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I am also hosting Rural Electric from 7-9 pm, this week spotlighting Mel Parsons' new album Castle Hill
The Anaton Project is a Oslo-based progressive reminder of what can
happen when musicians from very different backgrounds come together with
a shared curiosity rather than a fixed formula. The band was founded by
guitarist and vocalist Johnny Normann Berg, whose roots lie in
neo-progressive rock, and quickly evolved into a collaborative project
shaped by contrasting influences.
The current lineup features
drummer Jimmy Dapper (The Lucky Bullets), bringing a rockabilly-informed
sense of groove, Carl Fredrik Berg (The Multiverse Ensemble) on
synthesizers and sound design, with a strong focus on analog textures,
and bassist Magnus Charles Døssland Bjørnstad (Tempelheks), whose
background in heavier music adds weight and edge. Together, they form a
sound that moves freely between progressive rock, melodic songwriting,
and exploratory arrangements.
The band released their debut EP
Luck in late 2024, introducing a project still in motion but clearly
defined by strong compositions and a willingness to cross stylistic
boundaries.
Their first full-length album, The Ocean Conductor, was released on February 13, 2026. The album is a progressive
concept record inspired by classic maritime literature, including The
Odyssey, Moby-Dick, and The Old Man and the Sea, and presents a cohesive
narrative framed by expansive arrangements and thematic songwriting.
REVIEW: Not content to be a Winter Olympics powerhouse every four years, the space between is filled by a colossal fjord of incredible musical artists, most specifically within the progressive realm. Two Berg brothers are featured prominently, namely guitarist/vocalist Johnny Norman and Carl Fredrik, the keyboard man, ably assisted by a solid rhythmic crew of Magnus Charles Dossland Bjornstad and drum stool master Svein Age Lade Lillehamre (they each have four names because they have four tentacles). Debut album, so no preconceived notions nor any expectations, a situation that provides a clean slate to wander free and let the music decide. Though definitely on the more bombastic side of prog, clearly a concept on navigating the cruel seas and vast oceans, I am letting my hair down on this one, wherever the drakkar takes is fine with me.
“Blue Skies & Evidence of Things to Come (Chapter 1)” sets the ambitious mission onwards with a sombre intro, a whirlpool of striking cellos, forlorn narration and splashing waves, with piano tingling in the wake. The scorching upfront guitars steam full speed ahead, as the bass and drums initiate the route to be taken, ready for whatever nature brings, a compass and heartbeat in hand, and a distant siren seducing and beckoning the valiant to forge enough courage to resist any temptation. Exciting beginnings and a prefect set-up.
Sublime keyboards take the helm on “Mirador”, with austere orchestrations that temporarily hide the enormous tidal surge of overwhelming guitars that unfurl unchallenged. Inserting beams of sharp light into the storm, violins searching for salvation, warnings of imminent danger amid the rocky crags that the ocean hides in its endless ebb and flow.
Little girl narration and sweet piano, ‘the weather is perfect and the sky is blue’, the Starlette lament is a plea and a promise. “Lady Luna” maintains the subdued atmosphere, the cannonading drums mimic the sea’s infinite allure, and the high-pitched vocal is outright breathtaking. When the crushingly slow axe solo unfurls its sails, the paroxysm is reached due to a memorable melody that adheres immediately to the wet skin. Segueing into “Songs Only Sirens Sing” is so extraordinarily organic and absolute, the mind becomes embalmed in salty ocean spray, the gales turning into a breeze, the obscure sirens ahead perched on the stony bluffs. The intensity rises as the proximity dwindles, the unescapable power of nature in full regalia. Stunning cinematographic delight!
The titanic, effect-laden “The Hunt” is propelled by an unrelenting marine bass line, trembling strings, and enough flotsam and jetsam to sink an entire armada. Gradually, the raging surf reaches uncontrollable heights, the pace helter-skelter, clanging guitars clinging to watery riffs, mellotrons elevating the pursuit, a lead violin setting its sights on the hapless target.
Incredibly, there is never any victory ahead, as the grinding orchestrations ensure the most abysmal melancholy, on “Reflections Under a Starless Map (Chapter 2)” like a ‘barnacle clinging to a prayer, my breath a threat’, the narration impeccably expressing the angst of always sitting on the edge of silence. The scream says it all.
The oppressive title track combines all the elements that make this release a poignant affair. The captain always goes down with his ship, not as an act of tradition but rather one of defiance, as well as a tacit respect for the authority of mother nature. The second half institutes all the fury of swirling tsunamis, the iron clad guitars grating against the hull, aware that, in the end, silence will join the unseen.
