It’s time to crank the volume and shine a spotlight on one of Norway’s most electrifying exports: Electric High. Hailing from Bergen, this high-voltage quintet—featuring the powerhouse dual vocals of PV Staff and Olav Iverson, the scorching guitars of Marius Morch, the backbone provided by Eintride Torvik on bass, and the thunderous beat of Tor Helge Opdahl—are back to rattle your speakers.

Following up on earworm anthems like “Walls Fall Down,” “Go Easy on My Heart,” and “Reach of Your Love,” the band recently zapped us with their latest single, “Flicking the Bees.”

If you’re hunting for swaggering rock and roll drenched in alternative hard rock grit, look no further. This track is pure, unadulterated attitude, but with a crucial message: it’s a hard-hitting caution to listeners to stop doing stupid things that will inevitably blow up in their face. But the warning shot was just the beginning. On November 7th, Electric High unleashed the full fury of their brand new, ten-song album, “Free To Go.” Let’s dive deep into this record and see if they’ve delivered the ultimate rock fix!

The title track is “Thick as Thieves”. Forget easing in; “Flicking the Bees” hits the ground running! It opens with a head-nodding guitar strum so cool it could frost the speakers, promptly followed by a propulsive, exhilarating drum beat that snags your attention and refuses to let go. Here the lyrics deal in allegiance and its complications: loyalty, complicity, maybe betrayal. The imagery points to close partnerships that are simultaneously sheltering and risky — the language is compact and uses concrete, interpersonal moments to sketch out the emotional terrain. There’s a tension between solidarity and doubt running under the lines.

Musicality: The track is the punchiest on the EP — shorter, more concise, and rhythmically immediate. It trades the widescreen sweep of the title track for tighter arrangements: sharp guitar stabs, snappy snare work, and a chorus built on rhythmic drive rather than wide melodic leaps. Vocals are more direct and slightly aggressive, which helps sell the lyrical tension; harmonies or gang-vocal moments in the chorus underline the “togetherness” idea while the instrumentation keeps the song urgent. As a closer (or closer-style single), it leaves you on a taut, energized note.

“Close to be” is the next song on the record. It’s an opening masterclass: a wickedly funky bass melody is your introduction, quickly amplified by the twin attack of the electric guitar and the drums. This isn’t a song you ease into; it grabs you by the collar from the first few seconds. The song delves into a powerful theme of internal conflict, where our protagonist is caught in a losing war against his own shadows. The lyrics paint a vivid picture of a man whose defenses are crumbling, unable to hold back the encroaching chaos. Matching this raw emotional grit is a fire-breathing vocal delivery that practically leaps out of the speakers, backed by an intense, driven musical arrangement that gives the conflict a palpable sonic weigh

“Lover Lover” is the name of the next song. The song wastes no time, kicking off with a magnetic, foot-tapping melody. The instrumentation is immediately lush and dynamic, creating a soundscape so appealing it’s impossible not to love. this track likely deals with romantic desire, temptation, or intimacy. There’s probably a push–pull in the lyrics — sweet allure but maybe with complications underneath (given the band’s rougher rock edge). It is a song that acknowledges love’s allure and danger simultaneously. Vocally, the performance leaned into wild emotion or sensuality with instrumental backing that supports that mood balancing the soft with the hard

“Aint got nothing but time” is the next song. Once again, the band proves their mastery of the hook! We are instantly slammed with a dynamic, pulse-quickening melody—it’s so infectious and exciting that you’ll be singing along before the first chorus finishes. This is a laid-back, almost carefree anthem. The lyrics suggest a refusal to rush; an acceptance of taking things slow, living in the moment, and not being pressured by time or society’s expectations. It can be read as a kind of “rock ’n’ roll meditation”: just ride the groove, enjoy life. The band leans into groove and swagger. The song uses a relaxed rhythm, probably with prominent bass and drums, and a chorus that invites nodding along. Vocals likely carry a relaxed confidence — not soft, but easygoing, letting the vibe do much of the work.

The fifth song on the album is “Let it hurt”. The opening guitar melody begins with a deceptive lightness, almost a crystalline shimmer, before dramatically flipping the switch. It rapidly descends into a gritty, electrifying roar, marking the start of a truly exciting sonic journey. Here the mood likely turns darker. The title suggests pain, maybe confronting loss, heartbreak, or self-destruction. There’s an emotional rawness in accepting hurt rather than running from it — possibly a catharsis or honest reckoning. Listeners should Expect heavier instrumentation: darker guitar tones, maybe more reverb or distortion, a slower tempo to let the emotional weight settle. Vocally, the song is more emotive or gritty, letting the anguish or vulnerability come through.

