05.06.2026

Botanisk hage is a double album that feels less like a statement than an ecosystem:

sprawling, unruly, somewhere between the intentional and improvised.

The eighth release from Spring Vibes refines their self-described “sound collage psychedelic pop”

into something both monumental and minimalistic.

As if the group were more interested in cultivating conditions than delivering conclusions.

This is sounds that seems to grow rather than progress, looping time. 1966 brushes against 1996,

which in turn stumbles into our own time of 2026.

Across 24 tracks, Spring Vibes move with a disregard for todays needs of everything turned

into metadata, algorithms and specific genres.

Psychedelic guitar power pop blooms on Mantra and Onoclea.

Urtehagen and Fotosyntese dissolve into atonal avant-garde collages that feel closer to tape experiments than songs. Elsewhere, repetition becomes the mode of attention: the minimalist synth studies Insekthotell and Pausemusikk for Tøyen hovedgård flatten time entirely, the latter a playful space-age boogie.

The album’s pop instincts resurface in electronic form on Oldemors hage and Tromsø arktisk-alpine botaniske hage. The album takes a more serious turn with the pastoral, slow-burn prog of Klosterhagen and Arboretet.

At the centre of it all sits Botanisk museum (stengt for publikum), the finest the Beta Band pastiche since the Beta Band themselves.

Botanisk hage doesn’t ask to be decoded so much as wandered through, an album content to move at its own pace, indifferent to whether the listener keeps up.

Like any botanical garden, there's plenty of sights and sounds to enjoy on Spring Vibes latest album.