STIAN WESTERHUS AND PALE HORSES-MAELSTROM.
STIAN WESTERHUS AND PALE HORSES-MAELSTROM.
Having established a reputation as one of the finest abstract guitarists in Europe, Stian Westerhus decided to change direction. After three critically acclaimed solo albums and several collaborations, Stian decided that now was the time to go from solo artist to frontman. Not long after this, Pales Horses, an electronic rock trio was born. This saw Stian joined by keyboardist Øystein Moen and drummer and percussionist Erland Dahlen. A group featuring three of Norway’s most innovative and inventive musicians was a truly captivating combination.
With their different musical backgrounds, Pale Horses set about reinventing a rock album on Maelstrom, which will be released by Rune Grammofon on 5th May 2014. Maelstrom is best described as a fusion of fluidity and improvisation. Everything from jazz, post-rock, psychedelia and rock melts into one. Then there’s Stian’s vocal. It oozes emotion. So, much so, that the lyrics come to life. That’s why Maelstrom is one of the most highly anticipated albums of 2014. It’s also why Stian Westerhus and Pale Horses have been compared to The Blue Nile, Talk Talk and Radiohead. That might seem like high praise, but Stian Westerhus and Pale Horses are three of Norway’s top musicians.
Over the last few years, Stian Westerhus has established a reputation as one of Europe’s most accomplished and innovative abstract guitar players. This has been the result of a lifetime’s work. That’s how long it’s take to hone and tame his unique sound. As a result of his dedication, Stian has been constantly in demand as a session player and producer. Then there’s three solo albums and numerous collaborations with the great and the good of Norwegian music. The story begins back in 2006.
Back then, Stian was a member of Puma, who released their debut album Isolationism in 2006. Puma’s sophomore album was the brilliantly titled Discotheque Bitpunching. It was released in 2008. Then in 2010, Puma released their final album Half Nelson Courtship, which was released on Rune Grammofon. However, this wasn’t the only album Puma released.
No. In 2009, Puma and Lasse Marhaug joined forces. Their successful collaboration was Fist Full Of Knuckles. It was released to widespread critical acclaim and was seen as a union of innovators. This isn’t the only collaboration Stian’s been involved in.
A year before the release of Fist Full Of Knuckles, Stian had collaborated with Eldbjørg Raknes and saxophonist Eirik Hegda. The result was From Frozen Feet, released in 2008. The same year, Stian collaborated with Norwegian percussionist Terje Isungset on Laden With Rain. Together with his work as a session musician, this stood Stian in good stead for his solo career.
It was 2009 that Stian’s solo career began, when he released Galore. Released on The Last Record Company, a subsidiary of Rune Grammofon, Galore was mixed, recorded and produced by Stian. His 2010 sophomore solo album, Pitch Black Star Spangled was released on Rune Grammofon and saw Stian further develop his abstract guitar style. Critically acclaimed, Stian was seen as one of Norwegian music’s leading musicians. That’s why he was constantly in-demand as a guitarist, vocalist and later, a producer.
This includes adding vocals to Bladed’s 2009 album Mangled Dreams. Then in 2010, Stian played on Jaga Jazzist’s One Armed Bandit album. Stian played everything from percussion, harp,effects, twelve-string guitar, baritone guitar and electric guitar. Then to round off 2010, Stian played on Maurhaug’s All Music At Once. 2010, had been, without doubt, the most productive year of Stian’s career
2011 saw Stian play on Ulver’s War Of The Roses album. He also played harmonium, mixed and produced Nils Petter Molvær’s Baboon Moon. For Stian, this was all good experience for his solo career, which he returned to in 2012.
The Matriarch And The Wrong Kind Of Flowers was Stian’s third solo album. It was released in 2012 to critical acclaim. Critics hailed this genre melting album Stian’s finest album. That wasn’t the end of 2012 for Stian. Far from it.