The album’s namesake “Free to go” is the title of the next song. From the jump, the track is pure adrenaline: a combustion engine of sound that refuses to slow down. It’s untamed, fiercely liberating, and absolutely ablaze with energy, delivering rock and roll freedom in every measure. and central to the album’s concept — is about freedom, breaking away, claiming autonomy. There’s a sense of liberation: leaving behind constraints (past, people, self-doubt) and choosing movement, change, or rebirth. It’s an affirmation of self-determination. Musically, It’s big and anthemic. The song builds from a solid riff into a soaring chorus. That tempo combined with classic-rock instrumentation gives it forward momentum; guitars, drums, vocals all push in the same direction, delivering a cathartic release.

“Higher Heights” is the next song on the album. Forget mere mortals! The song opens with an immediate guitar riff of mythic proportions, sounding as if it was being channelled directly from the Rock Gods themselves—a genuinely epic and commanding introduction. The narrative is intense, centering on a protagonist held hostage in their own mind by a toxic connection. The sense of defeat is crushing, as the character admits to having given up the fight and succumbed to the situation. This heavy subject matter is delivered via a scorching vocal display bursting with raw emotion, underpinned by dynamic and colourful instrumentation that adds contrast and depth to the darkness.

“Blow a fuse” is the song that follows.  Right out of the gate, this track hits like a shockwave. It launches with a full-bore, sonic assault—a melody that isn’t just loud, it’s visceral and aggressively raw, demanding your full attention from the jump. Suggests anger, breaking point, tension. This may be about losing control — emotionally or socially — letting built-up pressure snap. The song could explore frustration, rebellion, or raw release of pent-up feelings. This song is one of the harder-edged tracks: aggressive riffs, heavier drumming, perhaps abrupt shifts or breakdowns to mirror “snapping” or “blowing a fuse.” Vocals might be raw, maybe even shouted or strained — pushing the intensity but it is awesome

The second to last song is called “Hiding a lack of pride”. This opening is definitive Electric High. It immediately lands with their established flair, delivering that classic mix of reckless abandon and infectious energy. It’s instantly recognizable and wildly, thrillingly exciting. This title evokes shame, insecurity, pretense. The lyrics probably deal with hiding flaws, shame, or insecurities behind a facade — the tension between how one appears and how one feels inside. It could be a confessional, wild yet vulnerable chords, or a higher tempo. Instrumentation might be more atmospheric — letting space for emotional weight, rather than a driving riff. Vocals carry weight, subtle inflections, introspective tone even though it is foot tapping

The last song on the album is called “Feed Me A Groove”. The track’s foundation is laid by an utterly mesmerizing bass guitar riff, a low-end hook that immediately demands attention. That groove is quickly joined by the sizzling electric guitar, the passionate vocal attack, and the crushing drum beat, completing the powerful sonic setup. Ends the album on a more primal, almost celebratory note. “Feed me a groove” — the idea of needing music, needing rhythm, needing release. It could be about surrendering to music, to passion, to life; perhaps about escapism, connection, the cathartic power of rock. The song is groove-heavy, rhythmic, maybe a bit loose or raw — a song built to move bodies, get heads nodding. It features a strong bass, driving drums, rhythm guitar that emphasizes groove rather than flashy solos. Vocals might match the rhythm: loose, rhythmic, inviting — maybe encouraging “let go, move with me.

So, what does “Free to Go” actually sound like? It’s a definitive expansion of the band’s signature sound: an explosive, seamless blend of classic and modern rock. Expect infectious, arena-ready choruses channeling the swagger of Aerosmith, Whitesnake, and AC/DC, grounded by dark, monolithic riffs that whisper of Black Sabbath. Add a dash of ’70s glam, punk attitude, and the contemporary cool of bands like Arctic Monkeys and Royal Blood, and the result is magnificent. This album feels both timeless and undeniably fresh, perfectly balancing melodic mastery with sheer, unadulterated power. Having witnessed what Electric High can do, I can confidently say I was not let down for a single second. Congratulations to the band on this stellar release—the rock world is ready for your next move!

Stream the “Free To Go” album on Spotify

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