Origami
Arktika are a Norwegian seven-piece supergroup specialising in
a distinctive brand of leftfield avant-folk. Providing an ethereal
soundtrack brimming with avant-garde dynamics for nu-Hippies and
anti-scene revolutionaries since 1992, Origami Arktika have steadily
built themselves a niche within the burgeoning Norwegian underground.
This has contributed to a devout fan base across Europe and America.
Origami Arktika’s lineup consists of vocalist Rune Flaten,
Tore Bøe (Origami Republika), Kai Mikalsen (Kobi), Kjell
Runar Jenssen (Motorpsycho, Del), Kjell Øyvind Braaten
(Varde, Ehwaz), Kjell-Olav Jørgensen (Salvatore), and Bjarne
Larsen (Salvatore). ‘Trollebotn’, a 8 track album
weighing in at 49 minutes, was recorded in Vesleøy, an
island in the Seljord lake. The site overlooks a geographical
Tollebotn and in the immediate vicinity there are several Bronze
Age graves and a lake in which there is reputedly a sea-monster,
the Seljordsorm. ‘Trollebotn’ was recorded as much
as possible in an open air situation, to include the sounds of
the lake and wilderness.
The sound of Origami Arktika is one of
otherworldly splendor. It is not restricted by time, style or
fashion but instead is carved out of natural and timeless elements.
It is psychedelic pagan ritual folk for shaman revolutionaries
who live free of capitalist trappings. It is Circle at their most
tender fused within the aesthetic of Neurot Record’s best
post-rock bands. It is a warm, fuzzy and life-affirming sonic
brew which disengages you from the fast-paced, market driven world
outside your window. It is what a good soundsystem, a spliff and
a spare 50 minutes where created for.
The first thing that will hit you when
listening to this release is Rune Flaten’s unique vocal
styles. Sitting somewhere between a stoned Irish leprecon and
a youthful Norweigan Wizard, Flaten’s vocals will divide
listeners and may prove to be an off-point for some. Personally,
I found myself rather bemused by the vocal styles at first but
as the album progressed the vocals became more and more intertwined
within the music and drew me in (apart from the second track which
still makes me cringe). Opener, ‘Anne sit heime’ opens
with a subtle, looping and electric melody which is shrouded in
exotic mysticism. As Flaten’s soft vocals begin, the melody
acts like a magnet, attracting a synergising range of twings and
twangs from other instruments. As the track progresses, more emphasis
is placed on the melody and percussion, and tones are accentuated
to create a increasingly pressing and darker sounding soundscape
which develops into a subtle sonic-maelstrom of instrumental post-rock
dynamism. Really jarring and captivating stuff.
‘Fanteguten’ is a ghostly track
which lilts along a linear soundscape of percussive micro-motiffs.
Utilising a tinkling backdrop of what sounds like milk bottles,
steel triangles and chunks of wood, the group manage to effectively
distill the sound of the forest into an eerie and captivating
musical environment. Flaten displays an enchanting vocal prowess
on ‘Guro heddelid’ which sits on a subtle yet stirring
avant-garde backdrop of dark atmospherics, eruptive bass and clattering
instruments. ‘Sterke-nils døyr’ is an extension
of the previous track and sees the rich avant-garde tapestry morph
slowly into a more folk-rock orientated aesthetic. Images of a
post-war, space-age spaghetti Western wasteland appear in the
distance and start to drift closer as the percussion intensifies
and the guitar strings are plucked with more vigor. ‘Som
lindi bærer lauv’ is an undisputed standout track
with the band undertaking a remarkable showing of subtle restraint
which when combined with deftly crafted atmospherics and soft
drawn out vocals, results in 5 minutes of emotive majesty. The
thick three-dimensional percussion and rounded, meandering bass
sucks the listener into a warm yet watery netherland whose effect
is compounded with subtle shafts of melodic light and drifting,
heartfelt vocals straight from natures bosom. The closer, ‘Haugebonden’
is a work of shimmering beauty, existing in a dark timewarp spun
with gold. Flaten’s deep vocals are haunting and the vocal
tones are drawn out over the twinkling, propulsive melodies, to
mesmerising effect.
With ‘Trollebotn’, Origami
Arktika continue successfully on their mission to carve a beautiful
and emotive soundscape brimming with captivating dynamics, exotic
experimentalism and enchanting melodies. The recording strategy
has contributed to a wide and warm soundstage which has successfully
allowed the beauty of the natural surroundings to seep in to the
recording. ‘Trollebotn’ demands the listeners attention
and sucks them into a state of paralysis, where they and the music
exist in a state of oneness, disengaged from any outside influences.
(KS)
For
fans of: Experimental anti-folk, Circle
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