Trojka: I Speilvendthet

Scandinavian progressive rock bands usually extract the finer qualities of the classic prog days of yore, and morphing into nouveau platforms, brimming with refreshing attributes and harmonious components. Hence, this young Norwegian trio renews and revitalizes some of the routes previously traversed. And it's not all about endless soloing tirades and knotty time signatures that for many other bands, mask sub-par compositions and give the genre a poor scorecard. Thankfully, this group takes a bit of pride in their work, which is a positive attribute that surfaces rather expeditiously.

Even though the memorably melodic vocals are sung in their native tongue, it only adds to some of the exotic characteristics of this album. While at times flashy, the artists use discretion amid pleasant digressions and wistful melodic content. And Simon Ulvenes Kverneng's corpulent bass lines serve as a formidable anchor throughout

According to the personnel listing all musicians are credited with vocal duties. But keyboardist August Rise's attractive synth lines, crisp Fender Rhodes phrasings, layered approach and regal statements generate a few nods to vintage prog greats such as Genesis and National Health. As the trio's impact is balanced via congenial vocals, spiking rhythmic grooves and clustering motifs along with breezy unison lines and complex breakouts.

On "Drommelos," they execute a melancholic hook abetted by Rise's melodious keys driven primary theme, adjoined with straight-four pulses and an endearing storyline that caresses your soul. Whereas, "Alltid en gate," includes gentle acoustic guitar—although no one is credited playing guitar in the album notes—and a soul-searching vibe, dappled with a regal motif that augments this up-tempo ballad. However, the trio's earmark of success is patterned by a sense of oneness as they accent the joyful aspects of prog, armed with a multifarious game-plan that works exceptionally well.