Fire of Unknown Origin

Raffaella Berry's progressive music journey

Feeds:
Posts
Comments
« Live Review: CuneiFest Rock Day at the Orion Studios, Baltimore – November 19, 2011
Live News: ProgLiguria Festival »

Gösta Berlings Saga – Glue Works (2011)

December 8, 2011 by progmistress

TRACKLISTING:
1. 354 (6:00)
2. Icosahedron (3:13)
3. Island (12:26)
4. Gliese 581g (6:16)
5. Waves (2:45)
6. Geosignal (2:09)
7. Soterargatan 1 (12:45)

LINEUP:
Einar Baldursson –  guitars
David Lundberg-  Fender Rhodes, Mellotron, synthesizers
Alexander Skepp – drums, percussion
Gabriel Hermansson-  bass guitar, Moog Taurus

With:
Mattias Olsson –  additional hidden & lost sounds
Fredrik Carlzon – French horn, trumpet
Cecilia Linné – cello
Leo Svensson – musical saw
Ulf Åkerstedt – bass tuba, bass trumpet, contrabass trumpet, bass harmonica

Hailing from the Swedish town of Vällingby, on the outskirts of Stockholm, and named after one of the masterpieces of their home country’s literature – a Gothic romance about a defrocked priest written in 1891 by Nobel Prize winner Selma Lagerlöf – Gösta Berlings Saga are quite different from the stereotypical retro/symphonic-oriented Scandinavian prog band. Their debut album, Tid Är Ljud, was released in 2006, two years after the band’s formation; however, it took their sophomore effort, 2009’s Detta Här Hänt, to put them on the map of the international prog community, garnering very positive critical attention. Glue Works, the band’s first album for Cuneiform Records , came out a couple of months after the cancellation of the 2011 edition of NEARfest, which would have been Gösta Berlings Saga’s first appearance outside Europe – an appointment that has only been delayed, as the band’s inclusion in the lineup of NEARfest’s final edition (scheduled for June 2012) was announced at the end of October.

Produced by Änglagård/White Willow drummer Mattias Olsson, Glue Works (the first Gösta Berlings Saga album to bear an English title) stands out even in a year characterized by a glut of impressive prog releases. Like the band’s previous releases, it is a completely instrumental effort, comprising 7 tracks running between 2 and 12 minutes, and, at a mere 46 minutes, shorter than either of its predecessors. Even a cursory listen to the album will make it clear that Gösta Berlings Saga do not need to fill a CD to capacity to convey their musical message, which hinges on cohesion, intensity and mood-building rather than copious amounts of padding. Though their sound displays an unmistakable Northern European imprint – blending mellowness and angularity with subtle brushstrokes –  and the presence of Mattias Olsson anchors the album to the Scandinavian prog “renaissance” of the early Nineties,  some distinctly modern features lurk beneath those Mellotron washes.

On a scene where, in spite of the “progressive” name, true originality is very often at a premium, Gösta Berlings Saga’s approach, while not forsaking the complexity that is synonymous with progressive rock, also relies on other factors to make an impact. Rather than hitting the listeners over the head with mind-boggling time signature changes and flashy solo spots, they balance the sheer emotional intensity of their compositions with a remarkably disciplined texture, where each instrument contributes to the whole instead of striving for the spotlight. With a classic configuration of guitar, bass, drums and keyboards augmented by cello, horns and some not so usual presences such as the musical saw and other assorted effects, the band produce an impressive volume of sound while keeping a tight rein on any temptation to overreach themselves.

Opener “354” develops from a main theme repeated in a tense, almost obsessive fashion, intensified by the piercing tone of Einar Baldursson’s guitar and David Lundberg’s sparse electric piano, building up to a climax whose hauntingly cinematic quality is emphasized by the eerie sound of the musical saw. Alexander Skepp’s forceful drumming, coupled with Gabriel Hermansson’s growling bass lines, propels the composition forward with a mesmerizing precision reminiscent of Univers Zéro’s Daniel Denis. This imperious, faintly menacing mood is reprised by the much shorter, but equally hard-hitting “Icosahedron”, whose wistful, autumnal-sounding piano bookends are offset by a jagged, slightly dissonant guitar solo.

