Coming four years after the previous trio album Ding Dong. You’re Dead, it´s the longest period ever between Hedvig albums. That, however, is no indication she´s been idle, quite the contrary, actually. There´s been five commissioned works, two of which have resulted in albums in her own name. 2023 saw the debut release from power-impro-trio Hedvig Mollestad Weejuns with Ståle Storløkken (keyboards) and Ole Mofjell (drums). The same year she was Artist In Residence at the Moldejazz festival, with vital guest appearances from the likes of Nels Cline, Trevor Dunn and Colin Stetson. Hedvig also found time to write new music for a screening of the silent movie Limité (Brazil 1931). After these busy years, she felt a strong urge to get back to the core, which has always been the trio that started it all back in 2011 with the powerful debut album Shoot!. Starting work on new music before last summer, she later in the year hooked up with Ellen on several occasions to collect loose ends and put it all together before drummer Ivar was brought into the fold to complete the process. There was plenty of excitement going into the studio, and with a lot of the music being quite complicated with lots of small variations and long structures, the studio sessions were extremely focused and concentrated. Hedvig stresses that the main objective of the trio is to always have fun whether in the studio or on stage, and to share that joy with the listener. Listening to Bees In The Bonnet it shines through how much the trio had been missing making new music together, with glowing evidence of their skills both as writers and players.For years, a young Mollestad obsessed over music and little else. The daughter of a jazz musician, she soon lost herself in his record collection, studying classic works by Miles Davis, Charlie Parker, Joe Pass and Jim Hall before discovering riff-raging titans like Led Zeppelin and Black Sabbath as well as Mahavishnu Orchestra in her early 20s. This would eventually lead to the formation of Hedvig Mollestad Trio after she received the “Jazz Talent Of The Year” award at Moldejazz in 2009. Their relentless recording and touring schedule (hundreds of concerts all over the world) have earned the guitarist a stream of accolades, including two Norwegian Grammies and DownBeat magazine naming her one of the 25 artists who “could shape jazz for decades” in 2020

TRACK LISTING

1/See See Bop
2/Golden Griffin
3/Itta
4/Bob’s Your Giddy Aunt
5/Lamament
6/Apocalypse Slow

After having released their two first albums In Silence (1981) and Small Mercies (1983) on the Norwegian indie label Uniton, Fra Lippo Lippi decided to finance and release their next album, Songs, themselves. This found them taking up a bank loan before heading off to Abba´s Polar Studio in Stockholm. If the evolution from the Joy Division/The Cure elements of In Silence to the keyboard based Small Mercies was a big step, the same can be said about the further development leading up to Songs, the most obvious aspect being a stronger focus on catchy tunes and more structured songs. Although the acoustic piano was a key part of Small Mercies, it was even more evident on Songs, especially as the original recording was completely without guitars. This gave the album a personal signature at a time that favoured digital synths and gadgets.

Songs was released on their own Easter Productions label in 1985 and sold a respectable 5000 copies in Norway alone without marketing or singles, receiving a large amount of critical homage and ending up at the top of many album of the year polls. The album was picked up by Virgin UK, and with a brand new song and some added guitar to a couple of tracks, it was released internationally in 1986 to great acclaim both in the UK and elsewhere. However, what we have here is the original edition from 1985. Next up (FLL by now a duo of Kristoffersen and Sørensen) would be Light and Shade (1987), recorded in Los Angeles with Walter Becker from Steely Dan in the production chair. After parting company with Virgin, they released two more studio albums, The Colour Album in 1989 and Dreams in 1991.

‘A-Ha have captured attention for a while, but Fra Lippo Lippi may very well capture your heart.’ - New Musical Express.

‘Should make your best alter ego weep with unabashed elation. Marvellous.’ **** ½ - Sounds.

‘It´s a delight to hear music which rests solely on strength of voice, strength of melody and strength of sentiment.’ **** ½ - Record Mirror. ‘This is the real McCoy: reflective, gentle songs.’ - Music Week.

