Craneium have signed to Majestic Mountain Records. The Finnish progressive heavy psychedelic rockers aren’t yet at a full year’s remove from putting out their most vivid realization to-date, Feb. 2024’s Point of No Return (review here), but as is their wont, they’re ready to move forward. Streaming on the player below is a band-made video for “Empty Palaces,” a new, (at-least-for-now) standalone single to mark the occasion as they continue to write for their next outing.

If you know Craneium, having either caught wind of Point of No Return or any of the Turku four-piece’s prior LPs — 2021’s Unknown Heights (review here), 2018’s The Narrow Line (review here), or 2015’s Explore the Void; they also had a split with Black Willows in 2018 (review here) and various singles and odds and ends as fodder for Bandcamp perusal — the new song represents them well. I don’t know if it was tracked at the same time as Point of No Return, but they list a 2022 recording date, and the team of producer Joona Hassinen at Sweden’s Studio Underjord and mixing/mastering engineer Karl Daniel Lidén is consistent across both album and single, so if it’s a leftover from the album sessions, it’s one well chosen to feature by itself.

Point of No Return isn’t short on hooks, with songs like the leadoff “One Thousand Sighs,” the emotive and atmospheric cast of “A Distant Shore” or the side B highlight “Things Have Changed.” “Empty Palaces” works in this vein but is slightly shorter and more direct in doing so. Its verse picks up around a comfortably-paced swinging groove, as the vocals of Andreas Kaján — he stars in the video as the frontman very much not involved in lugging equipment back and forth, which is what guitarist Martin Ahlö, bassist Jonas Ridberg and drummer Joel Kronqvist are up to throughout; to be fair he’s busy playing along to the song — draw the listener toward the melodic catharsis-release of the chorus. There’s nothing too tricky happening structurally, and there doesn’t need to be.

The band have long since proven themselves able to conjure grand expanses of tonal reach, but fuzz rock is still somewhere at the core of that. “Empty Palaces” doesn’t revisit their past even if it’s stripped down in comparison to some of the songs on the record, but it hits in a different way, which, again, makes it work well as a single. See? I knew we’d get back around to the point eventually. One strives for the kind of efficiency Craneium show here.

Enjoy the clip, congrats to the band on joining forces with Majestic Mountain (and to the label on the pickup of a killer band), and here’s looking forward to what comes next:

Craneium, “Empty Palaces” video premiere

Martin Ahlö on “Empty Palaces”:

“A friend of the band gifted us a book on old Egyptian magick, and some of the spells carried really empowering messages. It also inspired the themes that we explored a lot in our music at the moment: the inevitable decay of mankind’s empires and monuments at the hands of nature and time.”

Joel Kronqvist on “Empty Palaces”:

“We’re beyond excited to share a new single called “Empty Palaces” with the world. This track is the perfect blend of our signature 90’s edge mixed with the soulful, retro vibes of the 70’s.”

Craneium is back with a new track ‘Empty Palaces’ and the first to be released on Majestic Mountain Records!

Their latest album, “Point of No Return,” released on February 23, 2024, dives deep into this sonic universe. Tracks like “One Thousand Sighs” and “The Sun” promise an auditory journey through expansive landscapes, both physical and emotional. This album marks a continuation of their evolution since the critically acclaimed “Unknown Heights” in 2021, which was also the start of their venture with The Sign Records.

Video created by Craneium. All music written, arranged and performed by Craneium.

Recorded and produced by Joona Hassinen at Studio Underjord, Finspång, Sweden October 2022
Mixed and mastered by Karl Daniel Lidén.

Craneium are:
Andreas Kaján – vocals, guitar and keys
Joel Kronqvist – drums and percussion
Jonas Ridberg – bass
Martin Ahlö – guitar

Craneium, Point of No Return (2024)

