In these times of winter championships it’s not easy when you’re suddenly asked if you’ve heard about Tom Roger Aadland. A good friend of mine did ask me just that a couple of weeks ago. I replied momentarily that I took no interest in long distance skiing, because I was certain he was one of those guys. But I was very wrong. My friend didn’t talk about winter sports at all, and he’s still a good friend, perhaps even more so now, after having turned my attention to this man. Because Tom Roger Aadland is a musician and songwriter of considerable calibre.
I’ve been in the company of “Rapport frå eit grensehotell” (“Report from a Border Hotel”) for almost two weeks now, and I’m still surprised by what kind of artist I’ve come across. Why in heaven’s name haven’t I heard about this man before? I’ve done some research and found out that his album debut was at age 43 with an English language album in 2007. Followed by an album where he interpreted Dylan in Norwegian. On his next record he did a Norwegian version of Waterboys’ “Fisherman’s Blues”, and his previous album was called “Fløyel og stål” and consisted as far as I know entirely of his own compositions. He is from Haugesund, sings in a Norwegian Nynorsk leaning dialect and is relatively well known in the southwest. I dare say he will shortly be well known elsewhere, for his new album teems with quality and style, with high-rate melodies and lyrics.
Without knowing it, I’ve been listening to a song by Aadland for the last weeks. “Like til mi dør” (“Straight to My Door”) is rotating on NRK radio these days, and I was certain this was a new strong tune by Tønes. The two have a few things in common. Aadland and Tønes come from the same part of Norway, write melancholic songs with strong lyrics, and both have just released new albums, so my mistake was understandable. When it comes to voice and style, the two are fairly different.
Aadland has his an expression of his own both musically and lyrically, and that is why I’m so completely amazed by his new album. Here comes a guy age 51, a guy I don’t know about, and delivers one of the best Norwegian language albums I’ve heard in years. And producer Lars Voldsdal, that has previously worked with Hellbillies and Madrugada, has done a fantastic job producing on this album.
The opening track comes slowly along, a seasick melody enters. And then I’m in the middle of a melancholic, rueful universe. Aadland reports from a border hotel and sings in the first verse: “The god for revenge and hatred rejoiced greatly where he was sitting”. It’s not at all unlike Thåstrøm in lyrics and music, the way he sounds on his last albums. A lot is going on in the background, the sound is huge and creates a mystical, almost threatening atmosphere. This is a brave introduction, many would rather have ended an album with this kind of song. It’s dark night, foggy and not very pleasant, but still magnificent, explosive and cinematic. The most powerful song on the album, and also the title track, sets the tone, but it is not fully representative for the rest of the album.
“Songen av jorda” (“The Song of the Earth”) has some of the same atmosphere, but is nevertheless more traditional. And Aadland is a steady wordsmith. He really knows how to write little stories into the music. “Like til mi dør” (“Straight to My Door”) has already been mentioned. The first radio hit from the album, and a song that should be his big breakthrough. A great pop song with a chorus that sticks like glue. This is a song you find yourself humming after one listening. And in the middle of the song he flirts lightly with pop psychedelia for a while. Damn good this, both in Roskilde and Berlin (hah, got you wondering now).
“Haust” (“Autumn”) is a little in Eidsvåg-land, and that’s not a bad thing. Beautiful harmonica solo and a very elegant instrumentation. It certainly sounds like this album is thoroughly worked-through. But according to an interview I came across with Aadland, the album was recorded in less than one week. It must have been some magical days, because this sounds incredibly great.
“Har du hatt den kjensla” (“Have You Had That Feeling”) is back to the atmosphere of the opening track. The music builds around Aadland’s voice, and everything is weaved together into a larger entity that works phenomenally. “Alle” (“Everybod”) is pure Americana, and one of the coolest songs on the album. The banjo is ticking in the background, the boys in the band join in on the chorus, and again the atmosphere is little threatening, with a sombre mood pushing in the background. Slightly paranoid lyrics about a slight Jesus complex. Rough tune and even cooler lyrics.
Things settle considerably in “Vel av garde” (“Well Off”), and here it strikes me how good a language Norwegian Nynorsk is for songs like this. A poetic and aching little song about someone leaving each other. In “Hud mot hud” (“Skin against Skin”) Aadland has moved into a cathedral. Lots of echo in the voice and again he sings about the life that was, relationships that fell apart and the inadequacy of the human nature. I’ve said it before, but there’s no escaping it. Aadland does remind me of Bjørn Eidsvåg, not the voice, but the lyrics and the sound. But to make it clear, in no way is this a copy of the old master. Aadland has his own voice and style, and should be reckoned more like a good colleague of Eidsvåg’s. Dare I mention that Eidsvåg is one of the bestselling artists in Norway. There is no reason why Aadland shouldn’t have a much larger audience after this album.
“Einsam utan deg” (“Lonely without You”) moves steadily along like a heavy freight train. Here Aadland is in the land of the blues, and doing very well there. “Oppløyst og medtatt” (“Dissolved and Shaken”), a clever pun in the title, is perhaps the album’s most beautiful moment. We are still out there in the blues somewhere. This is a song for dark nights, but absolutely no lullaby. Aadland’s universe is rarely very nice. There is existential angst, longing and close to dark night. And the lady took off long ago. But, damn, it’s beautiful in all it’s gloom. Here he incidentally reminds me of Lars Winnerbäck, perhaps the best Nordic artist over the last 15 years. I’ve been waiting for a Norwegian artist to match some of what Winnerbäck is doing, and Tom Roger Aadland is not far away here.
“Farsfolket” (“The Father’s People”) is the last track of the album, and I’m fairly certain that Aadland should choose it as his next radio single. For like “Like til mi dør”, this is one of the album’s most immediate songs, with perfectly cast lyrics. A touch of gospel in the chorus, and at last a trace of hope. It’s time to set the direction home, time to turn to your father’s people. Damn, this song gives me goose pimples. A great closing.
Producer Lars Voldsdal plays a very important part in the this release. He has created a sound that is perfect for the song material. This is a man that has worked for many years with Madrugada, Hellbillies and Sivert Høyem, and here he really proves what he’s capable of. The album simply sounds brilliant.
I should also say something about the band. Kjetil Steensnæs on guitar and pedal steel, Tor Egil Kreken on bass, Erland Dahlen on drums and David Wallumrød on keyboards. These are guys that know what they’re doing and in every way contribute to this musical feast. What a great bunch this is.
Tom Roger Aadland has with “Rapport frå eit grensehotell” delivered a thoroughly impressive album. I have found a new Norwegian voice that will stay with me during the spring, and that I will definitely follow closely in the time ahead. If he plays near you, you should go, and the album, you should check it out right away. Tom Roger Aadland is here to stay.
Dust of Daylight, 5 March 2015