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Reviews

Arabs in Aspic — Progeria
(Karisma KAR201, 2003/2021, CD / LP / DL)

Arabs in Aspic — Far Out in Aradabia
(Karisma KAR202, 2004/2021, CD / LP / DL)

Arabs in Aspic — Strange Frame of Mind
(Karisma KAR203, 2011/2021, CD / LP / DL)

by Jon Davis, Published 2021-12-06

Progeria Cover artFar Out in Aradabia Cover artStrange Frame of Mind Cover art

Arabs in Aspic entered my awareness in about 2013, with Pictures in a Dream, and I’ve been listening to them ever since. With their albums being increasingly varied and progressive, it’s interesting to look back at the band’s beginnings, and Karisma has now reissued their early material, providing the easy opportunity to do so. Progeria goes all the way back to 2003, a four-track EP of 70s-flavored heavy psychedelic rock. At this time, the band consisted of Terje Nyhus (bass), Eskil Nyhus (drums), Jostein Smeby (guitar, vocals), Rune Stavnesli (organ), and Tommy Ingebrigtsen (rhythm guitar, theremin). It reminds me of a more traditionalist take on Porcupine Tree, backing the heavy riffs with Hammond organ instead of synthesizers. And there are touches of Hawkwind-style electronic noises as well courtesy of Ingebrgtsen’s theremin. At the times when the organ is most prominent, there’s a hint of Uriah Heep or Deep Purple. All in all, it’s a solid debut.

Far Out in Aradabia was their first full-length album, released in 2004. The only personnel change was Stavnesli stepping aside at the organ for Magnar Krutvik, though Stavnesli is on hand for mixing and the original mastering. The opening track, “Arabs in Aspic II,” kicks off with a great riff backed by overdriven organ, a powerful statement that this band means business. While the roots of the music remain 70s hard rock, there’s a more prominent spark of creativity, starting to define their own style. Krutvik adds the Korg Sigma to his keyboard setup, an odd machine that isn’t much used, and provides some string-like chords and occasional other sounds. The arrangements also feature sections of acoustic guitar, lending more variety and interest. To my ears, the side-long “Butterpriest Jam” fails to justify its length, being a series of riffs with solos that sometimes work and sometimes don’t, making the album a half-winner in my book.

Strange Frame of Mind brings us to 2010. The band had taken a two-year hiatus, and upon reforming featured Stig Jørgensen on keyboards and Erik Paulsen on bass, retaining only Eskil Nyhus and Jostein Smeby from the previous incarnation. The music takes a noticeable turn towards progressive rock at this point, and Jørgensen’s expanded array of keyboards is a part of that, featuring Mellotron and monophonic synthesizer in addition to the trusty Hammond. Further developments include the increased prominence of backing vocals in more sophisticated arrangements and more frequent use of odd meters in the music. Ironically, the departure of the second guitarist has resulted in more variety in the guitar parts, with Smeby utilizing more different tones and techniques. Listeners who favor progressive rock and enjoy this band’s recent work should enjoy Strange Frame of Mind, the beginning of their modern era.

Filed under: Reissues, 2021 releases, 2003 recordings, 2004 recordings, 2011 recordings

Related artist(s): Arabs in Aspic

More info
http://arabs.bandcamp.com

 

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