It is with “Island”, however, that Glue Works really comes into its own. This towering, 12-minute wild ride – epic in the true sense of the word – packs a punch that is both emotional and intellectual, its relentless, wave-like surge reminiscent of post-rock/post-metal bands like Pelican or Ulver. The track opens with the steady, mournful drone of Cecilia Linné’s cello, bringing to mind Anekdoten and  creating that subdued, intimate mood so typical of “chamber rock”. Then lilting piano and keen-edged guitar add their voices to the heady instrumental stew, driven along by the commanding pace of the drums; the final section blends abrasive sounds with warmer, organic ones in an exhilarating climax. After such unadulterated intensity, the sparse, atmospheric texture of “Gliese 581g” (the name of a small planet in the constellation of the Libra) almost feels like a welcome respite; however, the track’s second half develops in a completely different direction, strongly rhythmic with razor-sharp guitar slashes.

Two short tracks, the atmospheric, synth-driven “Waves” with its solemn, almost tribal beat, and the tense, ominous “Geosignal” introduce the album’s final and longest number, “Sorterargatan 1” (named after a street in the band’s home town of Vällingby, and reprising a track featured on Detta Här Hänt). Though not as viscerally intense as “Island”, it is a dramatic slice of Crimsonian angularity interspersed with the imposing, martial stride of Magma, the powerful surge of the drums and bass bolstering the lead guitar’s unbridled exertions – until, all of a sudden, everything subsides, leaving the stage to sparse piano and gently chiming glockenspiel, later fleshed out by the addition of cello and horns in a poignant, melancholy-drenched coda.

With its minimalistic packaging and boldly eclectic approach, Glue Works manages to sound thoroughly modern without rejecting the influence of the “founding fathers” of prog. Indeed, it successfully marries the no-holds-barred intensity of King Crimson, Van Der Graaf Generator and Univers Zéro with the entrancing, layered textures of post-rock, achieving a nearly perfect mix of melody, atmospherics and aggression. Challenging without being inaccessible, impeccably executed yet devoid of self-indulgence, Glue Works is a must-listen for lovers of instrumental prog, and highly recommended to everyone else. Gösta Berlings Saga have established themselves as one of the bands to watch in this second decade of the 21st century, and their performance at NEARfest 2012 promises to be memorable.

Links:
http://www.gostaberlingssaga.se/

Share this:

  • Facebook

Like this:

Like Loading...

Related

Posted in Instrumental, Progressive Rock, Review | Tagged Alexander Skepp, Cuneiform Records, David Lundberg, Einar Baldursson, Gabriel Hermansson, Gösta Berlings Saga, Mattias Olsson, NEARfest 2012 | 4 Comments

4 Responses

  1. on December 9, 2011 at 2:20 pm Dave Streett

    You’ve convinced me I need to pick this up. Thanks!


    • on December 9, 2011 at 3:20 pm progmistress

      I am sure you will love it! Happy to see you around again!


  2. on December 11, 2011 at 8:46 pm Assaf

    Wonderful album, even though I prefer the first two (in particular the second one).


    • on December 11, 2011 at 8:55 pm progmistress

      I haven’t heard either of those albums, but will be sure to get them both at NEARfest! Hope you and your family are doing well!



Comments are closed.

