Possibly the last place you would look for authentic-sounding Americana music would be Norway. However, let me introduce you to The Violent Years, a band based in Mandal on the southern tip of Norway and their latest release, out now, on Apollon Records, Blizzard / Sunshine, a fourth album in a catalogue that began with an EP release in 2008 ahead of their debut album Trying to Get Over in 2012.
The style of music on Blizzard / Sunshine is instantly recognisable. It leans in more towards country and folk elements, with acoustic instruments to the fore, eschewing more regular rock sounds, to create what I would class as an introverted version of Americana, compared to other extroverted, foot-stomping examples. Rich vocal harmonies using male and female voices are used to magnificent effect, with the lyrics depicting wry observations about love, using day-to-day scenes and situations to illustrate the challenges of navigating through relationships.
On the first few spins of this album, I was taken in by the originality in the musical arrangements and the quality of the song-writing, but I have to say that although I still enjoy listening to it, on closer inspection I do have reservations about the presentation of the setlist, it being a series of slow tempo songs. I’d say that this is an album that requires your attention to get the most out of it, and you may need to be in the mood for something a bit downbeat and thought-provoking in order for it to engage you completely.
So don’t expect track one, Heart and Soul, to burst out of the speakers. It is a delicate and very slow-burning opener. In this case, however, it’s much more than an overture. A metronomic beat is accompanied by keyboard and violin and the vocal lines are more spoken than sung. If the unusual, atmospheric opening bars don’t hook your attention sufficiently then the first verse surely will.
In companionship with you
I want your heartbeat in synch
With mine and everything”
A warm couplet is followed by a sentiment that hints at obsession and the whole effect is quite stunning. The male and female vocals introduce the idea that there are always two sides of the story and the unresolved tension in the relationship that the lyrics illustrate so vividly is emphasised as the song plays out with two soulful but distinct and discordant violin melodies.
The title track that follows opens with a bar room piano and this song more than any other on the album flies the flag for this band’s version of Americana. The anthemic chorus and jingle jangle guitar sound is spot on, and the band add their own personality with percussive elements and subtle Knopfler-esque guitar phrases. To be honest, this is a song that, despite its infectious and engaging rhythms, doesn’t quite take off in the way that it promises. Maybe this is the Nordic influence coming through, but throughout the album the restraint is palpable. The music is always fascinating, surprising and innovative (progressive?) but it does lack any unbridled joy.
Come to me Lover is the lead single from the album. It has a Leonard Cohen feel to it, with Kenneth Bringsdal having a similar deep voice, delivered in the space between crooner and poetry reader. It’s a doleful country ballad, the male character of the song once again treading a fine line between a romantic appeal and more over-bearing obsessive beseeching. The accompanying music, based around a beautifully restrained electric guitar / slide guitar performance, is sparse and the overall effect is commendably dramatic.
Track four, The Calling, has a similar vibe, and message, but this time the vocals in particular tell a more emotional and engaging story. The music is sparse, again, but violin and piano parts are used effectively to drive some momentum.
Light in Here features acoustic guitar to create a ‘lighter’ mood, and engaging harmonies from the female vocalist. There is a redemptive ending that for a brief moment lifts the mood. The end part of this song may have been an opportunity to flex some musical muscles but it fades away and the effect is more of a shaft of light than a blast of sunshine. Garden Party is back in full Americana mode, with a melodic nod to Tom Petty’s Mary Jane’s Last Dance. The swing beat is a nice variation but the pace of the song is still pedestrian. The spoken word section at the end is a nice touch, accompanied by swirling violins, but once again, it seems like the atmosphere and feel that the band wants to use to portray in these songs is not so engaging for the listener.
Our Love is a short acoustic song with multiple layered and harmonised vocals. It’s another enjoyable variation of the band’s original take on Americana but usually these interlude-style songs are a moment to reset a mood, to bring a bit of calm, whereas in this case it’s pretty much more of the same. Saturated is an expansive story-telling song, seemingly inspired by the Eagles. Its theme is melancholy and hopelessness, so it goes without saying that it is downbeat. ‘Her’ has a more optimistic and upbeat theme but it’s set in the same musical context. There is a hint of late-night jazz about the arrangement and enjoyable ascending phrasing but not quite enough of a spark to differentiate it from the rest of the set. To close out, Waitress is another song set in a particular time and place, conveying one of those moments of tension that can surface at unpredictable times. This is an art-house cinematic set piece with the concise and descriptive nature of the lyrics, and it says a lot in its short span.
I love listening to the songs on this album but reviewing it has seen me tearing my hair out, swinging from one end of the satisfaction spectrum to the other. Taken individually, randomly appearing on my ‘Americana’ playlist, each song is intense, expressive and absorbing, and stand out on merit amongst comparable bands, but with the album taken as a whole the experience is less satisfying. There is a natural quality that the band exudes through these songs but the listener needs to be ‘in the moment’. Sometimes keeping it simple is the best way, but from such a capable and interesting group of musicians, in this case I can only conclude that this is a great set of songs that don’t seem to sit well collected together on an album.
TRACK LISTING
01. Heart & Soul (5:04)
02. Blizzard Sunshine (5:22)
03. Come To Me Lover (4:04)
04. The Calling (3:35)
05. Light In Here (4:34)
06. Garden Party (4:08)
07. Our Love (1:35)
08. Saturated (4:32)
09. Her (5:26)
10. Waitress (3:43)
Total Time – 41:33
MUSICIANS
Kenneth Bringsdal – Vocals, Guitar
Kjetil Sjølingstad – Piano
Jack van der Hagen – Double Bass
Lars Erik Humborstad – Lead Guitar
Eivind Thorsvik – Drums
~ With:
Guest Musicians – None mentioned
ADDITIONAL INFO
Record Label: Apollon Records
Country of Origin: Norway
Date of Release: 10th April 2026
LINKS
The Violent Years – Facebook | Bandcamp (Apollon Records) | YouTube | Instagram
