Jono El Grande is by all means an unusual character
on the underground Nordic scene. The 29-year-old Norwegian,
real name Jon Andreas Håtun, has become a cult
figure in his country following a first album, Utopiske
Danser (Utopian Dances) released in 1999.
Renowned for his entertaining and somewhat eccentric
live performances with his orchestra, it is a rather
unexpected release for ordinarily rather serious record
label Rune Grammofon. Label boss Rune Kristoffersen
confesses that, if Utopiske Danser was ‘both
odd and quite reckless’, it was also ‘a
promising collection of mildly absurd instrumentals’.
Incongruous and anachronic, Fevergreens is
certainly all this and more. Leading a ten-piece orchestra,
complete with saxophone, xylophone, vibraphone, glockenspiel,
trumpet, flute, doublebass and drums, Håtun, himself
a multi-instrumentist, crashes through established boundaries
to amalgamate anything from Frank Zappa and seventies
prog-rock to easy listening, film music, pop and circus
music in a vast shambolic whirlwind of cheesy melodies
and clever orchestrations. A self-confessed autodidact
- he rejected any formal musical training preferring
instead to develop his own touch - he proves to be an
incredibly talented melodist and arranger. The album
opens with the short Prologue, which seems
to summarise quickly what’s to come, and concludes
with a gentle reminder in the shape of Epilogue
– Encore. Between these two defining points,
everything could, and often does, happen, from quirky
pop tunes (Awake, Wonderful & Lavish, I’m
Not A Star I’m Just Lost In Space) to Latin-flavoured
moments (Cuban Serum, Rumba For A Slightly
Excited Ape or Tango On The Crest Of Reality)
and anarchic frolickings (Ante’s Inferno,
Centrifuge In D Minor). Yet, Fevergreens
is actually extremely consistent all the way through.
Whichever way you look at it, this album represents
a journey through the luxurious front room and dark
back corridors of a cabaret, with its tumult of chitchats,
laughter and tears. Although the album threatens to
fall into insignificance at any time, Håtun and
his holy band keep the all thing going perfectly, and
essentially keep the listener entertained all the way
through.
If this record is by all mean nothing of what you would
expect Rune Grammofon to release, it becomes an extremely
logical addition to the label’s catalogue once
the moment of surprise has passed. Håtun’s
excellent control of his music and of his orchestra
helps create an extremely fascinating record. Fevergreens
is no less than compelling listening.
4.4/5 |