TRACK LISTING

1. Come Summer
2. Shouldn´t Have To Be Like That
3. Even Tall Trees Bend
4. Just Like Me
5. Crash Of Light
6. The Distance Between Us
7. Regrets
8. Leaving
9. Coming Home

Ståle Storløkken – Fender Rhodes, Hammond L100, Minimoog, Mellotron, grand piano, celeste, Continuum. Nikolai Hængsle – Electric bass. Torstein Lofthus – Drums, percussion. After a solid run of five studio albums and two double live albums, Psychedelic Backfire I and II, (both 2019), Elephant9 had taken their groovy mix of high energy rock and power jazz as far as they could. In this respect their previous album Arrival of The New Elders (2021) came as a welcome and most timely addition to their recorded output. More varied, mature and reflective, they were as groovy as ever, but more structured and less jam oriented, earning them a 9/10 review in Uncut and a spot in their albums of the year list, noting their telepathic communion and concluding with “this is an Elephant9 you´ll never forget”. Jazzwise, Shindig, Prog, Electronic Sound, The Quietus and several others followed in the same fashion. Mythical River is moulded much in the same way and a natural follow-up, with six stellar new compositions by keyboard maestro Ståle Storløkken, bookended by two short cosmic snippets. From the hypnotic and magical to the razor sharp and polyrhythmic, this is yet another strong group effort from a trio on top of their game. Comparisons have been made with bands dating as far back as the sixties, but with Arrival of The New Elders and Mythical River, Elephant9 appear as a thoroughly contemporary, timeless and even futuristic sounding band. Mythical River was recorded and mixed by previous Dungen producer Mattias Glavå. Ståle started his musical journey in Veslefrekk with Jarle Vespestad and Arve Henriksen in the 90s, soon morphing into Supersilent with Helge Sten on board. He´s also a member of Hedvig Mollestad Weejuns, Møster! and Humcrush, and have collaborated with a number of artists, most notably Motorpsycho. Nikolai is also a member of Bigbang, Needlepoint and Band of Gold and have appeared on a couple of hundred records. The same goes for Torstein, an associate member of numerous bands ranging from pop and soul to free jazz. But Elephant9 has always been their special baby.

STAFF COMMENTS

Barry says: The brilliant Elephant9 return, this time bringing with them a suite of kosmische-flavoured experimental rock, rich with soaring organs, snapping percussion and airy progressive melodies.

TRACK LISTING

Solitude In Limbo #2
Mythical River
Party Among The Stars
Chamber Of Silence
Heading For Desolate Wastelands
Star Cluster Detective
Cavern Of The Red Lion
Solitude In Limbo #1

Never one to rest on her laurels and always eager to break new ground, it’s full steam ahead for guitarist Hedvig Mollestad when teaming up with sublime keyboard player Ståle Storløkken (Elephant9, Supersilent) and young drummer ace Ole Mofjell in a new trio bearing her name. Beautifully subtle and fiercely burning, Weejuns is a solid step into shimmering, hardcore improvisation and breathtaking instrumental interplay, a temporary move away from the composed music of her regular trio and the ensemble projects. It was not the intention, but with this in mind and great recordings of a handful of concerts, it made perfect sense to make the trio’s debut a double live album. We don’t like to put tags on music, but it’s possible to place the trio in the same musical landscape as Bitches Brew-era Miles, Supersilent, Henry Cow and King Crimson 73-74.

The music was recorded live in concert during 2022 at venues in Oslo and Stavanger. Four of the six tracks are from their very first concert – at the new Munch Museum – a fact that says it all about the telepathic communication at play in this trio.

Hedvig received Molde International Jazz Festival’s “Young Jazz Talent of The Year” award back in 2009 and now the circle is closed with her being appointed Artist in Residence, following in the steps of Chick Corea, Pat Metheny, Terje Rypdal, Mats Gustafsson, Maria Schneider, John Zorn and many other greats since it was introduced 23 years ago. At this year’s festival she is performing in various constellations with eight concerts in six days and guests including Colin Stetson, Nels Cline, Cortex, Gard Nilssen, Jon Balke as well as Trevor Dunn sitting in with the Weejuns trio.

