2024-02-06 20:15:14
On An Island: For his current studio album, Sivert Høyem invites you into contemplative isolation in the former ghost town of Nyksund, left behind by industrialization.
There, relatively isolated from a world that has started again after the pandemic, and in which the revived ones are also participating Early morning Taking part, Høyem has sound engineer Bjarne Stensli as well as the musicians Christer Knutsen (which is why the boundaries with Sivert’s regular band are now softened not only in terms of style, but also in terms of personnel with tastefully accentuated drumming and well-heeled baritone guitar at the center) and Børge Fjordheim as a backing group recorded a spare solo record in an old church, whose melancholy and melancholy transcend in an almost light-footed mist of reverb, creating a gently welcoming charisma in their simple and serene disposition.
The open, calm guitar pads in the title track opener sound almost ambient, into which Høyem’s exceptional, ethereal voice lies thoughtfully, while the action is gently integrated into the band’s feeling of being played with their eyes closed, the fabulous Two Green Feathers spreads its majestic grace sadly and unobtrusively and later too Aim for the Heart as romantically contemplative crooning represents something like a comfort zone brush for the Norwegian, without distractions from outside or dreary resignation from within.
In these pieces, as well The Rustwhich, as the heart of the album, takes almost 8 minutes to establish the solemn grandeur of a graceful rock song in harmoniously bowed dignity, Høyem conjures up secret beauties, even if this time he doesn’t have any supersongs (like last time, for example Queen of My Heart or Nobody Loves You Like I Do) succeed because there are no significant creative points of friction On an Island Overall, it seems more inconsequential and inconspicuous than it actually is.
Which is also ensured by the solidly convincing final third of the record, which doesn’t get to the point Keepsake as thoughtful thoughtfulness dreams over a sparkling repetition, Now You See Me / Now You Don’t stoically waltzing, almost more powerful, is immersed in the group dynamics or Not Enough Light strides along in a conciliatory manner and finds with Fidel a vague idea of the post-apocalyptic panorama in the prairie (and thus closes a circle When Your True Love Is Gone with its sketched Americana drama and its introspective, comfortingly meandering solidarity In the Beginning carefully opened into a homogeneous whole).
However, the amplitudes in the dynamics remain a little too uniform and encompassing, and the ultimate consequence of fulfillment is usually missing. It’s always touching and pleasant to watch, but it’s rarely moving or emotionally stirring in a really intense way. If in doubt, Sivert Høyem’s seventh solo album is not a highlight work for the deserted island – but an intimate retreat for hearts that need balm.
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