On its debut album, the Norwegian indie rock band Magnolia Red‘s dynamic and varied sound presents electrifying guitar-driven Americana/indie rock with intricate instrumentation and thoughtful lyrics.
The band likes to think of their debut as “both recognizable and different at the same time, rooted in the electric end of the ever-so-expansive Americana landscape.”
Indeed. But that’s not the only style on the album Ancient River. As a matter of fact, the album’s ten songs provide a little bit of something for just about everyone.
The Norwegian northwest coast indie quartet from Aalesund has a broad-spectrum appeal that explains their popularity within the niche of Norwegian-Americana music and a growing fanbase in the U.K. and Europe.
With their strong guitar-based sound and Americana and alt. country rock influences, that’s not a big surprise. RM blends these styles competently and thoughtfully rather than just for the hell of it.
Along with a heavy UK-scene influence (before covid), the band members deploy varying styles and mixes nicely throughout. Largely, Ancient River stakes its ground at the opening title track featuring vocals reminiscent of Nils Lofgren. The song is full of brilliant guitars that give way to a bumbling, melancholic roots-rock number that reminds us a bit of Frightened Rabbit.
“It’s a song that would continuously build towards a grand coda,” says singer/guitarist Roy-Jostein Fiskerstrand. “The original demo included a complete horn arrangement performed in GarageBand…it is hope in all shapes and forms; as evident or elusive it may be; the feeling and expectation that something is about to change for the better.”
The mood changes on the next track – the pop-leaning number “Everybody’s Sound.” In addition to nailing an impressive indie-pop song on the instrumentation front, the lyrical content is also strong featuring commentaries on society and its woes.
“The original melody was replaced by a minor-key chord progression,” says Fiskerstand “the melancholic lyrics had a perfect match and a new take on the long instrumental middle portion came together overt by two blistering new guitar solo parts; the pristine opening ‘Mark Knopfler meets Nels Cline’ and a big crescendo. Finally, Hammond organ by guest musician Gunnar Myklebust.”
“Heart Street” is another standout song on the album with its airy and soaring guitar solos and a solid percussion that keeps the track overall grounded provided by bassist Eyvinn Magnus Solberg and drummer Ronny Blomvik.
Lead singer and guitarist Frank Bjordal‘s vocals have a commanding James Bay-like feel while the horn section blends supremely with the jamming guitars.
“It’s a song about hope in all shapes and forms, says Fiskerstand, ” as evident or elusive it may be; the feeling and expectation that something is about to change for the better.”
The song originally came out of the driving intro/verse guitar riff, he says, which “instantly evokes a sense of expectation right from the start.”
“Loving Kind” is yet another guitar-driven track with more accomplished vocals, warm harmonies, and notable percussions and bass work.
“Never Let Me Go” is one of the more pop/rock-infused tracks on album followed by the mellow, anti-melodic roots rock track, “Mountains of the North.” The more aggressive, driving track “Signs That Passed” has a bit of mischief to it.
Closing out the album, “Unwind” is one of the top tracks on the album and perhaps should have been place earlier in the tracklist so people wouldn’t miss it.
Some critics may say the album lacks some consistency and perhaps tries to be too much and too many things to too many listeners, but we’d disagree.
In fact, a number of the spin-off singles from the album are making their way through the indie DIY and underground pop-rock scenes.