For years, Mollestad obsessed over music and little else. The daughter of a jazz musician, she lost herself in his record collection, studying classic works by Miles Davis, Charlie Parker, Joe Pass and Jim Hall before discovering riff-raging titans like Led Zeppelin, Black Sabbath and Mahavishnu Orchestra in her 20s. This led to the formation of Hedvig Mollestad Trio, whose relentless recording and touring schedule since the early ’10s have earned the guitarist a stream of accolades, including DownBeat magazine naming her one of the 25 artists who “could shape jazz for decades” in November of 2020.

TRACK LISTING

1. Go At Your Peril
2. Come Monday
3. Hug That Tree!
4. I'll Give You Twentyone
5. Stay At Your Peril
6. Pity The City

Now in its 14th year, the unique and constantly evolving Fire! Orchestra is back with their largest line-up so far, counting an international cast of no less than 43 members that includes mainstay singer Mariam Wallentin as well as newcomers David Sandström and Joe McPhee, both on vocals, McPhee also on tenor sax. The popular and widely praised Arrival is a highlight in both our and the band´s catalogue, but this epic triple album ups the ante.

While following in the great tradition of ensembles led by the likes of Carla Bley, George Russell and Keith Tippett, Echoes is firmly placed in 2022 and takes in elements of rock, jazz, folk, electronic, classical and contemporary music. Starting out with the working title Big Bang, the near two-hour piece had its concert premiere at Stockholm Jazz Festival in October to rapturous applause from a full house, with major national newspaper Dagens Nyheter calling it a feast for eyes and ears in their ecstatic review.

The core elements of Echoes are the seven self-titled parts, each mostly over 10 minutes in duration, interspersed with shorter pieces where we find a string quartet, an “African” stretch and generally music of an exploratory and experimental nature. Considering the size of the orchestra and the somewhat intimidating working title, this is a very open, breathing, organic, detailed and dynamic recording with a lot of space. As previously, a defining base element in the music is the repetitive and hypnotic grooves from the main rhythm section of bassist Johan Berthling and drummer Andreas Werliin.

Needless to say, the hand-picked musicians are all on a very high level and on top of their game, conducted by Mats Gustafsson but given free reign when it´s called for. And Jim O´Rourke was given free reign when it came to the selections and the mix and is a big part in how the final album turned out. The album closes with a vigorous tribute from Joe McPhee to one of the late, great masters, McPhee being a pretty decent finger wiggler himself, to say the least.

Echoes was mostly written by Fire! founders Mats Gustafsson, Johan Berthling and Andreas Werliin and recorded at the legendary Atlantis studio in Stockholm in March last year.It was mixed by Jim O´Rourke in Japan in the course of two autumn months. The mastering and vinyl cut was done by loop-o mastering in Berlin, making for a fantastic sounding album, especially the vinyl edition is a real treat. 

TRACK LISTING

Echoes: I See Your Eye Part 1
Echoes: Forest Without Shadows
Echoes: To Gather It All. Once.
Sliding Whisper Of Pain
Echoes: Lost Eyes In Dying Hand
Welcoming You. Drinking Your Dream.
Echoes: A Lost Farewell
Nothing Astray. All Falling.
In Those Veins. A Silvernet.
Echoes: Cala Boca Menino
Double Loneliness
Respirations
Not Yet Born. The Blind Courage Of Life.
Echoes: I See Your Eye Part 2

With Maternity Beat, Hedvig Mollestad has surpassed herself, most significantly as a composer and arranger, and delivered her magnum opus so far. And with Trondheim Jazz Orchestra she found the perfect ensemble to perform it. They have a long tradition for collaborations like this, we can mention Chick Corea, Jason Moran and Marius Neset among many others. And as always, Hedvig truly shines as a guitarist. Maternity Beat is Hedvig’s third “solo” album. It was commissioned by Molde International Jazz Festival and premiered in July 2020, later the same year streamed at London Jazz Festival. The recording took place in Athletic Sound in Halden in October 2021. Since she received the festival’s talent price in 2009 and signed to Rune Grammofon the following year, we have had the great pleasure to release seven albums by her trio as well as two solo albums, all receiving wide international acclaim in both jazz and rock camps. To complete the circle, Hedvig has been chosen as next year’s Artist in Residence at the festival, a most prestigious institution in Norwegian jazz, held by John Zorn this year and initiated by Chick Corea in 2000 and Pat Metheny in 2001.

