AIRBAG: A Day At The Beach: Review/Opinion

What can we expect from a new Airbag album? A lot of emotion, since the Norwegians' progressive rock , melancholic and refined in the style of Pink Floyd, triggers a flood of emotions among its followers. But in the end, there are few surprises, like "Disconnected" in 2016, praised for its subtle beauty, but tanned for its originality at half mast. Will the 2020 delivery entitled "A Day At The Beach" put everyone in agreement?

'Machines and Men' gives an initial answer. The track starts with a very soft electro intro, before gradually evolving towards a more rock theme than usual. In the vein of Porcupine Tree's 'Arriving Somewhere, but not Here', the track mixes a slamming bass, balanced keyboards and phases hardening over time to end on a Dantesque solo and even more aggressive riffs. The band obviously chose this track as the first ambassador of the new album and placed it as the opening track. Indeed, it shows the evolution of the style towards a less typical music, at the same time more current, more rock and progressive back again. 'Sunset', opening the B-side, takes up the same style with a similar construction. Because, yes, the album is clearly cut in vinyl format with four main tracks, the eponymous title, cut in two, serving as interludes.

The band's very marked influences, like Pink Floyd or Steven Wilson, are still very present in the writing and the gliding guitar sounds. But a new one appears, that of the English pop of the late 80's / early 90's like New Order or Massive Attack whose trip-hop has obviously left a trace on the nonchalant rhythm of 'A Day At The Beach part 1'. On 'Into The unknown', Airbag shows us a known facet of his talent by adding an electro cinematic atmosphere reminding us Tron Legacy (Daft Punk). Asle Totsrup's emotional and expressive vocals are a real marvel, as is the final Gilmourian solo. Pure Airbag, hovering and dreamy, the title, pierced by a minimalist break preceding the aerial solo, is an invitation to dream and inner journey. Magnificent.

The second instrumental part of the title track intrigues at first sight with this repetitive note for more than a minute; an effect halfway between a busy ring tone and the robotic atmosphere as 'Welcome to the Machine'. The track then takes off with a slow rhythm reminiscent of the Norwegians' previous album and then a magical solo. Bjorn Riis shows not only his stunning technique made of subtle echoes and David Gilmour's style double-bends, but also a great inspiration that provokes to those whole love flying and aerial guitars a pleasure that reaches the sublime. The album ends with 'Megalomaniac', a progressive and melancholic piece, closer to the band's latest productions.

Add to this an impeccable production, the remarkable technique of the artists, a masterful design of the object and a profound concept, and you get an exciting and immersive album. Airbag was able to evolve from the comfort in which it had been installed for the last two albums. Thanks to a return to progressive constructions and the contribution of new modern rock and electro inspirations, "A Day at the Beach" is certainly Airbag's most accomplished album to date.