Northward's 'Northward' - Album Review

I like pleasant surprises, and thankfully there have been quite a few musical-related ones throughout the year. One such was the announcement of Northward, a collaboration between vocalist Floor Jansen (After Forever; ReVamp; Nightwish) and guitarist Jørn Viggo Lofstad (Pagan's Mind; Jorn). According to press releases, the project's genesis came back in 2007, when the two jammed on stage as part of the ProgPower USA festival held that year. It clear that the two had chemistry, and they decided to work together, but their schedules and personal circumstances - including the breakup of After Forever - put things on hold. The two had been trying to reconvene over the years, but struggled to make things work. Jansen's association with Nightwish began in 2012 and that has largely been her full-time job ever since. It was clear however that the two still wanted to write and record together - something which finally happened last year while Nightwish was having some time off. The band, and album, entitled Northward was officially announced earlier this year and fans of both musicians welcomed the news with glee. Both have a strong track record of delivering the goods, and I for one was really interested to see what they would come up with. Those expecting some epic progressive/power/symphonic metal from the duo however, or in all honesty anything resembling the work they have become famous for, will be disappointed however as that is not at all what Northward is about. In a big departure from their comfort zones, Jansen ad Lofstad have created something of a back-to-basic hard rock record which relies heavily on Jansen's powerful vocals and strident, bluesy riffs from Lofstad. While this is what was promised in the press releases etc., it was still a bit of a shock to hear the finished product! That is not a bad thing however, as Northward is a really strong release that shows both Jansen and Lofstad in new lights, and trying musical styles. It is clear that both enjoy classic rock, but Northward is not a throwback. It sounds really modern, with some nods to the past, and is likely to appeal to fans of bands like Halestorm as much as those who like Led Zeppelin. It is a refreshingly no-frills album, packed with strong gritty melodies and the occasional lighter moment to help provide changes in pace. Jansen and Lofstad have created the songs, but they have been joined by a host of capable musicians to fill out the sound. Morty Black (TNT; Vagabond; Jorn) handles the bass, while Jango Nilsen and Stian Kristoffersen (Pagan's Mind; Firewind; Jorn; Chastain) share the drumming duties. Ronny Tegner (Pagan's Mind) provides some occasional keyboards, and Jansen's sister Irene duets with her on one of the songs. The result is a really strong collection of hard rock songs, and one that is likely to bring the pair to a new audience.

Lead single and opening track While Love Died is very representative of the album as whole, and is brimming with a strong rock energy due to a frantic riff from Lofstad and some excellent vocals from Jansen. Not all of the songs here are fast, but most have a strong energy about them and this is one that is packed full of it! While parts of the song, particularly the chorus, remind me of Foo Fighters' The Pretender this is still a piece that manages to create Northward's identity from the off. Black's rumbling bass really drives the piece forward, and Jansen - freed from the operatic delivery that she has often become known for - showcases some real grit and energy with her raw rock vocals. The chorus, which mixes more anthemic slower sections with powerful upbeat hard rock, is extremely catchy, and Lofstad's first of many guitar solos showcases some tasteful classic rock phrasing - which is different to his usual style. Get What You Give is more of a mid-paced piece, with another powerful bass performance from Black and some aching guitar leads during the intro. This slightly mournful sound soon gives away to a tough verse, with some power chord riffing and Jansen's raw vocals, before a smoother chorus showcases some vocal styles more akin to what Jansen has become famous for. A flashy acoustic breakdown offers a further change of pace and is a showcase for Lofstad who really lets rip with his acoustic, laying down some pseudo-flamenco lead lines before the song builds back up to a final chorus. Storm in a Glass is a punchy, upbeat number with a playful verse, held together by some booming bass playing, and a smooth chorus that seems to borrow a little from the world of AOR with poppy melodies and some clean guitar arpeggios helping to fill out the sound. Lofstad's guitar playing through the song is very simple, with some stabs making up most of his verse contributions, but he is always serving the needs of the song. As a result, the vocal melodies are really pushed to the fore which makes it an instantly catchy piece. Many of the songs here are extremely easy on the ear, but this is probably one of the most instantly-memorable. Drifting Islands, which features Irene Jansen duetting with her sister, opens fairly slowly with a very sparse verse that builds up slowly around a pulsing bassline as the two sisters trade vocal lines. The two ladies have quite similar voices so it is sometimes hard to tell which is singing, but when they join forces for the slightly heavier choruses their true power is felt. Again, this slightly shriller vocal delivery is more akin to the symphonic metal stylings that Jansen has become known for, but it works well in this more stripped back hard rock context. A bluesy guitar solo from Lofstad is the icing on the cake, but it is over far too soon!

