On their debut, Norwegian trio Kanaan embrace a lineage of prog, psych, and metal that melts together into a powerful album that’s able to broadside the listener while remaining nimble on its feet. The band’s equally comfortable picking through the twists and turns of The Eleventh House as they are with bottom-heavy burners like Sabbath and The Flower Travellin’ Band. They use the album’s length to work their way towards the leaden boots of the latter over time, steadily shedding layers of intricacy in exchange for fuzz and fury. “A. Hausenbecken” finds the band bending their metal into sculptural shapes – still rusted and barbed, but beautifully striking from a distance. As Windborne wears on the beauty is somewhat subsumed by force and forged into a blunt instrument, though even that blunt instrument is decorated with a splash of painted and etched symbols that can’t help but haunt.
Like much of the El Paraiso Catalog, the band isn’t content to sit still stylistically. They echo Causa Sui’s absorption of prog’s high-minded, over-arching themes, Mythic Sunship’s blend of jazz and psych into a primal force, and even Futuropaco’s attention to rhythm. The latter they dip into on the motorik middle ground of “Harmonia,” which, as the title might suggest, plays into the Kosmiche touches of the referenced German lightspeed travelers. The track serves as a sweat respite in the middle of the album, a moment when the knots of the first two tracks are untied and a bracing point before the album’s second side tears into a growl of heaviness. Yet another worthwhile pickup from this Norwegian stable of cosmic shamans and prog denizens.
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