With a name that may suggest a gore-grind band this is in fact a completely different kettle of fish and I may have got slightly out my depth taking this progressive rock outfit from Bergen to review. But perhaps feeling ballsy after seeing keyboard / backing vocalist Håkon’s other well-known group Enslaved live recently and fancying something a bit different, I knew that this was likely to be a challenging and complex listen which was also going to include a fair dose of jazz within the fold of its four epic tracks as well. I also noted that lead singer Stian Økland had recently launched an international career as an opera singer after graduating at the Grieg Academy so was intrigued as to what heady realms all aspects of the band’s third album was going to take me to.
Well after a delicate start of piano on first number ‘Hunter,’ moving on to pompous keyboard swaggers, bass and guitar groove, saxophone, rampant jazzy drumming licks and finally settling to melodious clean (but not operatic) croons, my head hadn’t quite exploded. It was certainly on the way though as for someone not exactly a ‘prog-head’ it’s certainly an acquired taste. Still there’s plenty to appreciate here as we get further into the diverse and ever-changing moods and movements of the music. There are examples of the confounding, all instruments going against each other that gives the music a heaving discordance. The sax is particularly persuasive and often dominates giving the music plenty of “swing.” Equally there are calmer and more genteel moments to ease down a little from the hectic heaving and the average length ten minute songs have long instrumental sections as the vocals take a break before suddenly clamouring back as the music rises to dizzying heights again. Apart from the beloved Cardiacs whose mania seeps into this track near conclusion it is the source of the era that enthused the Italian film scene that I find myself back in as the mystery laden keyboards of ‘Hydra’ take us down exploratory corridors. The memory of Keith Emerson ala his Argento Inferno soundtrack is strong. This develops into a neat chugging bass-line and a near space rock beat with the vocals beseechingly flowing alongside, the Deep Purple keys and swooning sax never far away. It’s like David Hemmings in Deep Red coaxing his band along although the much more knowledgeable label cites the likes of “Jaga Jazzist, King Crimson, Van Der Graaf Generator” as the go to bands for the more discerning explorer.
Sure, I have gotten lost as I have listened to this over quite a few spins but I expected that whilst growing to appreciate it all the more. ‘Karos’ has an otherworldly feel once the vocals swoop in and I could easily imagine Agnete M. Kirkevaag of label-mates Madder Mortem joining in here for a brief singalong. Apparently “It’s the end of the end” lyrically and the instruments noodle on in free fall. If it is the end it’s not coming before dazzling with myriad fast flowing shapes dipping and diving all over the place. A feel of pessimism and crying clowns is the next development due to the sombre circus call replicated like a sad elephant by the sax. However, it’s enough taking in everything else without trying to further establish exactly what the narrative here is all about and there’s the 13-minute ‘Sisyphus’ still to contend with. Anyone playing this on vinyl for the first time is in for a surprise as sudden bursts of noise abruptly come in like a needle skidding across the disc. It’s all confusingly there to contend with over the otherwise melodious licks and lounge-like temperament. From “nice” smooth Old Grey Whistle Test parts it suddenly goes into helter-skelter mania which is going to leave you hanging onto your hat and trying to dash along to the sax swaggering madness and then it abruptly calms the hell right down again. Well, I’m going to leave it here and hopefully having given a clumsy insight into what to expect leave the finale for you to discover.
Whether Seven Impaled have hit their Summit here is up for those of you who are more averse with their previous material to judge. I’ll leave them feeling somewhat bamboozled and although not fully understanding them, certainly appreciating what they have done here. I’m also sure those more into the genre would easily give this a higher mark than my somewhat cautious one.
(7/10 Pete Woods)
Leave a Reply