TRACK LISTING

On The Horizon, Part 1
On The Horizon, Part 2
Do Re Mi Ma Ma
Donna Ovis Peppa
Little Lucid Demons/alfons
All Flights Cancelled
Her Own Shape
Maternity Beat
Maternity Suite

Finally!! If there's one thing the fans have been craving for when it comes to catalogue re-issues, this is surely it. It's simply incomprehensible that early Motorpsycho releases (except Demon Box) haven't been available on vinyl since they first came out some 30 years ago. Salad Days vol. 1 includes the following titles, with all artwork recreated from the very best available original sources and the music remastered from the original tapes where these were available. They are all placed in a sturdy slipcase.Limited to 2000 numbered copies.Lobotomizer Not repressed on vinyl since the initial release in 1991. Comes with the original gatefold and inner sleeve.SootheNot repressed on vinyl since the initial release in 1992.Comes with the original outer and inner sleeve.

Becoming Motorpsycho - Juvenilia, oddities and artefacts from the vaults, 1990-1993 Newly compiled 2LP vinyl-only collection of early singles, rarities, outtakes and never before released early-versions of music recorded during Motorpsycho's early days. Includes the full 3 Songs For Rut 7", as well as the complete 1992 Rut-sessions: the first versions of the music that eventually became Demon Box. Everything remastered from the original mixes. For the first time ever on LP! Comes in a striking die-cut gatefold sleeve!

TRACK LISTING

Lobotomizer
1/Lobotomizer
2/Grinder
3/Hogwash
4/Home Of The Brave
5/Frances
6/Wasted
7/Eternity
8/T.F.C.

Soothe
1/Lighthouse Girl
2/Sister Confusion
3/The Wait
4/Step Inside
5/We All Float Down Here
6/California Dreamin’

Becoming Motorpsycho
1/Have Fun
2/Loaded
3/Some Real Mindfuck
4/California Dreamin’
5/We All Float Down Here Too!
6/Into The Sun
7/Blind Eyed Dog
8/Sunchild
9/Mason’s Children
10/Babylon
11/Come On In
12/Mad Sun
13/Cherry Red
14/You Gave It All
15/The Sift
16/The Golden Core
17/Come On In
18/Demon Box

Finally!! If there's one thing the fans have been craving for when it comes to catalogue re-issues, this is surely it. It's simply iincomprehensible that early Motorpsycho releases (except Demon Box) haven't been available on vinyl since they first came out some 30 years ago. Salad Days vol. 2 includes the following titles, with all artwork recreated by from the very best available original sources and the music remastered from the original tapes where these were available. They are all placed in a sturdy slipcase.Limited to 2000 numbered copies.Mountain EP First time ever on vinyl! Sleeve and innersleeve recreated and redesigned from the CD edition.Another Ugly EP First time ever on vinyl! Sleeve and innersleeve recreated and redesigned from the CD edition. Live at Blitz '93 (LP) "Totally insane show", first time on vinyl, and exclusive to this box set. Demon Box (2LP) Classic double album!

The previous pressing is still available, but included in this box set simply because it's essential for the period and the collection wouldn't be complete without it.