During 2012, Stian collborated with Bol and Snah. Billed as Bol, Westerhus, Snah, they released Numb, Number. Then Stian collaborated with Norwegian jazz vocalist Sidsel Endresen on Didymoi Dreams. This was an album that pushed musical boundaries to their limits, and sometimes, and way beyond. Stian’s blistering, searing guitar licks and Sidsel’s explosive bursts of vocal were a potent partnership. Genres melted into one as Stian and Sidsel challenged musical norms. Ambitious, brave and groundbreaking describes this opus. After this, Stian decided to change direction and founded Pale Horses.
Pale Horses are an electronic rock trio, but they’re not exactly a new band. Stian, keyboardist Øystein Moen and drummer and percussionist Erland Dahlen all played together in Puma. Øystein Moen also was a member of Jaga Jazzist. Stian made a guest appearance on their 2010 album One Armed Bandit.So musically, they know each other really well. The only difference is the type of music that Pale Horses will be playing. Puma’s music is best described as a fusion of experimental, jazz and post rock. That’s quite different to the music on Maelstrom.
For Maelstrom, Pale Horses penned seven tracks. They were recorded at Oslo Klang by Stian and Johnny Skallenberg. At Oslo Klang, Stian played guitars, mellotron, piano, electronics and sang lead vocals. Øystein Moen played Moog, mellotron, Prophet, Ms20, piano and electronics. Erland Dahlen played drums and percussion. Stian produced Maelstrom, which I’ll tell you about.
Don’t Say That You Care opens Maelstrom. It’s best described as melancholy, hesitant, jazz-tinged and experimental. The arrangement comprises layers of music. They assail and surround you, grabbing your attention. Variously, you focus on the sci-fi sounds, keyboards and rolls of drums. However, what proves captivating is Stian’s vocal. He’s a troubled troubadour. Despair and heartache fill his vocal, as it oozes emotion. He sounds remarkably like Paul Buchanan of The Blue Nile. They’e both capable of singing songs like they’ve lived, loved and survived them. Later, as the arrangement has grown, Stian’s vocal drops out. It’s as if he’s overcome by emotion. Then when he returns, the drama builds to a dramatic crescendo and Stian’s vocal is a cathartic outpouring of emotion as he pleads: “Don’t Say That You Care.”
Thoughtful, crystaline guitars open Nights And Sleepless Days. They’re joined by futuristic sounds. Then a drum pounds and Stian’s ethereal vocal enters. Meanwhile, the arrangement is a fusion of experimental, industrial, post rock and psychedelia. At the heart of the arrangement is the vocal. It’s full of pain and hurt. As the emotion builds, the arrangement grows. Pale Horses become a power trio. Genres melt into one and this soundscape envelops Stian’s vocal. Blistering, scorching guitars and pounding rhythm section drive the arrangement along, as it pays homage to classic rock. Then having reached a dramatic crescendo, Pale Horses throw a curveball, and the darkness descends. Just a lone piano accompanies Stian’s wistful vocal. Oozing emotion and drama, Stian reminds me of Jeff Buckley in his prime during this soul-searching opus.
Straight away, Bed On Fire reminds me of Japan’s early albums. It’s the use of effects that prompts this comparison. They’re panned way left and provide an eerie, minimalistic backdrop. Then when Stian’s vocal takes centre-stage it’s dubby and distant. Soon, it becomes a heartfelt and impassioned plea. As if exhausted, his vocal drops out and Pale Horses kick loose. Stian unleashes a blistering guitar solo. The only way to describe it is flawless. Seamlessly, Stian tames and hones his guitar. Later, ethereal harmonies prove a fitting and beautiful replacement for Stian’s guitar masterclass.
Just like the previous track, On and On sees panning used effectively. It grabs your attention, before indie rock, experimental and post rock combine. Reverb is added to the guitar, while drums crack and Stian’s vocal reminds me of James Dean Bradford of The Manic Street Preachers, on their 1998 album This Is My Truth Tell Me Yours. It has a similar sound and quality. The lyrics come to life. It’s as if they’re personal and he’s experienced the despair and despondency. Later, swathes of guitar, mellotron, keyboards and the rhythm section combine to create a soundscape that’s the perfect backdrop for Stian’s cathartic unburdening.
