When we last left Christoffer Øien a few years ago, he was coming off the heels of his successful debut Monster, which the Music Court lauded as “expansive folk; it mixes the style of some of Joe Purdy’s slower, lugubrious pieces with a mystical Radiohead flavor.” So, when I received a note from Øien that his new album would be out in September (tomorrow!), I got excited. Øien’s acoustic creations are keen and pastoral; true bucolic masterpieces from the land of fjords and trolls.
With the new album comes the continuation of Øien’s brand of mountain folk, a darker brand of music that is led by deep acoustic guitar tones and Øien’s smooth, quivering vocals. The music, while melancholy, has a unique ghost-like haunt to it; the riffs and Øien’s voice stays with you and not long after listening you find yourself humming the melody to disturb the silence. That’s staying power.
“Drunk Tank Blues,” the quasi-title track features all of the qualities about Øien that entice listeners. It is a slow-moving piece that features a crisp acoustic and dulcet violin. The song, which features a minimalistic almost existential video, matches the lugubriousness of the video, a smooth melody about drunk blues. The song moves slowly, accentuating each verse and string fill with skill.
Another song you should check out from the album is “Future Sounds.” A lighter track, with a riff higher on the fret board, Øien advises the listener about a future that does not look so bright, unless people can “find it in your heart to put a smile upon a stranger’s face … and find love in so many ways.” His vocal is particularly strong on this track, particularly emphasizing his best vocal quality – his ability to reverberate his notes. The strongest part of the song is its chorus, which builds with continuing harmonies and becomes like wonderful melodic message.
The Music Court 