[Apollon Records, 2019]
Intro: Petros Papadogiannis
Translation: Alexandros Mantas
Any release from Apollon Records predisposes us that something good this way comes plus that we will get a god dose of experimentation. In this case, Glutton themselves raised the expectations for the next album back in 2017 with their magnificent album Outliers and at the same time sent us checking out their truly interesting debut album Parts of Αnimals (2013).
The members of Glutton engage themselves in projects that revolve around underground post-rock. The trio from Oslo consists of Eirik Ørevik Aadland (guitar, vocals), Ola Mile Bruland (bass) and Jonas Eide Hollund (drums). Assorted musicians on wind instruments, samples / programming and percussions complete the picture of Eating Music.
One more Norwegian band is established
The 48-minute album includes nine compositions, three of them being brief intros. The lead-off is almost 10 minutes long and it is a powerful prog gem that verifies the band’s ability to throw in alternative influences while keeping the technical level of the composition intact. The beginning of the song is reminiscent of Mars Volta and At The Drive In, the back-to-back solos will set the stage for the wind instruments that will accompany the chorus Blue skies, sore eyes, we’re twin souls, it’s a blur, and thus the climax is accomplished.
The musical references to Jaga Jazzist (ergo Motopsycho of their mid-era), but also the modern approach of Norwegian scene to jazz are expanded in the ten minutes of The Tomb of the Unknown Ontonaut.
Pinhole is a magnificent post-rock composition, only that it is enriched with solos and touches from wind instruments and wonderful falsetto vocals. The well-crafted vocal melodies and the sophisticated vocals, which is the band’s long suit, turn the song into a blast. We should stress here that there are no compositions in Norwegian language like some songs in Outliers. While I do enjoy the Norwegian language, its absence didn’t rub me off.
Eating Music functions as an intermediate song for the three songs that follow where the style of the album takes a new slant to a surprising degree. The beautiful choral intro of Future Blue gives way to a style that engulfs influences from electronic music and post rock in equal doses. Prog takes clearly a back seat while the space atmosphere that the approach of Glutton possessed, now manifests itself mainly though keyboards and programming instead of effects and the guitar playing. They are nice compositions with excellent drumming, yet my favour shifts to the first part of the album, namely the first three songs. Space and Our Hearts that bookends the album with this magical space atmosphere and the samples in the middle is the pick of the bunch in this ‘second’ part of the album.
Glutton are one more gem of the Norwegian scene. It is this rare approach coupled with skills that renders them so important; blending ideally 70s prog rock with 00s post rock, contemporary jazz and electronic music.
8 / 10
Norwegian prog bands stay away effortlessly from typical progressive paths and Glutton are no exception to this rule. Their music is clearly adventurous and diverse. Even though they don’t square the circle, what they do is rooted in the true essence of the word “progress” while it remains deeply rock at all times. Describing their style is not an easy task since they have absorbed completely their influences. Their rock stems mainly from the indie and alternative of the 80s and the 90s, but also neο-psych. Yet, their playing is quite precise and tight with evident jazz background and a tendency to the math end of the post-rock spectrum. At some parts the guitar and vocals are up front, whereas at others the guest string instruments take the helm. Eating Music is a truly interesting release, obviously Norwegian in style which could be a lost collaboration of Motorpsycho with Norwegian jazz musicians; and this is a high compliment, for sure.
8 / 10