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Norwegian quartet Beezewax have been together for seventeen years. Almost two decades of touring, writing and recording albums, and ultimately fighting as underdogs left the group "exhausted". Now, after retreating into the wilderness for a long Scandinavian winter- one that saw one of Norway's largest newspapers declare them as having broken up - the group return with a "positive" record that focuses on "fun" in Tomorrow.

Tearing into a neglected trunk of whistling synthesisers, steel-stringed acoustic guitar and erratic percussion, the arresting 'Hazzard' blows off the layers of dust. Texturally indicative of what is to come, this is an aloof and often distant aesthetic. Beezewax create an important distance between their warm, wholesome sound and the listener by wrapping everything in thick layers of delay. This relationship and disconnect is a strong proponent of one of Tomorrow's central themes: the bittersweet.

Tomorrow is a short record that is comprised of a number of crude, abrupt songs. At times, the pieces are so straightforward in structure and sound that they almost sound incomplete. However, this doesn't make for a lack of balance but rather the opposite. The pieces almost act as a direct call and response for one another. For example, 'Shameless' feels like a prerequisite for understanding 'Hold Back' and you could make a similar argument about the bipolar duo of 'Everyone Will Tear You Down' and 'Dreams Across The 'navian'.

'Riding Down The Hill' has an immediate charm. The delicate melodies are portrayed on such crotchety, meandering instruments and they can barely cope with its heady, optimistic nature. Whether you hear an old piano, loose guitar or worn out old tape; this is a wonderful metaphor for the inescapable conflict that runs throughout this album.

"I know I could've done better," sings Kenneth Ishak on 'Forever' through a heart-swallowing sigh. He frames and crowns frustration with a brutal self-analysis that anybody who has helplessly watched years trickle by can relate to crucially at points of this collection. Whether it is on 'Everyone Will Tear You Down', 'What Am I Doing Here'; the sound of a desolate underachiever speak about their failure is inescapably melancholic - I thought this was supposed to be a fun record?

Beezewax set out only with the ambition "to make something [they] really liked" and Tomorrow's sincerity sends it into a microcosm outside of contemporary guitar music, without being earth-shatteringly innovative. However, the wonderful thing about an artist that has been around together for so many years is that, whether minute or massive, every decision they make has a thousand pieces of string attached to it. Despite being Beezewax's strive for simplicity, Tomorrow is so emotionally complex that we'll never understand just how much thread is connected to each of its nuances.

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