Times Like These has a bouncy, space-age introduction. That doesn’t prepare your for what comes next. Pale Horses throw a curveball. Stian dawns the role of troubled troubadour. It’s as if he was born for this. His vocal is dramatic and he questions and probes. He reminds me of Paul Buchanan of The Blue Nile and Chris Thompson of The Bathers. By then, Stian is living the lyrics. That’s how real his portrayal of them is. It’s hugely effective. Especially with the minimalist arrangement. Later, things change. The arrangement grows in power, matching the drama and theatre of Stian’s vocal.
Chasing Hills features needy, pleading vocal from Stian. Despair fills his vocal as he sings: “brother let me rest…let me climb to the higher ground.” These lyrics and Stian’s delivery of them are beautiful and moving. The arrangement veers between understated and dramatic. Pale Horse’s rhythm section and Stian’s blistering guitar solo are joined by ethereal harmonies. At the heart of the arrangement’s success is Stian’s guitar. This is his finest solo on the album. It soars dramatically above the arrangement. Along with Stian’s vocal, this results in an eight-minute epic.
Maelstrom closes with the title-track. Stian’s questioning, frustrated vocal is accompanied by percussion as the arrangement begins to reveal its secrets. Meanwhile, Stian’s delicate vocal glides above the airy, spacious arrangement. It meanders along, gathering pace and growing. Ethereal harmonies join percussion, searing guitars and a rumbling rhythm section. Any minute, you expect Pale Horses to gallop into the sunset. Gradually, the arrangement grows. The rhythm section, blistering guitars and keyboards power the arrangement along. Pale Horses seem determined to close Maelstrom on a high. Everyone seems to raise their game. Stian leads from the front, unleashing a scorching solo. It’s a game-changer. There’s no stopping Pale Horses as they close their debut album on a resounding high.
Stian Westerhus and Pale Horses’ debut album Maelstrom is what I’d describe as an old-school album. It features just seven stunning tracks lasting fifty-four minutes. This is very definitely a case of quality over quantity. To quote Jerry Lee Lewis, “it’s all killer, no filler.” That describes Maelstrom perfectly. So does genre-melting.
Over the seven tracks, Stian Westerhus and Pale Horses combine everything from experimental, jazz, post-rock, psychedelia and rock. Stian Westerhus and Pale Horses play with a fluidity, intricacy and accuracy, before kicking out the jams. They’re then transformed into a power trio. This brings back memories of Cream and The Jimi Hendrix Experience. Other influences include The Blue Nile, The Bathers, Talk Talk, The Manic Street Preachers and Radiohead. This is a truly eclectic mix. However, each of these influences shine through on Maelstrom. Especially, The Blue Nile influence. Sometimes, Stian sounds not unlike Paul Buchanan. Both dawn the role of troubled troubadour, and sound as if they’ve lived the lyrics they’re singing about. Other times, Stian sounds like Chris Thompson of The Bathers and on On and On James Dean Bradford of The Manic Street Preachers. However, there’s more to the success of Maelstrom than Stian Westerhus’ vocal.
Granted Stian Westerhus’ vocals are at the heart of Maelstrom’s success. So is his innovative and maverick guitar stylings. However, keyboardist Øystein Moen and drummer and percussionist Erland Dahlen more than play their part in Maelstrom’s success. Just like Stian, they’re talented and inventive multi-instrumentalists. They’re all parts of a bigger picture. Without Øystein’s keyboards and Erland’s percussion parts Maelstrom wouldn’t be the same album. It’s just a case that’s it’s always the frontman who takes centre-stage. In this case it’s Stian Westerhus. Pale Horses are however, no one man band. Far from it.
Instead, Stian Westerhus and Pale Horses are an innovative, inventive and influential band. They comprise three of Norway’s top musicians. Stian Westerhus and Pale Horses debut album Maelstrom, which will be released by Rune Grammofon on 5th May 2014. It’s one of the most anticipated albums of 2014. No wonder. Maelstrom oozes quality and hopefully, will be the first in a series of groundbreaking albums from the hugely talented Stian Westerhus and Pale Horses.
STIAN WESTERHUS AND PALE HORSES-MAELSTROM.
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dereksmusicblog 