It always amazes me when I stumble across an album that seems like it could appeal to everyone. Well, I didn’t stumble across Agropelter; their PR guy messaged me to ask if I’d heard it or not. So I gave it a shot, expecting something completely different based on the album artwork, but I soon enough realized that the artwork is indeed fitting, just not in the way I thought. The band’s debut album is called The Book of Hours and it released on July 25th.
Agropelter is the work of Norwegian composer Kay Olsen. He plays the keys, guitars, and bass here. You will also hear Jonas Reingold (Steve Hackett, The Flower Kings) on bass, Mattias Olsson (Änglagård, White Willow) on percussion, Mellotron, and production, and Andreas Sjøen (Umpfel) on drums, along with a list of musicians on stringed instruments and woodwinds.
This is a special record, I think. The music here is progressive rock, but there is a haunting atmosphere that makes it feel not dark, but shadowy and alluring. You will hear lots of flute, church and Hammond organs, and synth that add character. You will notice, too, a pronounced classical influence, not just in violins, but in the very composition of the music. Yet there is a substantial amount of electronica in the sound, as well.
You see, this album might be progressive rock in style, but it’s nothing like most albums of that genre. It is often quiet, reveling in nuance and whispered notes. There are certainly several segments of grooving rock music, but most of them are wreathed with synth or organ to where a hovering sense of class and emotion takes the spotlight. And the album itself is structured more like a lengthy classical piece, beginning with shy flutes, advancing carefully into colorful rhythms, reserved sorrows, and storytelling vibes that feel more like movements than random songs.
But one other thing I’ve noticed is the theme of the album. I don’t know the specific influences, but this feels like an anti-war album. The title track itself feels like a clock ticking downwards, like time running out. There are somber moments throughout the record that feel like mourning, like respect for the fallen, like grief for lives taken too soon. There are no lyrics whatsoever, but these feelings come through starkly and potently.
The album begins with “Flute of Peril”, an effective two-minute intro full of atmospheric touches and guitar that feels more classical than progressive rock. It’s gorgeous. “Levitator” comes next and evolves at a calculated, careful pace with synth, bassy goodness, and electronic texture. I love when the drums finally hit, and yet my favorite part is the hovering church organ atmosphere that ends it. “Burial Mound” follows and is a sorrowful affair, like a moment of silence, full of softly dancing cymbal work, distant noodly bass, and sheer emotional weight.
The last four tracks make up the titular suite, and it will easily be one of my favorite songs of the year. It’s honestly somewhat difficult to describe, being more like a film score in some ways than anything else. Part I transitions from flute-laden lands to bright and beautiful rock and onwards to electronic scales. Part II is all about synth, leaning into the solos and trailblazing aspects of that sound, though it has plenty of floating ambience. Part III and IV are my favorite segments. Part III has a low-burning electronic sound that, when combined with the keyboard leads, sounds so damn good. But then comes the lengthy grand piano musings and the choir-laden rock climax, and the song simply feels outstanding. The closer Part IV opens with nuance and classical acoustic guitar rhythms, which makes it feel spectral and fleeting. The track rocks well enough, but it’s the feelings it presents and the grand finale that will leave electricity running down your spine.
Look, debuts like this don’t come along that often. Kay is clearly a seasoned and masterful composer in his own right, and the sheer layering of textures, emotions, and instruments will appeal to fans all over the progressive spectrum. You like film scores? You will love this. You like retro prog rock? This is right up your alley. You like metal or ambient electronic? There’s enough here to satisfy your appetite for darkness and atmosphere. Give it a try.
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Find Agropelter online:
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The PROG Mind 