Der norwegische Multiinstrumentalist Ola Kvernberg aktiviert zum zweiten mal seine Steamdome-Crew und bringt drei Jahre nach dem Erstling “The Mechanical Fair” den Nachfolger “The Hypogean” heraus. Er enthält sieben jazzige, perkussive, (schweiß-)treibende und zugleich luftige Tracks, die das Label vielleicht etwas augenzwinkernd u.a. mit Gustav Mahler, Fela Kuti, Kraftwerk, Billie Eilisch und Sparepusher in Verbindung bringt, was in jedem Fall die anarschische Lust am vermischen unterschiedlichster Einflüsse von Jazz über diverse Weltmusiken bis zu Giallo-Scores Ausdruck verleiht. Das Album erscheint in allen gängigen Formaten bei Grappa.
“When the Steamdome thundered through the sound barrier three years ago, the praise showered down from the press and audiences. Sold-out concerts, several prestigious awards and a top 10 position on the list of Norway’s best-selling vinyl records later, the sequel is here. Where the debut album’s dogma was pure-cultivated, organic, percussive music, The Hypogean delivers synths, drum machines, prepared piano, arps, pump organ and vocals. With a jazz musician’s impatient DNA and a film composer’s flair for concept and drama, recycling his work is never an option for Ola Kvernberg. On The Hypogean, musicians step out of their usual roles. On occasion, Ola replaces his fiddle with a drum machine and synth bass, bassist Nikolai Hængsle picks up the guitar and Daniel Formo leaves his Hammond organ to set the soundscape aflame with homemade noise machines. [..] On Steamdome II: The Hypogean, Ola Kvernberg presents an even more souped-up crew than last time, still shamelessly mixing genres and with a newly-won desire to jolt you out of your home office and give you an hour of music therapy, free of pandemics and global disasters in general. [...] With The Hypogean, Kvernberg avoids travel restrictions by drilling down into the earth’s surface. Sometimes like a runaway gravity train, other times like a strong silent machine through echoing caverns. Destination? Earth’s glowing iron heart, for the last two years also the scene of Kvernberg’s private escape room, with no rules to the game and an extensive approach to what rhythm and harmonies can do with a club floor.” (Grappa)