AGROPELTER is a Progressive Rock project from Norway. It is the creative outlet of Kay Olsen, a new contender on the blossoming Norwegian prog scene. The music lends as much inspiration from the classic prog groups like GENESIS, CAMEL, KING CRIMSON, and ELOY as it does from classic composers Rachmaninoff, Beethoven, Bach along with Vangelis and Terje Rypdal. On the debut album, you can expect lots of Mellotron, Hammond organs, ARP, cembalo, Minimoogs and Taurus bass pedals.

“Flute of Peril” is first, and many different instruments make up the gentle sound, including the steady sound of rain falling in the background, and a few different keyboard settings. It’s a short lived song, but it piques my interest in the rest of the album. “Levitator” has that old school keyboard sound of the 80’s, combined with some lead breaks. Steady bass notes come chugging in after, followed by drums, and what you can when all are throw into the soup is a catchy, rocking beat. Kay is also adept at many instruments, and he has a keen songwriting hand. “Burial Mound” has a smoother entrance that is marked with tension at times, and warm, inviting tones at others.

The meat of the album is the song titled “The Book of Hours,” which is divided into four movements. The first combines piano notes with other instruments that feels like a Classical tinge to me at first, and then it diverts into a bit of psychedlica. The landscape shifts a few times from there, and you really have to be listening closely to catch all of these. The most fascinating part of this is how seamless the transitions are. The second part is tinged with a bit of darkness, and perhaps some sadness. Either way, it has melancholy overtones. The lead breaks sing within the spacey backdrop of keyboards, and the two seem to melt into one another.  The third movement begins with fat bottomed keyboard notes and a light keyboard melody over top. Some piano, and some lead breaks mix in, and that dark, melancholic tension is back just enough. The skies lighten a bit passing the halfway mark, however.

The fourth movement is the last. At first, it meanders a bit, but then you realize it is adding a little color to the painting. The picture slowly begins to take form with each brushstroke, and it culminates in a crescendo of favor. Without vocals, the album demands that you listen closely to catch all of the many different nuances present. Is it a challenge? Yes and no. First, I played it and listened intently. But the second time, I just let the music play and didn’t over analyze. Either method produced the same result…a pleasurable listening experience and reverence for the composer.