Weserbergland - 2022 - Sacrae Symphoniae No. 1

(39:49; Apollon Records)

Track list:
1. Sacrae Symphoniae No. 1 39:49

Line-up:
Ketil Vestrum Einarsen - synthesizers
Gaute Storsve - guitars
Maria Grigoryeva - violins
Jan-Terje Augestad - saxophone
Jörgen Mathisen - saxophone
Ingebrikt Haaker Flaten - bass
Vetle Larsen - drums
Filippo Tramontana - French horn
Manuel Domeneche - oboe


Prolusion.
In the rather vital and productive progressive rock scene that have developed in Norway in the last decade or so, Weserbergland have been one of the outliers for their focus on more demanding and challenging takes on progressive rock. "Sacrae Symphoniae No. 1" is their third studio album, and is due for release towards the end of February 20222 through Norwegian label Apollon Records.

Analysis.
As the name of the album implies, we are treated to a symphony here. Of sorts. Those with a theoretical knowledge of music may well point to a number of details here that can be traced back to or directly belonging to classical music too I presume, but as I'm a mere listener of music I will leave that specific task to other writers with a different perspective on matters than what I have.

For my sake I think this epic and eccentric creation is one that probably will find the majority of it's listeners among those who treasure music described in an avant and experimental context, as the almost 40 minutes long creation we are treated to here features many trademarks that will fit both of those descriptions.

From what I can hear, the classical aspects of this creation is mainly performed by noise textures of various kinds, with keyboards or synthesizers providing subtle harmonies weaving in between the textures that have more of a noise character to them. Brass and reeds come and go as atmospheric laden distant additions or as providers of details that have more of a jazz orientation and distinction to them, which of course also leads to passages with a blend of impulses from jazz and classical music, perhaps with a bit of chamber music too, but explored within what I'd describe as a noise-oriented context. The noise textures themselves aren't stark, grand dominant displays either, but a hovering presence adding a touch of static residing towards the edge of the audible more often than not. Sometimes as a direct presence, sometimes as the more or less accidental result of different instrument resonances. The dividing line between sound, harmony and noise  and what separates them may well be a discussion point among dedicated music nerds as far as this production goes too, with parameters here being subjective as well as objective.

Booming and driving rhythms is a part of the experience here too, a recurring element that come and go quite a few times, and is instrumental in providing the energy and momentum needed to drive this massive creation onwards and to maintain the attention of listeners who are given a lot of impulses to relate to, comprehend and digest.

Conclusion.
"Sacrae Symphoniae No. 1" is an impressive creation, and for anyone that regards music as mere entertainment this is a production that in my view can document that music is much more than mere entertainment and still is one of the creative arts. Perhaps and probably more art for the sake of art than art for the sake of the consumer in this case. But for those who treasure and adore art made for the sake of being art, and in musical terms compositions that are demanding, challenging and hard to digest, this is certainly a production to seek out for further inspection. This is experimental fare that to my  mind resides somewhere near the very heart of the avant pastures of progressive rock.

Olav "Progmessor" Björnsen, February 2022

Links:
https://www.facebook.com/weserberglandband/
https://www.apollonrecords.no/