Karma

Karma is a kind of song that is pretty difficult to say too much about. I play all the instruments, mostly improvised.  

I usually record three drum takes, with different ideas and grooves. Then I choose the one that I like the most. Guitar is always one take, but I often record several guitars with different amplifiers etc, where I try different things. Bass instruments are usually two different takes, one for each of the two best drum takes. 

The trick is to get all the instruments to respond to each other, even though you can only play one instrument at a time. I need to mentally play all the key instruments in my head,  so that all the fills and quirks complement each other after the recording 

I give myself some time to mentally prepare for this. And I totally avoid playing any instruments  at that stage, and kind of meditate on the song instead. This can take days, weeks or hours, but I know when I am ready. The recording itself seldom exceeds two hours (including all key instruments)

Even though it would be nice to be warm on the instrument I'm about to play,  I feel that it creates borders, and limits the song. If I were to focus on a specific instrument, it easily creates bad habits, almost like a handicap. Its the whole piece together that is the instrument. Everything has to fit subconsciously, instinctively. 
This approach works for songs like Karma, but not on all songs, usually it is a combination of things. 
Anyway, in my experience a song never stands still, and song is never finished. Music is motion. 

Shift

This song was performed regularly on live shows, with my band “Woo” for several years.
Actually, most memories I have  of this song, takes me back to performing it on stage. 
Therefore I found it fitting to use an actual live recording as basis for the production. 
That was the atmosphere I wanted for this track, and most of the sounds are from that live recording.

With me on the session:
Geir Arne Ose: Drums

Nothing

The idea behind this song was for it to be very minimalistic. 
The lyrics and melodies are naive and simple, but reflects a cold and merciless world. 
It is often the innocent and weak, that goes down first, in the fight for survival.
I changed some of the lyrics towards the end though, so that it would be more, diffuse. 

Even though the song will be one of the simplest in the entire project, it still is; kind of overwhelming and unpredictable in it's briefness. A lot happens in a short time. Which was the point.  The structure of the song is part of the message. 
Life is short too. 

Not all quiet songs are ballads, which almost seems like a bizarre statement (for some) in this day and age. 

Darkness

I sometimes talk about the fact that I'm making several versions of a song before landing on one. So in this case, I decided to release two versions of the song "Darkness".

They are both minimalistic in their respective styles. The electric version is straight forward with few drum fills or any other "noodling".

The acoustic, is basically a live recorded version, with lots of room ambience. I put the microphones way back in the room, and tried to catch the song in a way that is hardly viewed upon as the "studio sound". More like something you typically hear on a camcorder or a phone recording.

The acoustic version is also transposed to a point where I was feeling quite uncomfortable with singing it. This was done to get a more frenetic and "worried" expression from the vocals.

To be on the "safe side" I also recorded both songs in 3 different keys. That is why the electric and acoustic version ended up in different keys. 

Revolver

This song has no guitars, but was made on one.  The first arrangement was for an acoustic guitar. The second draft was an electric/psychedelic rock piece, but I wanted to use some of my affection for (early) 60's instrumentation on the final arrangement. 

The production is still acoustic, and played with real acoustic instruments. 
Even though I had a concept for the arrangement, I had nothing actually arranged. I gave myself 3 hours to arrange it for piano (which I had been planning to do for years), and recorded it early in the morning, just after the  piano had been tuned. It took about 10 minutes. The vocals was also recorded very fast, right after the piano, to get the same feel. Most instruments was recorded instantly.  You don't necessarily get the most polished sound this way, but I wanted it to sound fresh and alive. 

The song was still tricky though,  as I always get tempted to try multiple arrangements anyways. Every stone gets turned, and it takes time. 

Here are some clips of some of the instruments that's actually present (low) in the mix. 
Can you hear them in the released song? (Some of these clips are from early drafts, and has been worked on after the fact). 

So, there's a lot of stuff under the hood on most songs, and as said before: recording is the easy part.

Second year finished!

The second year is now concluded in this project.
I have managed to release 54 songs, 54 pictures of art, and 54 posts about it all. I'm  looking forward to the next 3 years. 

This year was quite different from the first, musically. With more emphasis on experimental and adventurous stuff from my career. I wanted the songs (mostly) to show another perspective, and attitude.

It will be a special year, even when all songs are released (as will every year).  I have "special plans” for every year,  but I dont like to make promises that I dont know if I can keep, so I’ll try to hold them to myself until it’s proven. 

But now over to the important part:
I’d like to express my sincere gratitude to all the fantastic visual artists that I've had the privilege to work with over this project!
They make jaw dropping work, and I find it really difficult sometimes, to hold onto so much great material, when I just want the whole world to know about their excellent art.  I encourage you all to check out their websites, and exhibitions.
A big warm "thank you" to you all, this project would not be the same without you!

Torje Sæbø
Magne Sandnes
Tom Kosmo
Tim Ekberg
Rikke Darling
Eigil Forberg
Susanna Kajermo Törner
Petter L Nøstdal
Magnar Moen
Martin Whatson
Christian Bøen
Marius Martinussen
Henrik Skóra
Simone Hooymans
Håvard Legreid
Robert Høyem
Vilde Salhus Røed
Vegard Vindenes
Neoyookai
Arne Bakke
Aurora Cornelia

Also, a big thank you to everyone that’s been buying, streaming or showed any interest in the project.
I hope you have a fantastic new year.

Wrap The Morning Around Me

I don't remember exactly when I made this song.
But I have recordings of it from my early teens. 

There are several versions of it (as usual), this is the latest recorded version, and it's from 2001.