After making his way into my musical world in 2009 with “Blod På Spora” he has established himself as a Norwegian Nynorsk singing artist of high quality.
One might safely say that Aadland’s version of Bob Dylan’s “Blood On The Tracks” was a revelation. And the quality has certainly not dropped on this year’s release. Now, I don’t know what border the hotel he’s writing this report is on, “Rapport Frå Eit Grensehotell” is also the name of the opening tracks. It’s dark and moody. Apparantly. With a wall of strings. Timpani and heavy bells. But it seems to lighten up eventually. Apparantly. I’m hearing traces of Plura Jonsson and Eldkvarn. Which goes for the whole album. Which is a compliment in my book.
“Songen Av Jorda” drives the comfort factor up again. A slightly lighter and looser song. With careful use of the pedal steel. He comes even more out of the tunnel and out on the open road on “Like Til Mi Dør”. And when I’ve already used one Kvitnes’ references, I can follow by saying that Aadland is not too far away musically from what the man from Halden is doing now. “Haust” takes the sound into another direction. A groovy ballad. Not far away from what The Band was doing. It’s almost like you’re waiting for Levon Helm to start singing after the Hudson/Manuel inspired Hammond intro.
It’s getting darker on the hypnotic “Alle”. Again a little bit differently. With a banjo as one of the leading instruments. With mass suggestion as a theme. In that regards, lyrics and music go well together. “Vel Av Garde” also takes a path of its own. A sparse, fine song. If you’re left with a digital copy, the running order will differ from what I’m writing about. That’s because my order has been carved out in vinyl.
He changes the game again on “Har Du Hatt Den Kjensla”. First song side two. It sounds almost like a lighter and more comfortable version of Thåstrøm and Imperiet in the mid-eighties. Probably with Aadland on bass pedals in the bottom. “Hud Mot Hud” gives me associations to our friend from Halden. Again, by the turn of things, a compliment.
“Einsam Utan Deg” drives on the darker side. Blues inspired Tom Waits groove. With many strange noises, but still with Aadland in great shape. He takes it down on “Oppløyst Og Medtatt”. Quiet song, but with great intensity. Almost a ballad. And I want this stated for the record: this is a great album!
“Farsfolket” closes the album. A bit more intense, the tempo turned up a bit, back in street of The Band. With a touch of gospel. In many ways a tremendously great closing. And without going deeper into the lyrics, which are good and elegant. Here in Norway you don’t get anything finer that artists singing in their mother tongue. There are abundant examples to the contrary, without going further into that. I find it more important to focus on the ones that deliver the goods. Like Aadland.
5/6
Roald Hansen, Firdaposten, 9 March 2015