The description of this as art rock and synth pop may not be to everyone’s liking, and I’m not entirely sure it’s to mine, but like all music, it’s about the quality of production, the experience and the connection, so let’s give this a go. There are connections between The Opium Cartel, whose third album this is, and prog band Airbag, amongst others. The main artist is the man behind White Willow and Telepath.
Lightweight and dreamy are how I would characterise “In the Streets”. These are the opposite of mean streets. Evidently the streets of Oslo are sugar-coated. The female vocalist had a nice voice and presents a childlike face. There’s a nice bit of sax but none of this is going to get you screaming with passion. “Slow Run” similarly has a certain charm but is really rather sleepy and dull. The little wave from the keyboard player accompanies the soft dreamy beat. The bass player provides a comforting underscore. We then go aerial with the synthesised “A Question of Re-Entry”. It bursts nicely into a heavier guitar solo before a soft landing.
I did read a comparison between The Opium Cartel and The Alan Parsons Project and Camel. It’s a long time since I listened to either, but from memory this is all more airy and pop-orientated. “Nightwings” most definitely has a synth pop structure. The interesting thing about this one is that the vocalist is 13 years old. And she does it well too. It’s harmless catchy pop, and I’m pleased to say has more depth than a Eurovision song, not that that’s much of a compliment. “Nightwings” was the hit single for me. “Fairground Sunday” has more of a sinister suggestion about it. The acoustic guitar makes the sounds of leaves falling down, and the light moodiness creates a reflective atmosphere. This could have gone further. Instead it is replaced by crass muzak, accompanied by the main singer. I’m not sure on what occasions you play this – “Under Thunder” is kind of reaching out to an innocent world but then you listen to the lyrics telling us “this will be your last dance, “this will be your way out”, so I guess it’s not so innocent after all. The air is filled with sophisticated melancholy and finally the dark sound of the drum. The mood continues with the sombre Gaelic-style dirge “The Curfew Bell”. Then came the stellar highlight of the album for me: a six and a half minutes instrumental called “A Maelstrom of Stars”. Through its calm expression and lush expanse, it takes our imagination to faraway places. Wonderful. Unfortunately I cannot say the same about the bonus track “What’s It Gonna Be”. It’s a sort of 1970s/80s new wave pop song done badly. Oh, well.
In all honesty, this wasn’t my cup of tea. Parts of it spoke to me, and especially “Nightwings” and “A Maelstrom of Stars”. It would be wrong of me to judge it on what I like. The balance for me is that on the one hand it’s insipid while recognising on the other it’s as advertised and leaving out the bonus track, well produced. There are a lot of talented artists who have contributed to this. I could never become obsessed with “Valor”, yet there is a message in there somewhere, and it’s more than just a bland accompaniment to everyday life. In the end I’d regard this as music for relaxation and reflection with a few little twists.
(6/10 Andrew Doherty)
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