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(61:12, Karisma Records)
TRACK LIST: 1. These Last Todays 10:26 2. Here Lies Greed 3:52 3. Lady Faboulus 5:47 4. Mr. Moonlight 5:19 5. Ibliss in Bliss 8:05 6. Song for Jethro 6:12 7. Mon - Sat I 5:34 8. Mon - Sat II 5:07 9. The Doom That Came to Sarnath 10:50 LINEUP: Aarstein Tislevoll – keyboards; violin; guitars, mandolin Fredrik Horn – keyboards; saxophone Daniel Maage – vocals; flute Bjarte Rossehaug – drums Stig Are Sund – guitars Martin Sjoen – bass
Prolusion. The Norwegian act D'ACCORD was formed in early 2008. Just one year later they were ready with their self-titled debut album, a production that eventually led to the band signing with Karisma Records. Their first album as a signed band was "Helike" from 2011, and in the early spring of 2014 D'Accord returned with their third CD, "D'Accord III", their second album to be released through Karisma Records.
Analysis. The dividing line between retro-oriented rock and vintage rock can be a fine one, and most likely one of those dividing lines that will be noticed and described by nerds, avid fans and music critics only. Still, as far as such matters go, I'd describe D'Accord as a band that explores a vintage sound in full rather than one with a retro-oriented one. This isn't a band that draws inspiration from the 70's, but rather one that ideally should have used a time machine and traveled back in time to be able to perform and release material alongside other bands with this specific sound. When that has been said, D'Accord isn't a band that hones in on a specific and distinct style, at least not on this occasion. Opening epic These Last Todays is a composition that comes with an easy recommendation to fans of early Genesis and King Crimson. And bonus track The Doom That Came to Sarnath shares some of those qualities too, as does the two part epic Mon – Sat, at least to some extent. Plenty of vintage keyboards, organ and Mellotron, and a nice early 70's guitar sound with a slight touch of the psychedelic at times too. The songs in between those epic-length excursions are of a somewhat different character, however. Here Lies Greed documents that this is a band that knows their Jethro Tull as well, and while Song for Jethro does have its moments of that kind too, I kind of suspect that Focus, a stated inspiration for the band, has just as much to say to the sound explored on this creation. Otherwise late 60's rock, progressive and semi-progressive, are the main associations I get from D'Accord's short-length songs, combined with the likes of Genesis, Camel and arguably even a touch of Rush here. Rather frequently I thought I heard a touch of The Who, and far more often I encountered familiar sounding details that may or may not be homages to artists I probably should be able to recall. There's an ever so slight touch of Uriah Heep on occasion here too, as well as occasional blues-oriented details that probably indicate a planned or accidental nod to one of the many non-progressive bands of the late 60's or early 70's. One could probably go on making guesses and assumptions for quite some time as far as this production is concerned. What matters most is that the songs are compelling, well made and well performed. Vintage sounding stuff with plenty of familiar sounding details throughout, and including a fair degree of variety, as far as stylistic direction is concerned.
Conclusion. If you subscribe to the notion that just about all music worth appreciating was made in the late 60's and early 1970's, D'Accord will be a band that merits a check at this point. They have a bonafide vintage sound, and pulls in details from what, I suspect, is a wide variety of bands with fairly different stylistic expressions to make their own vintage rock stew. Progressive rock is the main ingredient, but there's also some nifty psychedelic nuances and blues rock details flavoring this album. As far as a possible key audience is concerned, I'd suspect that those who enjoy early 70's Camel, Genesis and Jethro Tull, and don't mind a touch of The Who, should find this CD to be a highly enjoyable one.
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