The mid- year EP Break the Limit brought Swedish Horisont back into my focus and reminded me why I enjoyed their retro 70s metal/rock. That EP is a perfect example of how to properly wet the appetite for the upcoming full-length, so as soon as Odyssey made an appearance among my substantial stack of promos I was inclined to reach for it right away.

The bell-bottomed Swedes do not disappoint on the Odyssey, but you are forewarned they decided to go for a loosely associated concept album, a space rock saga so to speak. The 10 min opening title track is a bold statement which can go either way. A truly epic composition Odyssey has its dreamy wistful parts, straightforward rocking moments, and also goes on lengthy jazzy convoluted jams. To open an album this way is a sign of both confident and daring team. Manowar, in a totally unrelated genre did that with Achilles, Agoney and Ecstasy on The Triumph of Steel. Not a simple piece by any means, you just have to stay with it on Odyssey, waiting for the more immediately digestible rewards to come.

And trust me, they do. Horisont rolls hit after verifiable hit beginning with Break the Limit, which sounds no less vibrant to me than it did a few months ago. Melody skewered onto biker rock riffs in Bad News, head bobbing Light My Way practically begging for cowbell, residing somewhere between Blue Oyster Cult and Rocka Rolla, anthemic rock with caution thrown to the wind in Red Light and Back on the Streets, boisterous catchy Studer Brinner, atmospheric and folky Timmarna – take your pick of the song to play on repeat here, and you won't go wrong with any of them. And another important note – Horisont do it effortlessly, without seemingly trying at all, songs coming naturally for them, all with natural organic sound. Drums are not overpunched in the mix producing perfect rolls (Light My Way), warm bass can be heard when the band steps away with a quiet moment (Blind Leder Blind), and Axel Soderborg’s voice is clean singing, reaching and straining for high notes when needed (Break the Limit, Light My Way), projecting a rock hero, yet the one who is slightly desperate.

Then there are more experimental moments on the album. Guitars, now also featuring Tom Sutton formerly from Church of Misery, go on lengthy dueling interplays you can get lost in. Flamenco strum leads into flower power hippy rock of Flying with another guitar jam tucked somewhere in the middle. Beyond the Sun is steady, almost balladic and Ziggy Stardust. And with the title like The Night Stalker one would expect some savagery, yet Horisont uncorks a bottle of romantic sadness with it, Moog/Hammond organ getting its proper due, showing that love and admiration can come in many different ways. Yet with the steady outro riff growing steely one wonders whether the stalker’s decision has been made to go after the object of its affection.

A wonderful trip, Odyssey is brimming with freshness, despite where it is set both in time and space.