the bands that I mentioned in my previous column are still relevant with 'Jethro Tull', 'Barclay James Harvest' and 'Alan Parsons Project'. Sound-wise, it's flawless as always with 'Karl Groom' ('Threshold') at the controls who took care of the mixing and mastering.
Of course, it's in the centrepiece that begins the album that we find all the ingredients of an inventive symphonic progressive with many changes of soundscape throughout the 22 minutes of this musical block that requires several listens to really soak it up: after an instrumental introduction that could be a mix of 'Arena' and 'Pink Floyd' combined, the melodic theme begins softly on the piano and the vocals Erik Borgen' shows a calm face filled with beautiful serenity offering a unifying chorus with very beautiful vocal harmonies that will be used in all the sung parts. The rest alternates between instrumental sections in which the flute of 'Morten Clason' brings a bucolic side to the 'Jethro Tull', 'Jean Robert Viita' not being left behind with delicious interventions on the keyboards, and harmonious sung parts, 'Erik Borgen' being always very delicate in his singing: in the end, 'Fear' is a magnificent moment of symphonic progressive that takes us on a very beautiful relaxing and melodious journey. The other three titles necessarily bring less progressive but all keep very beautiful melodic lines with beautiful vocal harmonies: 'Calton Hill' rolls out a rhythmic melody while having a relaxing face, a bit like some very cool atmospheres of certain tracks from 'Santana'. 'I Still Care' follows with a first part presenting a calm atmosphere in which the piano/vocal duo of 'Jan Robert Viita' and 'Erik Borgen' works wonders and makes us climb nice and warm on a cozy little cloud, the flute of 'Morten Clason' adding to this feeling of serenity, then, halfway through, the title gains momentum while keeping the same rhythm and the same relaxed atmosphere, the vocal harmonies being beautiful. We come to the end of our journey with 'Nothing in Return' which is very 'Jethrotulllian' by the flute of 'Morten Clason' and which also flirts with the side of 'Led Zeppelin' with its well-marked and majestic tempo à la 'Kashmir', the melodic side being always present and bringing an immediate accessibility.
In summary, 'The Windmill' continues to perpetuate a very pleasant symphonic progressive which revives some memories for all those who knew the period of the 70s of this style, and 'Mindscapes' comes to add to the already numerous quality releases of this year 2024 by offering us a new album to enjoy quietly with headphones on the ears because, icing on the cake, the Norwegians have once again done everything to offer us an irreproachable production... | |
