Come

I started composing "Come" around 2002-3. The song has many perspectives and represent many moments in my life, especially musically.
It came (pun intended) around a time when I wrote a great deal of string arrangements, mixed with electronic instruments.
This is one example where I didn't build on the first draft. ..And kind of regret it.

When you have something you think is great, its all about the feel of the song, arrangement, and mix of the right sounds. 
It was mostly recorded on portable equipment, even though we had a studio. I wanted to be spontaneous when working on it. 
With come, I recorded and arranged it in different keys and tempos. In the end I almost forgot which key it was originally. I tried several string sections and so on.

On top of it all, we had been playing it on shows,  the live-version was evolving into an electro-funk thing  (in a higher key and faster tempo), so we became quite used to that power. Parts of the live version was then added to the recording. 

The key elements for the song was something like this:
Melody should have a psalm, lamenting  kind of approach but with more closeness (and freak out in range).
The guitar should have that 60's funky, warm tone and feel to it, (chopped up to brake the realism). 
The strings should be dramatic but uplifting , (it should also have frantic elements, such as the pizzicato and crush tones). 
The electronic beats should be groovy (but in a way that didn't overshadow the simple nature of the melody). 
The synth-bass followed the beats. (before being replaced by electric bass at the end) 

I learned then, that the portable equipment at the time was not good enough for capturing the sounds we were looking for. 
I tried several guitars, amps, microphones, but ended up sampling the guitar from an earlier studio recording and pitch (slow) it down to get the sound I was after, (geeky stuff) and it worked.

The  sample libraries for the string section was too thin on their own (and we have many to choose from). Those with the right sounds for the song didn't have enough articulations and so on. 
So after transposing rearranging many times in order to get it right. It was augmented with real strings (bass, cello and violin) .
I'm never satisfied with anything! And the reason for almost regretting my decision on "Come" was that it took me crazy amounts of time to get the result I wanted. But thats part of the process.  

And that is why I wanted to give you another perspective for this song just so it doesn't seem that everything goes smooth and fast over here. It really doesn't. 

Bjørn Tore Kronen Taranger: Acoustic Drums

Sensual Soirée

"Sensual Soirée" was written in the summer of 1992, though much of the song is improvised. 

It was written as a live piece and was meant to change and evolve during concerts. 

It was recorded at a live show in 2000.

Improvised vocals from singer Stig Sandbakk was also a common (and effective) part of the live shows at the time. They are not included here, as they're not part of the original composition and thought. 

"Sensual Soirée"  is an instrumental and improvisational piece that belonged to the stage. 

Recorded by Erik Valderhaug at Lydkjelleren AS

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Performing in Oslo.

From right: Stig Sandbakk and Geir Satre

Photo: Jakob Berg

In My Town

"In My Town" was composed in early spring, 2002.

It starts out as a love song, and develops into a tale about death impersonated; lamenting for all living in pain and suffering. I’ll say no more! (probably shouldn’t have said anything at all :)

It is, however a "good tempered" song, and not meant to be sad in any way (go figure!, I'll probably delete this post all together.)

It was inspired by north-asian traditional music (from Russia, Estonia and surrounding countries) which I love! It's in some ways similar to nordic music, and we love our glimmering darkness from time to time (ok I'll speak for myself).

Some of the music from this territory has a kind of naive innosence to it on the surface, but underneath there is a dark and almost crystalized melancholy. 

You'll find it in folk songs everywhere, but it is handled so uniqely in the Russian music, in my opinion. 

It was only inspired by it,  Im not claiming that "In My Town" is a full fledged Russian orthodox chant, but what's on the radar for this 5 year long album might surprise you! (at least I hope it will). 

On the recording with me:

Geir Arne Ose: Drums

Bjørn Tore Tarranger: Drums

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)

My Name Is Life

This is one of many songs I made in Tarzana, Los Angeles in 2008.

I tried to work on a new song every day for three months. 

I  worked out the arrangement on an acoustic bass and guitar. And recorded it that way, and started to layer parts. Adding a string section.  Then we I tried to alternate between a rock arrangement and acoustic backing between every stop in the song. 

Making the stops work was challenging by itself.  

I ended up recording "My Name Is Life" live in the studio with Bjørn Tore Tarranger.  I remember recording the vocals on Christmas eve and mixing it on my birthday. Not purposely. 

The lyrics are about the power of perspective, how you look at things can have a self-fulfilling effect, or what you see is often what you'll get. 

It was meant to be released with "The Creature With One Trillion Eyes" album; the first real album with my "Desert Son" project. The album was originally supposed to be named "Tarzania Album" an internal joke that came from a wrong-spelling on the region we were staying in.

Tarzana: the home of writer Edgar Rice Burroughs.

On The Wave Of Hope And Doubts

This song was actually inspired by a particular guitar, a Martin D45 Koa to be exact.

When I decide to buy a guitar, it’s usually because it has a voicing that is very different from my other guitars. The guitar must speak to me in a way that I don't expect from a guitar. 

Typically you'll find such an instrument on the rarest occasions and places. 

We were staying in LA, and our living rooom measured 13 ft in height. Along with the guitar it made a beautiful vibe. Many songs were made instantly with the guitar. 

The song to me is about being in a state of wonder, excitement and uncertainty. With the descending sequence expressing doubts and the ascending passage being hope. 

At a later stage I experimented with different instruments on the recording. Some are still present at the end of the song. Among these instruments are a Sitar, Banjo and a Portuguese guitar, if I remember correctly.