While still high concept, The Night Flight Orchestra of ‘Aeromantic II’ is a band that has come into its own. Mostly gone are the double-entendres and pastiche of their earlier work. Instead, they come across as a sincere and fully formed progressive pop band.
The record’s first single “White Jeans” mines the edgier side of the band’s sound. The song finds Björn Strid (Soilwork) deftly paying tribute to an eighties babe who’s wearing “white jeans on the cover of the magazine,” over a guitar gallop offset by vibrant synths. Bearing a slightly heavier sound than previously employed, my initial fears that the band were going to bring some of their heavy metal roots to the forefront were quickly alleviated by the remaining consistent if slightly quirky tracks.
Record opener “Violent Indigo” begins with some mood-setting synth noodling before taking flight. A rock-solid stomper that’s a spiritual successor to Genesis’ “Turn it on Again,” the band prove that the devil is in the details, as newcomer John Lönnmyr alternates big catchy synth riffs, that frequently lock in with the uber-tight rhythm section, with subtle arpeggios and other textures that add depth.
“Midnight Marvelous,” one of the record’s most archetypal tunes, is also it’s most memorable. Beginning with a rare pop-metal riff, the song juxtaposes the feel-good vocals and chug of the verses with the minor-key disco swing of its catchy choruses replete with Anna-Mia Bonde and Anna Brygård’s ABBA-esque backing vocals. The bridge breakdown finds bassist Sharlee D’Angelo (Arch Enemy) and drummer Jonas Källsbäck locked into a taut groove before Lönnmyr’s understated synth solo builds tension for David Andersson’s (Soilwork) excellent lead break.
“How Long” with its minor-key synth-driven verses and anthemic major key choruses is another record highlight. The sleek retro-minded production gives this and the other tracks a timeless almost cinematic charm.
Elsewhere, “Burn For Me” injects some piano-heavy blue-eyed soul into the mix; “Chardonnay Nights” big choruses and dance floor appeal lives up to its title’s boozy “high-falutin” promise; and “Zodiac” adds funk overtones and spacy keyboards to good effect.
Musically, ‘Aeromantic 2’ is a lesson in restraint with nary a wasted or unnecessary note; however, the band could benefit from self-editing. While every song on the record stands on its own, overall, it’s a little long in the tooth.
‘Aeromantic II’ swaps the instant appeal of many of its mile-high predecessor’s best moments, with a subtle, consistent, and more musical approach, that is no less effective. So, squeeze into those skin-tight white jeans, grab a big glass of chardonnay, and drop the needle on the platter. The Night Flight Orchestra is back!