Man, those Norwegians really know their prog, huh? Bands like Wobbler and Arabs in Aspic have been leading the way in blending aspects of English, Italian, and even American progressive rock into a unique style that emphasizes all the best parts of the genre while also holding fast to their own traditions. Karisma Records has long been the premier label for this music, and it’s probably how I discovered Jordsjø. The duo (I’m still wrapping my head around the fact this is two guys) have been putting out music since 2015, but their latest Salighet is my first exposure to them. It won’t be my last.

The most immediate comparison when introduction “Invokasjon” comes on is Jethro Tull in their prime, probably a large reason I’m so drawn to both the band and the album. The guitars have that angular muscularity that’s an hallmark of Martin Barre’s playing, and the flute and acoustic strumming can’t help but recall Ian Anderson. The fact that this is the creation of Håkon Oftung (Vocals, flute, guitars & keys) and Kristian Frøland (Drums & Percussion) is incredible to me. “Sankeren” is everything I want from this kind of music: the riffs are solid and twist in surprising directions, the production is sumptuous with a large soundstage, and the solos are fantastic. Offing’s vocals are light, bordering on ethereal at certain moments, and the sections where he build harmonies are luxurious. The extended solo sections are great at showing off both members’ musical chops, but at least here I came away really loving Frøland’s drums – not only is he a phenomenal technical player, but they sound MASSIVE. No expense spared on the production side of the house, which is vital if you’re making music with this level of complexity.

The title track is split into two parts, with “Salighet I” being a stately affair, Oftung’s processed vocals bouncing against a regal march of a tune that gradually softens its pace for some lovely acoustic guitars and woodwind work (those could be keys; the liner notes for the album are not only in Norwegian, but use gothic lettering making it almost unreadable). “Salighet II” is a little more laid back, allowing more of the orchestration to take center stage, with the track and the side ending in the pastoral and rustic clinking and clattering of percussion.

There’s a layer of unease with the opening of “Ura” which leads off Side B of Salighet. Again Oftung processes his vocals and the music takes on regal aspects that remind me of vintage Tull, but also some of the better Italian prog from the 70s. Drums are again amazing, as is that guitar tone – very crisp and sharp without sounding brittle or thin. Dynamics are superb: Jordsjø know when to apply some drama and when to pull back, letting the more restrained moments act as a counterpoint to the exciting musical set pieces. It’s funny that “Danseritualer fra Jordsjø – Prosesjon & Ekstase” – by far the longest title on the album – is less than three minutes long, but it’s still a fun, bouncy interlude, full of great flute playing and a really nice bass sound. Also more fantastic percussion from Frøland, giving a bit of a Santana flair to his playing. That only leaves the real epic of Salighet: the 10 and a half minute “Stjernestigen”. Opening with some stirring grand piano, the song slowly takes form, gentle pastoral sounds and percussion matching the more somber tone the vocals take. There’s some Moody Blues and even Pink Floyd in the instrumental sections, and now that the word came back into my head I wonder if Oftung’s vocals aren’t going through a Leslie cabinet to achieve that effect?

When all is said and done Jordsjø impress mightily with Salighet. The sonic impression left behind is one of being outside, traveling worn and new paths through forest and mountain trails without being overly romantic about it. Really looking forward to digging deeper into their discography to find more gems like this.