TRACK LISTING

Mountain EP
1/Mountain
2/Flesh Harrower
3/The House At Pooneil Corners
4/Viscount GriSnah
5/Sister Confusion

Another Ugly EP
1/Another Ugly Tune
2/Watching You
3/She Used To Be A Twin
4/Blueberry Daydream
5/Summertime Is Here

Live At Blitz ’93
1/Sheer Profundity
2/Loaded
3/Nothing To Say
4/Demon Box

Demon Box
1/Waiting For The One
2/Nothing To Say
3/Feedtime
4/Gutwrench
5/Sunchild
6/Mountain
7/Tuesday Morning
8/All Is Loneliness
9/Come On In
10/Step Inside Again
11/Demon Box
12/Babylon & Mr Who
13/Junior
14/Plan #1
15/Sheer Profundity
16/The One That Went Away

One would think that after the “Gullvåg Trilogy” - two double and a single album in a mere three years - this ultra productive trio might be in need of a break of sorts... but on the other hand, riding a golden wave like never before in their 30+ year existence, why stop now? Especially when constantly upping their own quality standards.The bulk of the album was recorded in France back before the pandemic, but was added to, expanded, tweaked and eventually finished last year. The initial idea was to collect big riffs on one album and do a pure hard rock record, but the objective changed along the way as they rediscovered their folkish bent and how this lighter touch gave it all a nice contrast. That said, the main musical thrust is pretty full-on, even by Motorpsycho standards.Kingdom of Oblivion was mixed by Andrew Scheps and produced by Bent Sæther.Reine Fiske guests on several tracks.Cover art is by Sverre Malling and cover design is by Håvard Gjelseth.

STAFF COMMENTS

Barry says: Having been on a huge prolific streak, you may think that the quality of the material would be diluted a bit but this is without a doubt the most incendiary and quintessentially Motorpsycho release yet. Huge riffs are in abundance but it's not without it's more tender moments, and perfectly measured as ever. Ace.

With four albums under their belts in less than five years this explosive trio have gone from strenght to strenght gathering respect from both rock and jazz camps and receiving vivid praise from the likes of Rolling Stone senior editor David Fricke and veteran writer Richard Williams, who started his report from the Berlin Jazz Festival with "a late-night gig last week persuaded me that Hedvig Mollestad Trio have found a way to make headbanging feel good”. Although there is enough riffing here to satisfy the headbangers, with "Black Stabat Mater" the trio are venturing into more free and open landscapes with Mollestad truly coming into her own as a solo guitarist as well as a riffmeister previously compared to the likes of Tony Iommi and Jimmy Page.

It´s also notable that extensive touring has given them a confidence boost, and once again the tracks have been laid down live in the studio with only minor overdubs. The last few years have seen a thrilling new progessive wave of Norwegian avant jazz´n´rock or free metal energy combos like labelmates Elephant9, Grand General, Bushman´s Revenge and Krokofant, and not to forget the mighty Scorch Trio - led by Finnish guitarist Raoul Björkenheim - who can be said to have started it all some 15 years ago. But it could very well be Hedvig Mollestad Trio that defines it all with their ability to turn the full force of heavy rock and electric jazz to demonic purposes. Hedvig first picked up her mother´s nylon-strung acoustic guitar at ten, before discovering a whole new world through her father´s jazz and rock record collection as a teenager.

She translated a biography of Jimi Hendrix for a school project and was given her first electric guitar and amplifier as a confirmation present. The members of the trio are from the districts, but Hedvig met bass player Ellen Brekken and drummer Ivar Loe Bjørnstad at the Music Academy in Oslo. Hedvig asked them to join her after she received the Jazz Talent Of The Year Award at Molde International Jazzfestival in 2009. Their other albums, all on Rune Grammofon, are "Shoot!" (2011), "All Of Them Witches" (2013) and "Enfant Terrible" (2014), "Evil in Oslo" (2016), "Smells Funny" (2018) and ”Ding Dong. You´re Dead.” (March 2021), not forgetting Hedvig´s solo album ”Ekhidna” (2020).

TRACK LISTING

1. Approaching
2. On Arrival
3. In The Court Of The Trolls
4. -40
5. Somebody Else Should Be On That Bus

Mats Gustafsson - Flute, baritone sax, live electronics, Johan Berthling - Electric bass, Andreas Werliin – Drums with Goran Kajfes – Quartertone trumpet, Mats Aleklint – Trombone, sousaphone, horn arrangements. Not the most optimistic title for pressing times, but the music sees Fire! tracking new paths and reaching new levels of excellence, still honoring their 12 year old vow of presenting a fresh approach to improvised music. Their debut album, You Liked Me Five Minutes Ago, was released in 2009 to wide international acclaim. “The basic strategy of pairing the expressive energy of free jazz with a sturdy sense of groove has yielded something potent and self-contained” (New York Times). Between this and Defeat there´s been five albums, including collaborations with Jim O´Rourke (Unreleased?, 2011) and Oren Ambarchi (In The Mouth A Hand, 2012).