Craneium on Facebook

Craneium on Instagram

Craneium on Bandcamp

Majestic Mountain Records webstore

Majestic Mountain Records on Facebook

Majestic Mountain Records on Instagram

Each successive full-length from Turku, Finland’s Craneium up to this point has been a progressive step forward from the one before it. It’s where that progression has brought them that makes their fourth long-player, Point of No Return, a special moment. As the sweeping, lush and gorgeous crescendo of opening track “One Thousand Sighs” to its final peak — a tonally rich and urgent but not too fast chug pushed forward by emphatic snare carefully placed in the mix, surrounded by layers of melodic vocals in a dynamic movement that prefaces the encompassing breadth of much of what follows before dropping with residual echo to a sentimental intertwining of acoustic and electric guitar as denouement across the last 40 seconds of its 5:34 — the band’s mastery is glaringly obvious, a brightness cast in kind with the Jaime Zuverza cover art. Point of No Return is the four-piece’s second outing backed by The Sign Records after 2021’s Unknown Heights (review here), and sees them working again with that album’s producer, Joona Hassinen, who also mastered late-2018’s The Narrow Line (review here), at a Studio Underjord now relocated from Norrköping to Finspång, Sweden, while Karl Daniel Lidén of Stockholm’s Studio Gröndahl handled the mix and master.

Across the six songs and deceptively-expansive 37 minutes, whether it’s in the underlying performances of guitarist/vocalists Andreas Kaján and Martin Ahlö, bassist Jonas Ridberg and drummer Joel Kronqvist, or the more-than-the-sum-of-its-parts grandeur they cast in the memorable choruses of “One Thousand Sighs,” “The Sun,” “A Distant Shore,” “…Of Laughter and Cries,” “Things Have Changed” and “Search Eternal” — yeah, that’s all six; it’s front-to-back — or the way even the most impact-minded stretches complement and maintain the atmospheres harnessed through contemplative, patient, purposeful semi-drift, the overarching mastery can’t be ignored. More than a decade on from first getting together in 2011 and nine years after their debut LP, Explore the Void, got them picked up by Ripple Music for a 2016 release, Craneium present themselves as mature and intentional in their craft, graceful in rhythm and melody alike, and aware of what they want their songs to be doing and how they want each to inform the greater context and undulating flow of the album as a whole.

This is conveyed in Frida Eurenius of Spiral Skies guesting on vocals to help put that already-noted apex of “One Thousand Sighs” over the top, as well as Skraeckoedlan‘s Robert Lamu contributing lead guitar to “The Sun” — I’ll note also what seem to be keyboard or piano strikes in that song’s verse; Lamu‘s band employed similar urgency in “Mysteria” from their own new album for a nice shout-out — and, for a just-them example, the way the final solo of “A Distant Shore” holds its tension in Kronqvist‘s soon-fading toms as the non-lyric vocals (ready for an audience singalong as much as they are an epilogue), far-back Mellotron and airy guitar end side A only to have the initial crash of “…Of Laughter and Cries” immediately reground with the more uptempo groove that follows. With a direct shift, that bit of contrast echoes how the buildup of “The Sun,” which is Point of No Return‘s most fervent shove, responds to the quiet finish of “One Thousand Sighs” just before, and though the interaction changes as the couple seconds of silence on side B between the penultimate “Things Have Changed” — the chugging verse and declarative chorus of which mirror “The Sun” in their grounded execution — and “Search Eternal” are tense with anticipation, Craneium nonetheless feel mindful in these pairings and their arrangement across the two sides, each set up such that its procession complements the other.

The split on the vinyl version (I’m not sure there is a CD; take that, ’90s heads), between “A Distant Shore” and “…Of Laughter and Cries,” makes for three songs on each side, and the symmetry of construction extends to “A Distant Shore” (7:35) and “Search Eternal” (7:23) each as the longest running track among its respective three. It’s not the most radical difference between those and the others between five and six minutes long, but still a choice that feels purposeful, especially as “Search Eternal” enters its final outward-pointed movement in a midsection marked by near-elephantine keyboard swells and cycles of guitar that, indeed, seem to be exploring and finding their way forward. And that “Search Eternal” has a hook in its early going is no less representative of Point of No Return as a whole.

