Like numerous other European countries (such as Sweden and England), Norway is no stranger to progressive music, having spawned Gazpacho, Wobbler, Motorpsycho, Enslaved, and Leprous (among others). One of its most recent treasures, however, is Airbag, a “scenic, epic rock” quartet comprised of Bjørn Riis (guitar), Asle Tostrup (vocals/keys), Anders Hovdan (bass), and Henrik Fossum (drums). Inspired by Porcupine Tree, Radiohead, Chroma Key, Marillion, and most noticeably, classic Pink Floyd, the foursome’s output is always wondrously soothing, dense, and alluring, which is why it’s no surprise that Disconnected, the group’s newest effort, is so superb. Although its influences are extremely overt at times, the six-track sequence never ceases to captivate.

Prior to Disconnected, Airbag released three critically acclaimed studio full-lengths: Identity (2009), All Right Removed (2011), and The Greatest Show on Earth (2013). Likewise, they’ve toured alongside several revered acts, including Anathema, The Pineapple Thief, and RPWL. As a result of these experiences, Disconnected feels like the work of an extremely poised and focused band. Thematically, the record explores “alienation between the individual and society, what society expects from us as individuals, and our resultant failure to live up to those expectations”; sonically, Airbag wanted to “use more electronic elements and [give] more room for the drums,” as well as “do a more stripped down production and create a more spacious and dynamic sound” here. Without a doubt, these decisions have generated quite an impressive and memorable collection.

The spacey layers that kick off “Killer” are instantly transformative, surrounding its listener in a cosmos of celestial tones, shimmery guitar echoes, and serene rhythms evocative of Eloy, Hawkwind, Amplifier, and Cosmograf. These elements cascade around Tostrup’s distinguishingly pensive yet robust voice wonderfully, aiding him in conveying an urgency akin to Vincent Cavanagh and Greg Lake. Both the verse and chorus melodies are engaging, too, and the closing instrumental passage effectively ignites a sense of peaceful panic, during which Riis plays like the spitting image of vintage David Gilmour. Like all of Disconnected, “Killer” demonstrates how faithfully and rewardingly Airbag draws from its predecessors (even if the quartet doesn’t really do anything to innovate beyond them).

“Broken” lulls you in via a subjugated acoustic guitar progression, on top of which Tostrup bears his soul. It’s a fairly straightforward and conventional track structure-wise, yet its affectiveness makes it very impactful and unrelenting. On the other hand, “Slave” is more biting and dynamic, with colorful guitar lines and confrontational vibes akin to early Porcupine Tree gems (like “Radioactive Toy” and “The Sky Moves Sideways”). “Sleepwalker” follows a similar path, albeit in a warmer and more welcoming way. 

Unsurprisingly, the title track (which is also the record’s longest track, clocking in at just over thirteen minutes in duration) is the grandest inclusion here. It begins quietly, as tribal rhythms dance around dreamy effects. Although Tostrup appears early on, it takes about four minutes before the chorus comes in and the excitement commences (which isn’t to say that the preceding minutes are boring, because they’re not; just be prepared for a slow burn). Halfway into the track, another impassioned guitar solo blankets psychedelic catharsis, yielding an atmosphere that eerily reminiscent of select moments from Pink Floyd’s The Wall, such as “Goodbye Cruel World.” Finally, “Returned” ends Disconnected on a tender, repentant, and hopeful air not unlike several classics by Riverside. Its steady evolution (from somber reflection to full-bodied realization) is striking and poignant, and it truly makes you want to take the journey all over again.

With its absorbing, vibrant arrangements and comforting yet ardent vocals, Disconnected combines rich songwriting and tasteful musicianship into a dense and enthralling effort. Despite its most overt and consistent transgression (that it sounds a lot like the aforementioned artists, to name a few), the record is nonetheless highly worthwhile and infectious. In other words, Airbag may be drawing from many established wells here, but the resulting mixture is very refreshing, so anyone looking for something new in this style will adore it.