Osukaru – ‘Tall Tales’

(Pride & Joy Music)

There are certain bands who spend years slowly refining their sound, gradually stripping away the unnecessary and discovering exactly where they belong. Osukaru are one of those bands. The Swedish outfit have been delivering quality melodic rock for well over a decade, but Tall Tales feels like the point where all those years of experience, experimentation and hard graft have finally come together in one gloriously muscular package. This is still unmistakably Osukaru, but there is a noticeably harder, darker and more aggressive edge running through the entire record.

Originally rooted firmly in the AOR and melodic rock tradition, Osukaru have never been afraid of a big chorus, a memorable melody or a beautifully constructed guitar line. Those ingredients remain firmly in place here, but Tall Tales turns up the gain considerably. The guitars have considerably more bite, the rhythm section hits with greater authority and there is a sense that the band have deliberately stepped away from some of the smoother elements of their earlier work in favour of something tougher and more immediate. The result is melodic hard rock with genuine muscle.

And boy, does it rock.

The opening impression is one of confidence. This is a band that knows precisely what it wants to sound like. The riffs are thick and crunchy without becoming unnecessarily heavy, while the production gives everything plenty of room to breathe. There is clarity to the guitars, punch to the drums and a wonderfully full bass presence underneath everything. The whole thing sounds built for the stage, with enough weight to satisfy the hard rock crowd while retaining the hooks that will appeal to anyone who still believes a great rock song should be memorable after the first listen. The production has clearly been designed to capture the band's more forceful modern identity.

Fredrik Werner is another major part of the album's success. His vocals have the strength required for this heavier direction but, crucially, he never sacrifices melody for attitude. There is a natural warmth and character to his delivery, and the backing harmonies add that essential Osukaru sheen. The choruses have been given plenty of space to soar, creating those big, layered vocal moments that are so important to melodic hard rock. There is emotion here too, particularly when the band pull back and allow the more reflective side of the material to emerge.

The guitars, however, are where Tall Tales really earns its stripes. Oz Hawe Petersson has always been a talented guitarist, but there is a new sense of purpose to his playing here. The riffs are sharper; the solos have plenty of attitude and the melodic elements never feel tacked on simply to tick an AOR box. Everything serves the song. Sometimes the guitars roar, sometimes they groove and sometimes they provide the emotional lift, but they are consistently one of the album's strongest features.

What I particularly like about Tall Tales is the balance between darkness and melody. There is something slightly mysterious lurking beneath the surface. The album's themes appear to inhabit that wonderfully blurry territory between reality, myth and personal perception, which gives the music an additional character. Yet Osukaru never disappear down some gloomy musical rabbit hole. This is still rock music designed to entertain. The choruses remain huge, the melodies remain accessible and the hooks keep coming.

There is also plenty of variation within that framework. The album isn't simply ten versions of the same hard rocker. There are moments where the band ease back, allowing the melodies and vocals to take centre stage, alongside passages where the guitars and rhythm section are given free rein. That dynamic approach prevents the heavier production from becoming exhausting and gives the record a satisfying ebb and flow.

It is perhaps the most convincing aspect of Tall Tales: Osukaru have not abandoned their roots in order to sound heavier. They have taken those roots and made them tougher.

That is not always an easy trick to pull off. Plenty of melodic rock bands have attempted to add weight to their sound only to lose the charm that made them appealing in the first place. Osukaru avoid that trap. The AOR DNA is still there in the harmonies, songwriting and emphasis on melody, but it has been wrapped in a considerably harder shell. The band's own description of the album as a sharper and more authentic side of Osukaru certainly rings true.

Five years have passed since their last album Starbound, and that gap has clearly been put to good use. Tall Tales sounds like a band that has grown more comfortable with its identity and is no longer afraid to push its heavier side to the forefront. There is maturity here, but thankfully no loss of enthusiasm. If anything, the album sounds hungry.

A terrific way to kick things off, ‘Exceeder’ comes charging out of the blocks with a big, chunky guitar riff and plenty of attitude. This is Osukaru showing immediately that Tall Tales is going to be heavier than some of their previous work, but without sacrificing those all-important melodies. Fredrik Werner sounds superb, the harmonies are huge and the chorus has that instant Scandinavian melodic rock appeal. A confident opener with plenty of bite.

