Progressive rock keyboardist Erik Norlander makes a powerful and focused statement
in his debut solo project entitled Threshold.
Combining cutting-edge technology with clear 1970’s
progressive rock influences, Norlander captures the
spirit of the prog giants but with a 21st-century approach. “Threshold
embraces the sum of all the great progressive music
of the past along with the possibilities of what is still yet to come” says Norlander.
Norlander is no stranger to the progressive giants of which he
speaks. He has worked extensively with keyboard icon
Keith Emerson on projects ranging from recording to
synthesizer programming. Norlander not only
programmed the two Alesis QS8 synthesizers that were
prominently used on the 1996 ELP tour, he was also a leading designer of them.
“I met Keith at a NAMM show a few years ago” says Norlander.
“I had just finished the final voicing of this
new synth (the QuadraSynth Plus), and I very much
wanted to get Keith to play it. He loved the machine,
and since then we have become friends.” Emerson
shows his support for Norlander by penning the liner notes to Threshold.
“It's a great honor” says Norlander, “to have a giant like that write about my music.
I remember listening to Pictures at an Exhibition when I was a kid, and now
here I am, not only working with the man, but finding
that he's listening to my music. It’s quite a thrill.”
In addition to Emerson, Norlander lists his keyboard influences as
Rick Wakeman, Eddie Jobson, Mike Pinder, Patrick
Moraz, Geoff Downes and Chick Corea. He also favors
the bands Procol Harum, Rush, Supertramp, ELO and Jethro Tull.
Prior to Threshold, Norlander produced two
albums for his band Rocket Scientists: Earthbound
and Brutal Architecture. He also produced two albums for symphonic rock vocalist
Lana Lane, Love is an Illusion and Curious Goods. All four
albums have achieved critical acclaim and have been
described as audiophile recordings. Threshold
will doubtless receive similar praise as great care
was taken from the initial tracking sessions all the
way down to the final mastering. When asked about the
recording process, Norlander responds, “I can confidently say that no
shortcuts were taken. Thankfully I have a lot of talented friends who
have tremendous patience for details -- it was quite an undertaking.”
Norlander points to producers Alan Parsons and Jeff Lynne as influences
on his production style. “I think atmosphere, cohesion and clarity are paramount to a successful
record” says Norlander. “It seems that the major label trend is to get a few pop radio hits on
an album and then fill the rest of the space with
whatever unfocused dreck the artist can muster. I
really hate that. Singles will come and go, but
strong, cohesive albums will live forever. Look at Dark
Side of the Moon or Close to the Edge.”
Threshold is rich in concept and cohesion. Emerson writes in
his liner notes: “Have no doubt. There is a scheme to the whole thing. Evident by recurring
motives and sounds that come back to haunt you like a
long-gone, loved relative.” Particularly memorable is what Norlander calls the “Neuro
Theme”. It first appears in Neurosaur,
reoccurs in Neuro Boogie, and then makes
its final statement in the suite, Critical Mass.
Each time the theme is played with different instrumentation and in a different setting, spinning
an elaborate thread that looms throughout the record.
Vintage and modern keyboards alike adorn Threshold.
Norlander speaks about his choice of instruments:
“Of course I used the Alesis synths to great
lengths -- they’re my children. But I also used elder
statesman such as my Hammond Model D organ -- which
is three times as old as I am -- as well Minimoog,
Mellotron, Solina, CS-80, Vocoder, and even the
famous Emerson GX-1 that he used on the Works
album”. Norlander was also able to employ a
medium-sized modular Moog synthesizer from the late
1960’s that he borrowed from a friend. “Now there
are some sonic possibilities” he says. “There’s something about discrete analog
circuits. They have an organic quality that you just
can’t get from sample playback-based instruments.”
Norlander was born in Hollywood during the Summer of Love. He is a great
fan of literature and especially science fiction. His
favorite writers are Heinlein, Moorcock and Asimov,
although lately he has been expanding his palette.
“I recently read Alfred Bester's The
Demolished Man -- what a great work”, Norlander comments. Also a fan of
fantastic and surrealist paintings, Norlander was
able to procure a suitably wild image by English
artist Jim Burns for the cover of Threshold.
“I think it accurately captures the spirit of the album” says Norlander.
Suitably wild and surreal in its own right, Threshold
now begins its burn into progressive rock history.
Erik Norlander can be reached via Think Tank Media,
22425 Ventura Blvd, Suite 2200, Woodland Hills, CA
91364, USA. Fax: 818-716-8715 or email:
. The Erik Norlander web
page is located at www.thetank.com.
