Sitting amidst the rather more traditional press statements regarding Henrik Palm’s third album, one piece stands out: “he has played in many bands. Some you might have heard of and some you probably never heard of. He doesn’t give a fuck really. The present is much more important than dwelling in past victories and/or missteps”. It’s a bold statement in an industry given to name-dropping, and it sets Henrik apart as an artist whose focus is fixed firmly upon whatever project he has at hand. In the case of Nerd Icon, released back in April via Svart records, it’s easy to see why, for it is an engaging and evocative work that rides roughshod over a range of genres, never pulling the same trick twice, and keeping the listener constantly guessing.
The album opens with the subtle, well-paced Instrumental Funeral, an engaging, slightly spacey track that builds towards a series of towering riffs as it progresses. Reminiscent of Metallica’s instrumental pieces, it provides a gentle entry into an album that consistently seeks to surprise, as indeed it does when Subway Morgue proves to juxtapose beguiling pop melodies with chugging guitars and, just as you think you’ve got it all sussed out, a monstrously progressive finale that sounds like Yes jamming with Queensryche. Taking a grittier tack, Lunch Hour (Of The Wolf) sounds like Perdition City-era Ulver, the eerily becalmed vocals belying the increasingly corrosive riffs creep into view. Another track with an approach reminiscent of Ulver, albeit the Ulver that produced The Assassination Of Julius Caesar, Talismanic Love leans heavily into synth territory, and it’s a strangely beautiful moment that just seems to throb in the air as subtle guitar figures are traced in the dark. It brings the first half of the album to a gorgeous close.
As the second half kicks off, it’s clear the surprises are not done, as Henrik heads straight into the wiry post-punk of Swim To The Light. Initially, it sounds like a track that wouldn’t sound out of place on a Suede album, only for harder-edged metallic moments in the vein of Devin Townsend to emerge, wrenching the listener to a darker place altogether. It’s an absolutely stunning track and it segues straight into an absolute masterpiece. Boasting NIN-esque soundscapes, the lengthy From The Grave is led by piano, and nailed by a somnolent beat – as if Trent Reznor was kidnapped by Stephen Sondheim to soundtrack a play about John Wayne Garcy – and who else could make so melodic a chorus out of “mankind is vile”? A uniquely brilliant piece of music, From The Grave seems to gather all the threads of Henrik’s scattered influences and bring them together in one monumental display of artistry. Set to a sweet acoustic strum, Back To Abnormal is simply a lovely instrumental piece of music, imbued with heart and richly arranged. It leaves Many Days to see the album out, and it’s another sonic curveball, combining lo fi, progressive, and musical theatre to provide the album with a suitably memorable closing number.
On Nerd Icon, Henrik Palm draws on a remarkable array of influences to deliver something that, even in these days of musical saturation, is utterly unique. Touch points abound – from Devin Townsend and Ulver to Pink Floyd and Queensryche, but never so as you could truly say that the album “sounds like…” Rather, these moments serve to anchor a record that has carved out its own space in the sonic firmament. Almost certainly as a result of its diversity, it is a record that will inspire fervent devotees and ardent critics, but surely never ambivalence. It both demands and deserves attention and, for those open to the truly diverse, it more than rewards the time and effort spent getting to know it. Truly mesmerising. 9/10
