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Release date [12.08.16]
The Time Is Always Now is a set of proggy ‘songs’ written over ten years by Norwegian guitarist Ronny Pedersen.
Not considered suitable for his existing projects, the songs are a nucleus of a collaborative concept project. Producer Rhys Marsh was the first on board, who as well as providing vocals on several numbers, plays all keys (including Mellotron, naturally) – with the exception of a guest appearance on Hammond by Lars Fredrik Frøislie – and numerous other instruments.
Two female singers were recruited – Silje Leirvik and Kari Harneshaug to complement Marsh and Pederson’s vocals. Geir Anfinn Halland Johansen provides all drums, Ketil Vestrum Einarsen flute, and Pederson plays guitars, bass and sitar.
Stitched together over four years the album opens is bookended by sitar numbers – the opener Overture – The Belly Of Being building Oldfield like in its progressive construction. Vocals never dominate , instead supplementing the instrumentation with The Times They Are Taming / Pavolvian Conditioning having Crimson echoes in the Mellotron, and John McLaughlin, Jan Akkerman and Robin Trower tones in the guitar work.
Silje Leirvik’s vocals are given room to breathe on the acoustic based Falling which moves through a Frippish avant garde mid-section, before concluding with a typically proggy flute laden outro.
Just eight pieces make up the album – collectively running out at close on 80 minutes. No argument it’s beautifully constructed and harks back to the glory days of prog-in particular band’s like Camel – rich in melody and musicality. But at times the ‘songs’ and vocals get lost in the groove – Leirvik’s wordless singing against the guitar solo on The Time Is Always Now could, for example, have been a real show stealer. But instead it just adds to the overall ambience of the number.
And if there’s a criticism, it’s just that – nothing dominates – not the songs / vocals, not the guitar parts, nor the keyboards – The Time Is Always now simply flows like a river – sometimes meandering, sometimes crashing over rocks as it inexorably follows a time worn path to the sea. But hey, it’s prog – and if you’re looking for some lava lamp escapism, Holon may be the guys to provide it. ***1/2
Review by Pete Whalley
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