  • Archives

  • Most Recent Posts

    • Romantic Warriors IV – Krautrock part 2
    • Romantic Warriors IV – Krautrock part 1
    • Not Your Father’s Prog – 2016 in Review
    • Zhongyu – Zhongyu (2016)
    • Deus Ex Machina – Devoto (2016)
  • Calendar

    December 2011
    M T W T F S S
     1234
    567891011
    12131415161718
    19202122232425
    262728293031  
    « Nov   Jan »
  • Categories

    • Acoustic (5)
    • Alternative (5)
    • Ambient (16)
    • Announcement (15)
    • Art Rock (25)
    • Biography (11)
    • Blues (4)
    • Book (2)
    • Chamber Music (10)
    • Classic Rock (18)
    • Concert (21)
    • Contemporary Academic Music (4)
    • Crossover (14)
    • Essay (11)
    • Festival (29)
    • Film (5)
      • Documentary (5)
    • Folk (14)
    • Funk (1)
    • Hard Rock (11)
    • Heavy Metal (2)
    • Instrumental (58)
    • Interview (12)
    • Jazz (12)
    • Jazz-Rock (51)
      • Fusion (20)
    • Live Album (2)
    • Math Rock (4)
    • New Age (1)
    • New Wave (2)
    • Poetry (1)
    • Progressive (29)
      • Avant-garde (10)
      • Electronic (8)
    • Progressive Metal (15)
    • Progressive Rock (259)
      • Canterbury Scene (24)
      • Krautrock (2)
      • Neo-Progressive (5)
      • Post-Prog (4)
      • Post-Rock (5)
      • Psychedelic (15)
      • RIO/Avant (44)
      • Rock Progressivo Italiano (RPI) (28)
      • Symphonic (24)
      • Zeuhl (4)
    • Review (239)
    • Space Rock (5)
    • Statistics (4)
    • Uncategorized (3)
    • Website (1)
    • World Music (16)
  • Blogroll

    • Documentation
    • Plugins
    • ProgArchives
    • Suggest Ideas
    • Support Forum
    • Themes
    • WordPress Blog
    • WordPress Planet
  • Friends

    • Alison Says
    • Alison's Column
    • Astounded by Sound!
    • Athos
    • Autopoietican
    • Bill's Prog Blog
    • Brett W. McCoy
    • Chi Va con lo Zoppo… Ascolta Buona Musica!
    • Feeding the Silence
    • GFreedom's Spot
    • Gibraltar's Prog Blog
    • Hanging Sounds
    • Having My Bass and Eating It Too
    • Hunnibee Reviews
    • Italian Prog Map
    • JezSpace
    • La Luna di Alfonso
    • Lo Scrittore Progressivo
    • MB – Music Box
    • Mindofthemasses
    • Music From the Other Side of the Room
    • New Prog Releases
    • Notes from the Wilderness
    • Pen and Think
    • Prog Is Alive and Well in the 21st Century
    • Prog Lessons ovvero… Cosa si prova ad ascoltare il Progressive Rock
    • Progressive Rock Moments
    • Progshine
    • Rockateca
    • Romantic Warriors
    • Scott's Music Reviews
    • Something for the Weekend?
    • SONAR
    • Strongprogress
    • The Bearded Blog
    • The Bodhisattva Beat
    • The Echoes Blog
    • The Epileptic Gibbon Podcast Music Show
    • The Leviathan
    • the Prog Space
    • The Progressive Aspect
    • The Rickter Scale
    • The Semi-Constant Ravings of a Musical Madman
    • The Sound of Fighting Cats
    • The Totally Subjective Classical Music Blog
    • Tye-Dye Dad
    • Udi Koomran – Guidelines for the Recording Musician
    • Wand'ring Again
    • West Coast Metal
  • Music Websites

    • Arlequins
    • DPRP – Dutch Progressive Rock Pages
    • MovimentiPROG
    • ProgArchives
    • ProgMontreal
    • ProgressoR
    • ProgSphere
    • Rockprogressive.it
    • The Progressive Aspect
  • Enter your email address to follow this blog and receive notifications of new posts by email.

    Join 139 other subscribers

Blog at WordPress.com.

WPThemes.


Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Follow Following
    • Fire of Unknown Origin
    • Join 139 other followers
    • Already have a WordPress.com account? Log in now.
    • Fire of Unknown Origin
    • Customize
    • Follow Following
    • Sign up
    • Log in
    • Copy shortlink
    • Report this content
    • View post in Reader
    • Manage subscriptions
    • Collapse this bar
 

Loading Comments...
 

    %d bloggers like this: