It’s been three years since the 35 Tapes album, Home. Back then, when I reviewed that album on these pages, I described their music as “happy memories of the symphonic, melodic, pastoral prog, peppered with 12-string guitars, mellotron, the beat from tight drums and reassuring vocals”. With their third album, Fabric Of Time, now a year on the streets, we get more of this, but certainly not an album of the same.
You may be wondering why it has taken a year for me to write this review. Well, whilst it really has developed further, retaining the very 70’s feel (something the band has always aspired to achieve), it’s taken a long time for this album to chime with me. Don’t get me wrong, I have always liked the 35 Tapes output, but I now find myself at a stage in life where I am far more conscious of avoiding the extolling of huge virtues on an album in the early days of listening and then rather regretting it later. The opposite also applies…, where it would be very unfair to initially slate a release and equally regret it later when it turns out to be rather good… To be clear, Fabric Of Time is a good album, REALLY good…; it just took a little while for me to realise it.
Multi-instrumentalists Morten Lund, Jarle Wangen and Jo Wang retain their positions centre stage, but we see a change in the drum section, as Bjorn Stokkeland takes his leave and Kai Lundewall takes up the drums and backing vocals, ably supported by Andreas Eriksen who turns his skills to not just percussion and drums, but keys as well. They are a well honed band with exceptional attention to detail in their compositional and engineering skills. Retaining the gorgeous mellotron sound throughout, this album seems more keyboard heavy, with lashings of synth sound coming from both Lund and Wang. There are lots of grandiose epic sounds with some delicate passages that take the very best of early Genesis and reimagine those sounds from 50 years ago; there seem to be more expansive cinematic tunes with more than a touch of Scandi melancholy. It’s a very satisfying album length too, at circa 43 minutes.
The first track, Whistle For The Wind, has a powerful start, before vocals engage to take the track downbeat with delicate guitar strings and synth sounds for the main theme. There is a distinct change mid-track, taking a darker side to the musical story as the vocals take on a heavy echo quality and the crashing of drums and cymbals becomes more prominent with a gorgeous mellotron section that takes the track to a close. There’s also a very engaging YouTube video that joins all the themes together; very Floydian in approach (the Gilmour years) if you will.
Crawling starts with a very much more upbeat and cheerful tune, almost orchestral in nature, as it meanders through symphonic prog themes of 12-string guitars and any number of synthesisers and other keys. The vocals have a real fragility to them, followed by a more menacing path mid-track before returning to the melodic signature tune and a very 1970’s progressive end, reminiscent of Genesis’ Trespass.
Art Of Falling has a very downbeat and atmospheric start. The vocals seem a little strained, but there is fantastic rhythm throughout, with all manner of time signatures to create interest. The Biggest Lie immediately grabs ones attention with a delightful piano opening before developing into an engaging foot-tapping melody. The change in lead vocals is a welcome addition to the album, and it would make a great single to engage new listeners.
And on to the grand finale, The Fabric Of Time, the title track and their epic on the album at 13+ minutes. In my view, this is the best track on the album, with some very different instrumental themes, underpinned by some repetitive keys, counting out the beat in timely fashion. Cello from guest musician Tov Ramstad really stands out. And the recurring synthesiser tune that rings out at regular intervals really grounds the song. It’s a track that builds throughout and would be a delight to see live, with each musician given their time to shine, and the track finishes on a high reflective note.
I’m the first to say that I’m no poet and there is no easy way to say this, but the lyrics seemed to me to be somewhat strange and disjointed; some would say they verge on pretentious, unmemorable perhaps, and maybe this is why this album took some time for me to really appreciate. I’m not sure it is as good as their first two albums, but that is merely my opinion. The sound engineering is superb, with enormous spatial effects, and there are some delightful tunes in there. Yes, it’s modern progressive rock with its roots deeply embedded in the era of 50+ years ago. I have listened to this album many times, very many times, but it just doesn’t chime with me as much as their debut Lost & Found and its exceptional follow-up Home, perhaps save the title track.
It requires concentration, and it might not grab you at first, but persistence pays dividends. It’s too easy to overthink things as a listener. My bad, I’m afraid; just take it, play it and, if you like your Scandi Prog, I know you will enjoy it.
TRACK LISTING
01. Whistling For The Wind (8:30)
02. Crawling (6:49)
03. Art Of Falling (7:37)
04. The Biggest Lie (6:28)
05. The Fabric Of Time (13:28)
Total Time – 42:52
MUSICIANS
Morten Lund – Guitars, Lap Steel, Keyboards, Vocal
Jarle Wangen – Bass, Guitars, Vocal
Kai Lundewall – Drums
Andreas Eriksen – Percussion
Jo Wang – Keyboards
~ With:
Tov Ramstad – Cello (6)
ADDITIONAL INFO
Record Label: Apollon Records
Country of Origin: Norway
Date of Release: 13th October 2023
LINKS
35 Tapes – Website | Facebook | Bandcamp | YouTube | Instagram