You emerge from a labyrinthine system of catacombs deep in the bowels of the world, and into the staggering light of day. Blinded, your eyes don’t see the mountainous pillars that protrude from the craggy ground. They also cannot examine the carved faces covering every inch of the towering structures. You stumble forward over an uneven patch of earth and fall to your knees. The horns sound, far off but getting closer by the second. The faces sing . . .
To reject all established trends and embrace the beautifully obscure originality dwelling within oneself is an incomparable feat. It is, I believe, the calling of our species and the innermost motivation for the continuation of life. Till It’s All Forgotten is the newest full-length by Farao, helmed by Norwegian singer, songwriter, and multi-instrumentalist Kari Jahnsen. This artist achieves the above mentioned feat in spades on this record.
Jahnsen’s music eludes categorization, and requires the full submission of the listener to the strange, unparalleled worlds she’s constructed. At a glance, the list of instrumentation utilized in these songs is daunting — electric guitars, full drum kit, piano, and a world of electronics, horns, and vocal manipulations — but Jahnsen’s careful hand ensures that each is granted their own space to flourish in the overall mix.
The lyrical content is potent, and encompasses the human condition in its most perplexing moments. Fans of her countrywomen Susanne Sundfør and Jenny Hval will discover a great deal to fall in love with here. Jahnsen’s compositions are deceptively simple, and jar the listener with something new and captivating when it’s least expected. Such is life. If you’re seeking completely original melodic beauty, this album is for you.
– stasi (@stasisphere)