Review Summary: Once upon a time in California...
The latest album in the "series" of 30-minute length or less is Thomas Dybdahl’s brand new affair,
Fever. By now the Norwegian artist has successfully established a handful of styles that we can usually hear him portray every couple of years or so. This LP focuses mostly on his groovy Americana side, however, unlike its predecessor (
All These Things), doesn’t indulge in subdued, folksy ballads. During its rather short time span, the front man actually allows you to revere in the lush vibes without any come downs.
As Thomas spent time with skilled musicians in the United States during the past couple of years, it’s clear he also took advantage of his tenure there to absorb sonic characteristics to add to his own palette. Thus,
Fever harkens heavily to late ‘60s – early ‘70s pop, soul, R’n’B and blues rock music. For example, imagine yourself in that urban Los Angeles landscape Tarantino beautifully recreated in
Once Upon a Time in Hollywood and you’re there enjoying your life. First single, ‘45’ shares smooth, tremolo-dipped, summery guitar leads gracefully playing over cool bass lines and pocket drum beats. Dybdahl’s passionate vocals drive the tune as always using his warm tone. Same goes for ‘Dance the Pain Away’ or ‘Then There Was You’, whose uplifting, breezy atmospheres are downright infectious. Had he emerged back then, the man could have played Woodstock with this set list. The production uses the dry aesthetics of the respective era, creating an immersive experience. Meanwhile, the title track, ‘On My Way to California’ & ‘Patience’ venture into more intimate territory. The former’s dusty guitar solos and groovy bass notes give way to sweet croons and falsettos, whereas on the latter Thomas toys with funky chords and very soft sung verses. The background vocals gorgeously enhance the resulting melodies, keeping true to the genre as well. Moreover, ‘On My Way to California’ acts as that effortless gem that graces each of his records. The laid back flute-like Mellotron and fragmented guitar leads gently float above the blissful low-end rhythm, offering that sensual touch he depicts so well. This cut comes closest to
All These Things’ sound, yet it evokes a slightly different feel, closer to this album’s vintage aura.
In the end,
Fever represents a refreshing listen for both old fans and casual listeners, especially after a couple of moodier albums. There is that bittersweet element in the lyrics, yet it was toned down by lovely melodies and smooth grooves. My only complaint is the short length of the LP. I understand Thomas wanted to keep it succinct, akin to the classic 30-35 minute format, but a couple of more tunes would have rounded this journey really well. Nevertheless, this is an excellent addition to his discography, expanding a mostly elusive side of his (one that is often overlooked too). It’s great to see Dybdahl continuously finding ways to spice things up, in order to diversify his output.