Paragon opens with acoustic and gentle clean guitars, with a great swing beat behind it and some softly melodic vocals. After four fairly full on hard rock songs, this provides a bit of a change of pace without ever being a ballad. The verses, which have a hypnotic clean guitar arpeggio that just goes round and round your head after listening, are extremely memorable with some lovely vocal lines before the song explodes into a somewhat discordant chorus that has some strange distorted heavy chords that contrasts well with the gentler parts of the piece. This is a real stand out song for me, simply because the verses are so melodic. I have loved Jansen's vocals for years, and it is great hearing her something very different from her usual style, and still sounding just as fantastic. A spacey guitar solo section, which features some pretty mean shredding, takes on a bit of an old-school progressive rock vibe which further adds to the diverse character of the piece. Let Me Out picks up the pace again and is based a simple, in-your-face guitar riff that sounds more than a little influenced by punk. This is not really a punk song however, as there are still a few different moods going on, but the main riff certainly demands attention from the off. The verses are more haunting, with ringing clean guitars and a strong bass groove, while the choruses explode with similar energy to the song's main riff. The shredding solo is possibly the best part of the song however, and shows why Lofstad has become one of the most respected progressive metal guitarists over the past couple of decades. Big Boy sounds quite different to the rest of the album with a strong groove throughout that actually sounds quite dancey. The beat is not unlike clubland music, but with grinding guitar and bass riffs atop it to make it sound much tougher. While the mix of sounds just about works, this is the song on the album that probably does the least for me. I do not think that the melodies are particularly strong, which makes it less catchy than many of the others songs despite the strong groove. Jansen's vocals are a little strange too, sounding somewhat to 'street' for my taste. Time Bomb, which features Tegner's piano playing, opens with gentle acoustic guitars and the piano which allows Jansen to croon over the top. After the vocal experimentation of the last song, this one is much more typical of her style. The verses feature a softer delivery, before the choruses come in and up the pace to allow her to showcase some of her semi-operatic vocals which work well in the context of the song. The addition of the piano here is welcome, and adds an extra dimension to the song. It would have been nice to have more keyboard textures used throughout the album, but most of the songs work fine as they are with the simple guitar, bass, and drums combo.

Bridle Passion is the album's ballad, and it is a short acoustic song with some gorgeous acoustic guitar playing and Jansen's shimmering vocal display. Despite some quieter moments throughout, this is an album that is characterised by fast-paced rock songs. This is the only true slower number here, and it works well to showcase the duo's chemistry in such a raw and exposed way. It is only a short piece, but it adds a lot to the album in my opinion and shows that the two can operate in a stripped back acoustic environment as well as an explosive rock one. Speaking of explosive rock, that is exactly what I Need is! It builds up from the fuzzy bass riff, and soon explodes into a fast-paced hard rock riff. Lofstad, despite being all over this album, is relatively restrained throughout. He always plays for the song, but this tune allows him a little more freedom with a few little Led Zeppelin-esque riff flourishes during the verses, and a few shredded leads here and there in between. He is an excellent guitarist and songwriter, and it is great to see him playing this kind of music here. The chorus is one of the album's best too, and features some instantly memorable vocal melodies that showcase Jansen at her raw best. The album's final song is also the title track, and it is the longest piece here at over seven minutes in length. It starts off slowly with some pulsing guitar notes which morphs into a slow verse featuring lots of ringing bass and atmospheric guitar chords which allows Jansen to lay down a haunting vocal performance. Her vocals throughout this song are much more akin to her day job, with a more symphonic sheen that really brings out the best in what at times is quite a murky song. I know that Northward is Jansen and Lofstad's project, but I also think that Black really adds a lot to the album. Some of his bass playing really dominates the songs, and it is great that he has been given such a free reign to add his stamp. As the song moves towards the close, it ramps up the power with screeching bluesy guitar leads adding an edge and a general increase in pace. It is never a particularly fast song however, but one that has more of an epic and progressive feel than the rest of the album due to the changes in pace and style - as well as the amount of excellent guitar work that is found throughout. It ends the album on a high, and showcases the pair's most diverse writing. Overall, Northward is a really strong collaboration between to heavyweights of the metal world. As a fan of both, it was fun to see them attempting a more basic and high-energy musical style and pulling it off. There is a lot to like about this album, and those who appreciate good rock music should check it out. Whether Northward remains a one-off project remains to be seen, but if Lofstad could now please get back to finishing that long-await sixth Pagan's Mind album, then that would be great!

The album was released on 19th October 2018 via Nuclear Blast Records. Below is the band's promotional video for While Love Died.