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Forever Comes To An End (White Vinyl)
This is the second solo album from Bjorn Riis, the guitarist and mastermind behind the Norwegian band Airbag. If you are familiar with Airbag you know that they are heavily influenced by Pink Floyd with perhaps an injection of Radiohead tossed in for good measure. Riis' first solo album wasn't all that different from Airbag. With this new album we find him branching out a bit more. The music still has that Pink Floyd vibe to it but Riis' playing doesn't sound exactly like David Gilmour. He's stretching out tonally and stylistically. The music seems to have a more cinematic feel. His playing has a bit more heaviness in places and tonally he's doing more of his own thing. Once again he's helped out by Airbag members. If you are a fan of Airbag and Riis in general you'll love this. He's not simply repeating himself but the core is still there so if you like what he did in the past you should grab this. HIghly recommended.
"I’ve made no secret of my ardour towards the music of Airbag on this very blog. The Norwegian progressive rock band is a powerful entity with a knack of penning emotional and deeply engaging music, which comes across as smooth, rich and effortless. Nowhere was this evidenced more strongly than with their most recent studio recording, ‘Disconnected’, released mid-2016. It was magnificent.
Naturally then, how could I resist checking out the latest solo effort from Airbag’s principal song writer, Bjørn Riis? I completely missed his debut solo album, ‘Lullabies In A Car Crash’ because I was unaware of its existence. However, I wasn’t prepared to make the same mistake again. And I haven’t. I have spent the last few days getting to know ‘Forever Comes To An End’ quite intimately and it was a very wise decision to say the least.
It is fair to say that there definite and demonstrable similarities between the music on this record and the general output of Airbag. That’s hardly surprising really, because melodious and serene progressive rock is clearly in the genetics of Riis. Additionally, the album features the talents of Airbag’s drummer Henrik Fossum and programmer Asle Tostrup, who, alongside pianist Simen Valldal Johannessen (Oak) and Norwegian singer, Sichelle Mcmeo Aksum, both bring their own familiar approach to the table.
But, to refer to ‘Forever Comes To An End’ as a complete Airbag clone would be unfair and a little inaccurate. For a start, I would venture to say that Riis’ solo work features heavier passages of music than Airbag, certainly for more prolonged periods of time. As such, there are more pronounced peaks and troughs within some of the compositions, thus creating a sense of increased drama.
Take the opening title track as the prime example. It begins in commanding fashion, jam packed with strong riffs and an abrasive, tumultuous feel, something that returns at intervals as the track develops. But in between are the more archetypal soothing passages where Riis is able to put his guitar at the forefront of the composition, allowing it to embellish the composition as only he knows how, via plenty of emotive and soaring leads. It becomes almost a second vocalist at times, such is the eloquence with which it ‘sings’ atop some simple but memorable melodies. It’s no wonder Riis has been compared to the likes of Dave Gilmour throughout his career.
‘The Waves’ is a beautiful track that further showcases Riis’ ability to build compositions from quiet beginnings to rousing crescendos and back again, all built around resonant melodies that linger long in the memory. By contrast, ‘Getaway’ is pulled along brilliantly by a driving beat that’s entirely infectious, delivering something tangibly 80s in tone, although I can’t quite place why I get this feeling. No matter, it’s a cracking track, worthy of the entrance price alone.
Another key difference between Airbag and Riis’ solo work is the increase of music on ‘Forever Comes To An End’ that is clearly inspired by film scores and the cinema.
This is an aspect of this album that I have embraced wholeheartedly and which makes it so powerful in my opinion. The seeds are sown on the bleak and moody ‘Absence’, a track that brings the striking cover artwork (Kjetil Karlsen) to life. As the composition builds, so does the drama, enhanced by the wonderful aural textures created by Johannessen’s piano and Tostrup’s all-encompassing electronics.
The cinematic seeds then grow via the stunning instrumental ‘Calm’ only to thrive and ultimately bloom within ‘Winter’. It is the longest track on the album, thus allowing a culmination of all of the various elements of the record to come together, from controlled bombast, to post-rock minimalism, to progressive and cinematic and everything in between. The ethereal vocals of Sichelle Mcmeo Aksum are a striking addition here too.
Given that the album’s lyrics have been inspired by ‘broken relationships and loss and the emotional duality between resentment and forgiving’, it will come as no surprise that ‘Forever Comes To An End’ has dark and poignant overtones. If you’re looking for music to party to, this isn’t for you, put it that way. For me though, the lyrics fit the aural soundscapes perfectly, offering a strong and demonstrable human angle. Closer ‘Where Are You Now’ underlines just what fragile things human emotions can be, in the process ending the album in impressive, near tear-jerking fashion.
Whether or not ‘Forever Comes To An End’ will eventually eclipse Riis’ work with Airbag remains to be seen. If I had a criticism, it would be that I wish it was longer. At just seven tracks, it feels just a touch on the short side. Regardless of this minor quibble, this is a hugely impressive body of work in its own right and deserves to be enjoyed as such. ‘Forever Comes To An End’ is a no-brainer for anyone who enjoys expertly written and professionally executed progressive rock where textures and emotions are as important as the complexity of the music." - Blog Of Much Metal