“Goodbye Starlette (Chapter 4)” means only that the drowning sailor will not see his daughter again, he will never return to port, swallowed whole within a moment into the darkness of a watery grave. The scream of doom returns for a final plunge, before disappearing into the merciless void. The longest piece combines sonic snippets of waves, winds and worry. The swerving strings become a eulogy to those who have braved the intensity of depths, where nadir meets zenith, what was once up is now below. The piano plays the mariner’s tale, the effusive choir singing the praise of the valiant. What an emotional finale. Gulp!
A superb discovery, much more that I even hope for. Time for me to get out of these drenched clothes and have some well-deserved rum.
4.5 nautical skippers
Childhood
Ebb and Flow
Mother Earth
Supersister Groove
Rhumba
One Word
Fup
Sunset
Childhood : Written and played by Andrew Latimer & Joe Sigretto
All other tracks : Written and played by Andrew Latimer
Drums on One Word by Denis Clement
Artwork & Positivity by my dearest talented Brother Colin Bass
credits
REVIEWS
Avant Music News
avantmusicnews.com/2026/07/26/amn-reviews-mark-hjorthoy-the-static-between-heartbeats-2026-zerok
Bad Alchemy
badalchemy.de
Music by Mark Hjorthoy
Photography by Gang Hao
Cat. Num. ZK14
© 2026. All Rights Reserved
As some fellow reviewers have stated before me, 'Between Flesh and
Divine' is a
masterpiece of the prog genre, as well as Asia Minor's top achievement.
This album is one
of the best things that came out of France (though 3 quarters of the
band were actually
Turkish) in the symphonic prog area. As quartet now, the fourth member
Robert Kempler
handled the duties of bass player and keyboardist, which gave the band
the opportunity
to expand their sonic potential with a more prominent addition of
synthesizers, organ,
pianos, and even occasional layers of mellotron - all this in 1980! Of
course, the electric
lead guitar and the flute are still the major features in the
instrumental passages, being in
charge of the solos and the main melodic lines. Beltrami's drumming is
still as polished and
energetic as on the band's debut album, displaying his jazzy vein under
the guise of a rock-
oriented attitude. The sound production is more refined, which makes
every instrument
show itself clearly amidst the band's overall sound. The contrast
between the strong
passages and the soft ones is handled more naturally, which allows the
band to go deeper
into their Camel-esque explorations, without letting go of their
penchant for Asian-based
exotic textures. The repertoire has a somewhat accentuated tendecy
towards the
creation of serene ambiences, locating the rockier passages in the shape
of gently
incerpted interludes or preambles. Tracks 1, 2 and 4 are the best
examples of this clever
arrangement strategy, and may I add that I consider them their best
tracks ever,
specially 'Dedicace', which is catchy, yet keeping a typically
progressive
sophistication. 'Nightwind' kicks off on a vibrant ethnic mood,
ultimately leading to a main body set on the standard of spacey-driven
symphonic rock, not unlike Pulsar or "Moon Madness"-era Camel. 'Northern
Lights' states a more pronunced atmosphere of introspection, generally
speaking, while the aforementioned 'Dedicace' brings a solid dynamics
that fuses the heritages of Pulsar, Focus and Pink Floyd in a sort of
way that only teh guys from Asia Minor can. 'Boundless' is a beautiful
ballad, a not too long passage of melancholy. That same melancholy
resurfaces in a more eerie context during the almost 8 minutes of 'Lost
in a Dream Yell': the intensity incarnated in the extended flute solo is
like an evocative dream made of musical matter. You have hear it to
believe it... It is long but never tiring, it bears a free-flight
attitude yet it never gets meandering; the eerie keyboard layers sustain
the overall mood quite effectively, with the guitar arpeggios and
moderately energetic drumming filling the source of tightness. Finally,
'Dreadful Memories' is nothing but a jam construed from a simple chord
progression on guitar, with the bass and drums following, and an
increasing number of keyboard layers subtly being summoned in: its
abrupt ending makes it the perfect coda for a perfect album. I just wish
it wasn't so short, or at least, that the album as a whole would last a
bit longer thatn it actually does. It wouldn't take long before the
bloody blade of 'musical differences' beheaded Asia Minor's career,
while they were preparing material for a following album that was never
to be. 
By the late 1970s and early 1980s, even prog groups that had attained some level of success - ie made a living
from their releases and live performances - were leaving the industry, dispatched in a fit of expletives by the
arena rock, punk and new wave movements while reflexive critics hailed the long overdue demise of the genre.
Well, history has been lenient in the intervening decades and many of those artists have reformed for at least an
album or two if not a more extended run. Even more miraculous is the return of groups who, by combination
of poor timing and lack of promotion, never even managed cult status at the time. Such is the case with ASIA
MINOR, a France based Turkish act, who issued two albums around the turn of the 1980s, and sadly had to leave
this dream behind in favor of a proper career.
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