Segway Nation by Aiming For Enrike: A Genre-Bending Joyride You Didn’t Know You Needed
When you stumble across an album like Segway Nation by Aiming For Enrike, it’s kind of like finding a hidden trail in the woods that somehow leads to both a rave and a jazz club. Released back in 2016 under labels Flake Sounds and Name Music, this record is a wild mashup of rock, jazz, and pop influences, stitched together with enough creativity to make your brain do somersaults. And hey, it’s not every day you see a Norwegian-Japanese collaboration drop something this fresh.
Let’s talk about the tracks for a sec. While the whole album has its moments, two songs really stuck with me: “Maddriver” and “Phone Phobia.”
“Maddriver” kicks things off with this gritty, almost chaotic energy—it’s like someone handed a guitar to a caffeine-fueled wizard who decided to shred their way through time and space. Simen Følstad Nilsen’s guitar work here feels raw but calculated, weaving between punchy riffs and unexpected melodic twists. Meanwhile, Tobias Ørnes Andersen’s drumming locks everything down with precision, even when the rhythm goes full spaghetti-western-on-acid halfway through. It’s one of those tracks where you’re not sure if you should headbang or just sit there slack-jawed, trying to process what you’re hearing. Either way, it’s unforgettable.
Then there’s “Phone Phobia,” which hits different in today’s world of constant notifications and screen addiction. This track leans more into the jazz side of things, mixing moody basslines with these eerie little electronic flourishes that sound like your phone vibrating in a nightmare. The pacing is slower, almost hypnotic, giving you time to reflect on how much we rely on technology—and maybe hate ourselves for it. Honestly, after listening to this, I put my phone face-down for a solid hour. No joke.
The production quality deserves props too. With Aiming For Enrike wearing so many hats (producing, mixing, writing), it’s impressive how polished yet unpolished Segway Nation feels. Chris Samson’s mastering gives the album a crisp edge without losing the lo-fi charm, while Deformat’s artwork perfectly matches the quirky vibe of the music. It’s clear everyone involved poured their hearts into this project.
What strikes me most about Segway Nation is how it refuses to stay in one lane. One minute you’re vibing to some funky pop-rock groove, the next you’re lost in a labyrinth of avant-garde jazz experimentation. Sure, it might not be everyone’s cup of tea, but isn’t that the point? Music should challenge you sometimes, push boundaries, and leave you thinking, “Wait…what did I just listen to?”
And here’s the random thought that hit me as I wrapped up my third listen: If Segway Nation were a vehicle, it wouldn’t be a sleek sports car or a reliable sedan. Nope, it’d be exactly what the title suggests—a Segway. Weirdly practical, slightly awkward, but secretly brilliant once you figure out how to ride it. So grab your headphones, hop on, and enjoy the ride.
