The Night Flight Orchestra - Give Us the Moon (2025)

Country: Sweden
Style: Melodic Rock
Rating: 7/10
Release Date: 31 Jan 2025
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Here's another Night Flight Orchestra album, my first that isn't an Aeromantic release. Is there a new concept here? There are certainly plenty of moments that play into the band taking a journey but, while they're obvious in the intro and in between tracks, I could never focus on lyrics enough to discover if it went deeper than that. Those linking pieces are very obvious, enough that I spent far longer on the thirty second intro, Final Call, than I should.

It's a stewardess asking the eight members of the band to attend their flight. That explains to me that David Andersson and Anna-Mia Bonde are gone from the previous release, Rasmus Ehrborn and Åsa Lundman joining in their stead on guitar and backing vocals respectively. It also reminds me that, even though I'm learning more and more about different languages by dealing with the increasingly international rock and metal genres, I still have more to pick up. I'm not shocked that lead vocalist Björn Strid's surname is pronounced Streed, but apparently that of drummer Jonas Källsbäck is pronounced Shellspeck. I therefore immediately apologise to all Swedes whose names I've inadvertently butchered in the past.

Anyway, the thirty seconds are up and off the band go to Tashkent, which is in Uzbekistan, but via a strange route. By the end of Stratus, they're in orbit. What sort of night flight is this?

Stratus leaps in hard as a bombastic melodic rock opener, with big keyboard power chords and the sort of hooks that Toto would employ. It's a strong song, which doesn't surprise because that's the sort of song that the Night Flight Orchestra churn out on a regular basis. However, it's also rather memorable, which is important because a lot of this material blends together for me. Tracks such as Shooting Velvet are enjoyable while I'm listening to them but, as soon as the next one kicks in, I struggle to remember what they sounded like.

That's only emphasised when the next song is as strong as Like the Beating of a Heart, the most obvious single on this album. Sure, it's almost five minutes long and it's a stadium rock belter that ought out to be done in three, but they're five good minutes. It has a wonderful intro that serves to grab anyone's attention and it stays wonderful throughout. What I find myself doing with Night Flight Orchestra songs is figuring out which ones stand out to that degree and continue to do so a few listens in. The album's inherently likeable and accessible and easy to enjoy. The question has to focus on what will stay in the mind afterwards.

On this album, that's mostly Like the Beating of a Heart and Miraculous. They feel like the purest melodic rock standards, the sort of songs that will be playing not merely in heavy rotation on rock radio stations today but also in heavy rotation on classic rock stations thirty years into the future. Maybe the title track fits with these too. It certainly has a powerful chorus. Maybe it doesn't quite match them.

I'd also add Cosmic Tide to the standout list for a different reason.

This is throwback melodic rock that combines eighties stadium rock with tinges of pop and seventies disco, so keyboards are king. Many of my favourite intros, hooks and other parts of songs revolve around the keyboards, which come courtesy of John Lönnmyr, whose other day job is in Croatian melodeath/groove metal band Act of Denial. He's on top form across this entire album, the intros to Like the Beating of a Heart and A Paris Point of View particularly impressive.

However, he takes a different approach on Cosmic Tide, which is to bolster a jangly guitar line with piano in a way that reminds of something Stevie Wonder might do. This one kicks in with drums, as if every rule in place on this album needs to be tweaked, then the guitar, then the piano, and then a particularly urgent pace. It all combines to tell me that, while this doesn't fit with the textbook melodic rock standouts, it's just as good and perhaps even better. It's easily my favourite song on the album.

I don't have a least favourite, but there are plenty of tracks that sit alongside Shooting Velvet as songs I enjoyed while they were playing but which I forgot again immediately. I've listened to this album a few times and every time through, it's like I'm hearing those tracks for the first time with exactly the same end result. The other songs that stand out are for other reasons, some as stupid as the chorus of Melbourne, May I? unfortunately sounding so much like Mother Mayi, that I found myself remembering Leslie Nielsen in Repossessed. A Paris Point of View finds a fast disco bounce, arguably for the first time on the album and Way to Spend the Night is extra bouncy too.

So take that how you will. The Night Flight Orchestra are very very good at what they do. They aim to fill an odd niche, a sort of New Wave of Stadium Rock with Disco that nobody was asking for but which is somehow inherently uplifting and enjoyable. This is a little more stadium rock than disco but it's more of the same and, if this is your thing, it'll take you to the moon. Even if it's scheduled for Tashkent.