On sound alone, it and “A Distant Shore” both work as grand finales. The side-A-capper plunging into Mellotron-laced melancholy and a post-stoner float, and its chorus stands ready to imprint itself on your brain, but the way its riff hits more straight-on before the cymbal wash and danger-zone guitar lead into a heavier rush — still methodical in the detailing with key or guitar sounds peppered in the momentary tumult — before the solo brings “A Distant Shore” to a head and it recedes into the aforementioned, immersive ending, Ridberg‘s bass and Kronqvist‘s drums tasked with keeping feet on the ground through the transition as the melody and ambience lend an aspect of drama without feeling like Craneium have pushed too far and gotten lost. What makes “Search Eternal” function so well where it does is how it emphasizes the fluidity of everything preceding. Beginning with resonant low end fuzz and moving swiftly into its verse, it lacks nothing for fullness of sound at its heaviest — and the mix is a significant space to fill — but Point of No Return would be a much different album if volume was its only priority.

Further, the ease with which they turn from a few measures of bombast to the march-through-the-cosmos instrumental ending, while evocative of the stated climate-crisis thematic, underscores the point of the directorial role they’ve played a songwriters. It’s not that they’ve given up the riffy foundations from whence they’ve come, but while the core “The Sun” could be read as extrapolated from Songs for the Deaf-era Queens of the Stone Age, there’s no denying that Craneium take that particular charge and use it toward their own ends. That, coupled with the care and attention so clearly paid to the root performances and the additional layers constructed around them, affirms Point of No Return as the defining statement of Craneium‘s tenure thus far. Accordingly, where their own ‘search eternal,’ i.e., their collective ambitions in sound, craft and expression, might take them from here feels broader in possibility than it ever has.

Craneium, “Things Have Changed” official video

Craneium, “One Thousand Sighs” official video

Craneium, Point of No Return (2024)

Craneium on Facebook

Craneium on Instagram

Craneium on Bandcamp

The Sign Records on Facebook

The Sign Records website

My understanding of the situation is that Turku, Finland, heavy progressives Craneium finished recording their upcoming fourth LP, Point of No Return, in Oct. 2022. That was a month after premiering a video for “Victim of Delusion”, which was issued as a standalone digital single following 2021’s Unknown Heights (review here), which was their first album for The Sign Records.

That’s plenty of lead time. I say put the thing out Friday. “One Thousand Sighs” sure sounds ready to be heard, let alone either of the tracks they’ve put out as singles thus far, “Things Have Changed” (true: the band have grown) and “The Sun,” which boasts a guest appearance from Skraeckoedlan‘s Robert Lamu. All told, Point of No Return runs six songs, and as someone listening to it right now, I’ve yet to find a dud in the bunch.

I can only imagine the relief Craneium will feel to get this out after sitting on it for a year-plus. Note the Karl Daniel Lidén mix and master and keep in mind ideas of clarity and refinement. Their choruses speak more to the listener here than they have before. I’m interested to get to know the songs better and I’ll hope to have more before the record’s already been out for like four months or some such.

From the PR wire:

Craneium are set to release their fourth album “Point of No Return” in February 2024 via The Sign Records. The Finnish four piece’s upcoming, studio recorded effort is their most ambitious one yet, washing over you through a constant ebb and flow of fuzzy heaviness, complemented by psychedelic melodies and atmospheric passages. The album follows their 2021 studio effort “Unknown Heights” (The Sign Records), “The Narrow Line” (2018, Ripple Music), and “Explore The Void” (2016, Ripple Music).

The album was recorded by Joona Hassinen at his new Studio Underjord in Finspång, Sweden with mixing and mastering duties handled by legendary Karl Daniel Lidén (Studio Gröndahl). The band has long admired his work with giants such as Lowrider and Greenleaf, and we are more than pleased with the end result. With the songwriting expanding upon the Craneium sound with atmospheric guitar leads and heavy riffing, the dynamics have become more polished and clean. Conceptually, the lyrics deal with the climate catastrophe and the responsibility of mankind for planet Earth. The artwork was handled by psychedelic artist Jaime Zuverza and complements the music perfectly.

Craneium is:
Andreas Kaján – Vocals & Guitars
Martin Ahlö – Vocals & Guitars
Joel Kronqvist – Drums
Jonas Ridberg – Bass

https://www.instagram.com/craneiumband/
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http://craneiumband.bandcamp.com/

https://www.facebook.com/thesignrecords/
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http://www.thesignrecords.com

Craneium, “Things Have Changed” official video

Craneium, “The Sun” (feat. Robert Lamu) official video