ALBUM REVIEW: Langt, Langt Vekk – Kanaan & Ævestaden
Norway is a country filled with dramatic landscapes steeped in history, mythology and folklore. It is something that has inspired the country’s musicians for millennia, and in the modern age its cities still continue to churn out incredible songwriters and artists that channel their traditional musical roots and are continuously innovating with them – one example of this is Einar Selvik & Ivar Bjørnsson’s Skuggsjá and Hugsjá albums. Two of these artists are the instrumental heavy psych trio KANAAN and the neo-folk trio ÆVESTADEN, who have collaborated on a deeply meditative and progressive album that combines jazz/psych with traditional Norwegian folktronica to create Langt, Langt Vekk.
KANAAN come from a jazz background that gradually moved in a heavier direction, where their last album Downpour being hailed as a captivating, intriguing and mind blowing example of stoner rock. Consisting of Eskild Myrvoll (bass, synths), Ask Vatn Strøm (guitars) and Ingvald André Vassbø (drums, speed Farfisa) the trio have become synonymous for experimentation and have certainly put their stamp on this collaboration. ÆVESTADEN are a neo-traditional folk trio who have become known for combining ancient Scandinavian instruments and folk songs with electronic music in a cutting-edge way. Consisting of Norwegian Eir Vatn Strøm (the sister of KANAAN‘s Ask Vatn Strøm) and Kenneth Lien, alongside the Swedish Levina Storåkern, the trio lend their intimate knowledge of ancient music and instruments to this collaboration.
From the outset Langt, Langt Vekk – which is Norwegian for “Far, Far Away” – is an album that defies definitive genre descriptions – it is an entity unto itself. Across its fifty minutes it serves up a smörgåsbord of reworked old, traditional songs and psalms alongside grand, ornate original compositions that demonstrates an overwhelming musical versatility. The album as a whole is also surprisingly coherent given the two completely opposing musical backgrounds of both trios. Fiddles, cow’s horn, kravik lyre, mouth harp, synths and vocal leads and harmonies are woven in between heavy guitars, driving bass and pummelling drums – all of which pushes the creative boundaries in the most amazing and fascinating ways.
Langt, Langt Vekk also defies any sort of written description, such is the magnitude of what’s going on in this album it is hard to put it into words that truly do it justice. One attempt at description might mean that it is the Norwegian lovechild of OZRIC TENTACLES and TUSMØRKE. Obscure comparisons aside, there is a real and tangible magic to this album. All the different sounds, textures and dynamics all coming together sounds abrasive at first, but as your ear becomes accustomed to the sounds it opens up this multi-faceted world where everything is more than meets the eye. There are plenty of surprises throughout this album and with each listen through you pick up something new and exciting. Yet it is also meditative, as the trio of voices in ÆVESTADEN often sound angelic and ethereal floating above the steady drum rhythms laid down by Vassbø.
The album opens up with Gånglåt Bortåt, which sounds like the intro to an old 1970s fairy tale programme for kids. Calm and whimsical it doesn’t quite prepare you for what is about to come. It leads into Habbor og Signe, which is a jaunty folk track underpinned by frantic jazzy drumming, the traditional instruments and Lien’s vocals really shine through here. This is followed by Fiskaren which is a lot more atmospheric, with a heartbeat pulse and low, moving synths underneath a mouth harp and fiddle duet it gradually builds with more avant-garde guitar passages being woven in between to create a deeply discordant atmosphere that makes you feel on edge. Title track Langt, Langt Vekk is a dreamy and psychedelic track with sombre female vocals over an OZRIC TENTACLES-esque psych song. Farvel is a lot more folky but feels eerie and ominous, with lonely vocals surrounded by sombre folk melodies guided by minimal drums.
Vallåt efter C.G. Färje is a nine minute epic sitting at the centre of the album. ÆVESTADEN provide atmospheric choral vocals that send tingles down your spine, while KANAAN kick things up and provide a masterclass in stoner rocks. Coming in with thunderous riffing and crashing drums, in a way this is the most conventional sounding song on the album. Hva har min Jesus gjort for meg is a brief a capella hymn interlude that leads into Dalebu Jonsson which has similar vibes to Gånglåt Bortåt. The album closes with the deeply meditative and ethereal Vardtjenn, this is a brilliant example of deep psychedelia with celestial voices floating over the top of spacious guitars and gentle drums.
Despite KANAAN and ÆVESTADEN being an unusual collaboration, Langt, Langt Vekk is ultimately a very ambitious album, it challenges how we integrate folk with modern musical styles and it is surprising how cohesive, experimental and progressive it is.
Rating: 9/10
Langt, Langt Vekk is set for release on 11th October via Jansen Records.
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