Backworlds

Composed in 2000 and recorded in 2001. The concept of "Backworlds" was born through looped improvisations based on a looper pedal. However, the song was recorded into ProTools without any loopers.

I wanted to cross electronic sounds with something more organic, so I recorded the entire piece with an acoustic guitar and a bunch of effects. 

Recording equipment and effects was mostly outboard at the time and not "in the box" like today.

I still kinda like the attitude that comes with recording this way. It's more of a "do it now" approach. Very musical and great at getting things done. 

The song is partly influenced by "north eastern" traditional music which I grew to love over the years. Its subtle, but was the main drive for the song. (I was mostly known for my "south eastern" influences back then and probably still are).

There are no «dynamics processing» in the mix itself, and trying to process the mix on a "per track basis" ruins the song structure, as the lead elements drifts between 20 tracks (over the course of the song).

It was recorded in an hour, after rehearsing for a show with the band "Woo", but the preparation took much longer. (Pre-production for me can take, everything from six months to 6 years+)  The drums was added at a later stage, and was performed by Geir Arne Ose.

One of my favourite looper units. I used to have two of these back then.

Inage: audiofanzine.com

Into My World

Much of the concept and arrangement on "Into My World" was written in 1996, along with so many guitar pieces that I've lost count. 

It's a crossover between baroque and latin styles, and some African as well, at least in my mind (though I didn't care much about styles then, and still don't). 

This version was recorded in 2008.  The guitar pieces are always fun, both electric and acoustic. Because of the fun they've given me over the years, I don't take them too seriously.  It almost feels like a child's game, and not "proper" and "serious art"

The rhythm and bass arrangement is minimalistic, the guitar is the opposite, and drives the song. Even though the song is basically acoustic, it it feels electronic. The tempo is kind of frantic so it can be almost overwhelming to listen to, which was the point.

I dot have much "sympathy" for redoing (any of my own parts) in the studio but I easily record a song on several occasions to find the right mood and ambience for it. Much more effective, I think. 

The song was recorded on the cheapest classical guitar you'll find. The ones that cost  under 100$/€. You can find some pretty good guitars for that price since there are so many of them out there. And here in Norway it's almost cheaper to buy a new one then bother to change the strings! 

It's pretty strange that I've not released more acoustic music over the years, since it's been a vital part of my day to day life since my childhood. 

Well, that will gradually change now

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Stills from an upcoming video: at my studio FutureRevisited

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Recording an upcoming acoustic song.

Unsung Zero

Originally, Unsung Zero was intended to be far more electronic, almost sound design based.

I prefer the energy on this version and therefore chose this performance over the electro version.

Its a simple arrangement with a simple message. Its fun to play live, the challenge is to give it more and more energy as the song builds up, all the way to the last bar. This is a very basic principle, but always a fun challenge. Instead of seasoning the energy, we tend to give it 100% at the first hit and be creative and physical to see how far we can go.

It was showcased in China in 2008.  People went truly nuts! Almost violent, people pushed each other around! Fortunately they all did seem to enjoy themselves. 

It was included on the Ninth "Whiteside Ep" released on October Party Records in 2007 (only in China)

On the session with me:

Drums: Bjørn Tore Tarranger 

Hardcore guys on US tour.

From left: Per Helge Lande, Geir Satre, Audun Havåg and Bjørn Tore Kronen Taranger

(Obviously the tour was a dog)