Making the Revirstredet album
Kosmoratik played our to date latest gig on 13th of September 2013. This was at the time of the release of the “Bridges and boats”album. Beginnning with the acoustic set, the digital piano had by mysterious ways decided on a slightly out of pitch condition. Something we didn’t notice until we were on stage which took us, and some of the audience, somewhat by surprise... Anyway, the gig turned out to be a success. I remember taking the bus home that night feeling exited, but also very tired. I felt I had been banging my head against a brick wall for a little too long, and I was running out of steam to push forward. Eventually, we drifted apart, at least for a while. The album got excellent reviews, but it didn’t find an audience.
During the autumn of 2013 I booked a studiosession demoing new songs I had written that summer. Not really knowing what was going to happen with Kosmoratik; I was going for a singer/songwriter approach and considering the songs for a possible solo album. It was during this session I was introduced to the brilliant guitar player Helge Hovland. Apart from this session and working on the "Directions" mini-album with Kosmoratik, I really didn’t do anything musical for the rest of the year. I had to take some time off. But something happened during Christmas. I sat down at the piano and the first verse of “Everywhere you find me” appeared almost fully formed. And that was when this project started. Many of the new songs were composed at the piano. I’m a terrible player, but I like the intuitive way of working out chords, harmonies and melodic progressions. During Easter “Wood anemones” was written after days of walking through the woods, witnessing nature coming back to life after the winter.
I knew Arthur Kay Piene from back to the early sessions of the very first Kosmoratik band in 2010. He’s a very talented and versatile musician with background from classical/contemporary, jazz and rock music. And he brings inventive playing and fresh ideas to the table.
I’m lucky to know the musicians that play on the album, and getting their creative input while working on the songs. When I played in bands - playing together was always what I enjoyed the most. It could be just as well a rehearsal as a gig. Yes, that’s what I really love; the presence and magic of making music together. And that’s the way I prefer to work.
Working with Jacob Holm-Lupo; I had known Jacob since just before we started to work on the “Bridges and boats” album. When I got the possibility to work with Jacob on this project, it was an unique opportunity that got the project off the ground. I’m a big fan of Jacob’s music with White Willow and The Opium Cartel. Jacobs invaluable help as musician, as well as mixing the album has been most important to the project, and making it such a pleasant experience. Recordings started October 2014 at the Dude Ranch Studio with the first rough mixes materializing in April 2015. The drums and most of the electric guitars were recorded at Ole Tom Torjussens studio in Oslo, another great musician I'm very happy to work with.
I had some ambitions I wanted to explore. The songs should be short, precise and based on strong melodic content. The arrangements and instrumentation not to follow any preset thinking, mode or genre. I wanted to work with a small group of musicians, strong on individual talents. And for the recording I wanted to go old school using mainly analog keyboards and the sound of the instruments played in the room.
Thank you all