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Twangy blues jam meets musique concrete and soaring gothic soundscapes in cult trio’s transgressive mockery of the upper class The debut Hubro album by the highly regarded Norwegian trio Bushman’s Revenge - underground stars of the Rune Grammofon label for a decade - operates on several levels. After a hypnotic experimental prelude that creates a sort of audible weather system, with the delicate, bare-wire glissandos of Even Helte Hermansen’s soprano guitar heard against Gard Nilssen’s beaten percussion and the elegantly dancing measures of Rune Nergaard’s electric bass, Et Hån Mot Overklassen (which Google Translate renders as “A Mockery of the Upper Class’) begins to settle. The instruments sound pretty much like guitar, bass and drums are meant to do, and the opening numbers follow a recognisable model of theme/improv/theme. Unlike some previous Bushman’s Revenge albums, there are no special guests, but the normal paramenters of the trio are expanded through the inclusion of several other instruments, with drummer Nilssen doubling vibes and Wurlitzer electric piano while bassist Nergaard covers organ, toy piano and percussion. Hermansen plays percussion as well as his barrow-load of guitars, and all three members add ‘electronics’. Pleasingly, Et Hån Mot Overklassen ends as it began, with a lyrical, electronically enhanced prelude leading into a sensitively played jazz tune. We have come full circle.