Things take a darker turn with ‘Wendigo’, bringing a slightly sinister atmosphere into the Osukaru formula. The guitars have real weight and the keyboards add an eerie backdrop without ever overpowering the rock dynamics. There is something wonderfully mysterious about the whole affair, perfectly matching the mythical subject matter. It is heavier and moodier than the opener, but still unmistakably melodic.

One of the album's more cinematic moments, ‘Blood On The Rocks’ combines muscular hard rock with a bluesy swagger. The guitars are excellent here, particularly when the solo arrives, while Werner delivers the vocal with plenty of drama and conviction. There is a sense of danger running through the song, but once again Osukaru understand that atmosphere means little without a great melody. Thankfully, there is plenty of both.

Possibly the most adventurous composition on the album, ‘The Outer Side Within’ allows Osukaru to stretch their legs a little. There are more twists and turns than on some of the straightforward rockers, while the keyboards become more prominent and atmospheric. The song explores the conflict between outward appearance and inner reality, and the music reflects that beautifully. A classy, slightly progressive piece that rewards repeated listens.

‘Ronin’ brings the guitars roaring back to the forefront. There is a definite Japanese-inspired flavour to the imagery, but musically this is classic Osukaru: sharp riffs, strong vocals and a chorus built to be shouted back from the audience. The rhythm section gives it a wonderfully driving feel, while the guitar work provides plenty of melodic colour. Tough, catchy and thoroughly enjoyable.

Here we get another dose of classic melodic hard rock, with ‘Who Do You Love’ balancing swagger and melody beautifully. The vocal harmonies are particularly effective, while the guitars have enough crunch to stop things becoming overly polished. It has that wonderfully familiar Scandinavian rock quality where the chorus feels instantly accessible without becoming predictable. A real earworm.

‘Split’ has a darker emotional edge, with the title perfectly suited to music that feels caught between two opposing sides. The guitars remain heavy, but there is a greater emphasis on atmosphere and emotion. Werner's vocals give the song plenty of character, while the layered arrangement creates a satisfying sense of depth. Another strong example of Osukaru expanding their sound without losing their identity.

A more reflective offering, ‘Only Moments Left’ slows the pace without bringing the quality down. This is where the band's melodic instincts really shine, with the vocals given plenty of room and the guitars providing emotional rather than purely aggressive accompaniment. There is a melancholy running underneath it all, but the song never becomes overly sentimental. Beautifully constructed melodic rock.

‘When It's Over’ continues that more emotional side of the album, building its impact through atmosphere, melody and an increasingly powerful vocal performance. The guitars provide the necessary hard-rock backbone, but the song is ultimately about the feeling rather than the riff. There is a wonderfully mature quality here, and the chorus gives the track a satisfying sense of release.

What better way to finish than with a title meaning "it's in your head"? ‘C'est Dans Ta Tête’ closes the album with plenty of melody, attitude and that unmistakable Osukaru polish. The guitars remain prominent, the vocals are strong and the arrangement brings together many of the elements that make Tall Tales work so well. A fitting finale to an album that successfully combines classic AOR melody with a harder, heavier modern edge.

For fans of melodic hard rock, AOR with attitude and classic Scandinavian rock, Tall Tales is a very easy recommendation. It has the hooks, the guitars, the harmonies, the swagger and the occasional darker edge to keep things interesting. Most importantly, it feels authentic. Osukaru aren't chasing trends; they are simply taking what they have always done well and making it bigger, tougher and more powerful.

Tall Tales is a confident step forward for Osukaru. The melodies remain, but the gloves are off. This is Osukaru with the volume turned up, the guitars cranked and the harder side of their personality finally allowed to run wild. A thoroughly enjoyable slice of Swedish melodic hard rock that proves you can still make music with huge choruses and plenty of guitar without sounding stuck in the past.

8/10

Essential Track – ‘The Outer Side Within’

Review by Woody