Hot on the heels of 2023’s excellent Turist i Eget Liv, Norwegian jazz rock combo Actionfredag release Lys Fremtid I Mørke, which translates as “Bright Future in Darkness”, a fascinating title which, to me, rather nicely summarises a wonderful album full of contrasts, opposing styles, and worldwide influences. It is too easy to simply describe this act as “Canterbury”, because there is so much happening, a joyous fusion of styles.
The band themselves describe this as a life-affirming prog salute inspired by British brick buildings, Sundborn paintings (I believe this is a reference to Swedish artist Carl Larsson, who painted his home and garden in Sundborn), and vintage Norwegian children's TV, all coinciding with the rerouting of Oslo's buses.
Released in December via the exceptional áMARXE label, you can cop hold of this album at https://amarxe.bandcamp.com/album/lys-fremtid-i-m-rke
Okay, let’s discuss the ten tracks. The opener is Angst Oppå Bordet (Anxiety on the Table), which is very heavily influenced by Swedish symphonic rock – think The Flower Kings in their more eccentric jazz infused moments, and you won’t be far off. The disparate notes provide for a real sense of fear, akin to the type of anxiety attack common in sufferers such as I. A solid start to proceedings.
What a title Dalai Lama’s Five Dollar Mamas is, and the second track is the first of two parts, a far more playful piece of music with some bouncing keys and jaunty percussion. It is embedded below. When Katrina Lenore Sjøberg enters with her unique voice alongside the swirling flute, I am transported back to the halcyon days of late 60’s and early 70’s Britain – think James Bond movies made at this time, and you get the scene.
Karesuando Camping refers to a locality in the far north of Sweden. There is some delightfully delicate guitar and percussive work on this, with the gorgeous vocals conveying a sense of eternal bliss.
Planet Bygningsetaten refers, I believe, to the planning authority in Oslo, and I don’t think the reference is a particularly complimentary one, perhaps like a lot of bureaucrats, they seem to live on a different planet to the rest of us (he says as a lifelong civil servant himself!). Martin Hella Thørnquist provides his voice on this with Sjøberg, a form of commentary set against a jazz infused almost angry set of chords, the drums and percussion noticeably harder, and some very strong guitar work driving matters along, although the final minute does bring back that sense of 60’s swinging London.
I refrain from guessing what Cloudboy Blidbop refers to, perhaps a tv character? I have embedded this fine track below. This is a lovely pastoral opening, the guitar, keys, and bass melodious and thoughtful together in perfect harmony. I just adore the dreamy impact this has upon me, even when we get an expansion in noise levels a couple of minutes in, those vocals again taking me back to a country far removed from the one I live in now.
Ping Pong Lovesong is a short bonus track available on the CD version. It is a lovely guitar solo which I think could have been longer.
The second part of our Dalai Lama epic follows this gorgeous interlude. It is frenetic, the sound of a collective utterly at ease with itself and its music, a wonderful upbeat jazz fusion track featuring guitar licks which make you sit up and take notice, especially when just over a minute from the close we get a distinctly heavier and harder edge to the music which creeps up on you without you noticing. There is some great flute work here before we hear recorders when the track takes on a medieval denouement.
Ja Noir translates as “yes black”, and is another heavier piece, very dark in its riffs and intensity in the opening sequence, the chords still dark when the noise levels diminish with interplay between keys and guitar, Sjøberg providing a mysterious set of vocals, reaching, incidentally, high notes you would think are beyond the human range.
Slipp Ivar Fri (Release Ivar Free) is a thoughtful piece, which I have embedded at the foot of this review. It has more of that bygone British feel, there is some fine drums by Espen Fladmoe Wolmer which introduces a killer guitar solo as the piece moves into heavy psychedelic art rock territory in a huge slab of music which then explodes leading to a joyful noise (the release?).
Litt Mye translates as “a little bit a lot”, so again the contrast. It is a short piece infused with early Floydian sensibilities against the backdrop of children happily playing on the beach. Another welcome interlude piece.
We close with the exceptional Thank You Kleveland. It is expansive, it is quite lovely in an anthemic sense, the perfect close to a set well played and appreciated by its audience. There is a gorgeous violin by Åsa Ree as the track develops orchestrally. This piece is worth the entrance price alone.
It is safe to say that the reputation for quality music the debut album gained this band has only been enhanced by this wonderful follow-up, which gives up more of its secrets and delights with each listen. Very highly recommended.