No two Fire! records sound the same, but with Defeat they have taken their biggest leap so far, with Gustafsson giving the flute a prominent place in the sound image, a surprising and most successful move, his both expressive and ornamental approach given ample room to breathe, especially on the two long tracks bookending the album. In places more subdued than on previous efforts, but with the distinctive bass figures and hypnotic mood fully intact. There are some lively stretches with guests Goran Kajfes and Mats Aleklint, bringing to mind their big band offshoot Fire! Orchestra, albeit on a smaller scale. For over 20 years we have made a habit of releasing music that is beyond easy classification, in later years typified by Hedvig Mollestad, Elephant9 and Krokofant, but cemented by Fire! and their exploratory curiosity and deep love of music in general. We, and many others, have tried to compare the trio to other groups, but listening to Defeat we realize how futile this is. Given the above there´s no doubt there are many influences at play, but the resulting brew is in a class by itself.

TRACK LISTING

1/A Random Belt. Rats You Out.
2/Each Millimeter Of The Toad, Part 1
3/Each Millimeter Of The Toad, Part 2
4/Defeat (Only Further Apart)
5/Alien (To My Feet)

Ståle Storløkken – Rhodes piano, Hammond organ, grand piano, Eminent 310, Mellotron, Continuum Nikolai Hængsle – Electric bass, electric and acoustic guitars Torstein Lofthus – Drums, percussion. After a solid run of five studio albums and 2019´s two double live albums, Psychedelic Backfire I and II, Elephant9 had taken their groovy mix of high energy rock and power jazz as far as they could. In this respect Arrival Of The New Elders comes as a welcome and most timely addition to their recorded output. More varied, mature and reflective, don´t let the self-ironic (?) title mislead you, they are as groovy as ever, but more structured and less jam oriented, with the longest track clocking in around the seven minute mark. Rather short, by their standards.

Having built a solid live reputation even before their brilliant 2008 debut Dodovoodoo, the trio boasts what is probably the strongest rhythm section in Norway, complemented with keyboard magician extraordinaire, the one and only Ståle Storløkken. And boy, does he excel himself on this album, notably with more focus on the Rhodes than before. That said, this is nothing if not another strong group effort from what has been a very tight unit straight from the outset. Seven brand new compositions from Storløkken and one from Hængsle make way for what we consider to be their finest and most cohesive album to date. Arrival Of The New Elders was recorded by trusted stalwart Christian Engfelt, with early Dungen producer Mattias Glavå handling the mixing duties.Ståle started his musical journey in Veslefrekk with Jarle Vespestad and Arve Henriksen in the 90s, soon morphing into Supersilent with Helge Sten on board. He´s also a member of Møster! and Humcrush, and have collaborated with a number of artists, most notably Motorpsycho. Nikolai is also a member of Bigbang, Needlepoint and Band Of Gold and have appeared on a couple of hundred records. The same goes for Torstein, an associate member of numerous bands ranging from pop and soul to free jazz. But Elephant9 has always been their special baby.

After the highly successful "Perfectly Unhappy" (2018) album with Andy Sheppard, the trio is back with a new album featuring seven brand new songs from the pianist. Captivating and lyrical, always melodic and often melancholic and uplifting at the same time, these are all real tunes. The music has a rich sense of melody coupled with a poignant lyricism that is infectious... the symbiosis between the saxophonist and the trio is truly remarkable.All About Jazz "End Of Summer" was recorded in Oslo in April during lockdown. After getting all their concerts cancelled because of the pandemic, Espen says it was very inspiring to still be able to meet in a recording studio to make new music and keep it all alive.

This being their first recording in five years as a trio, Espen is also keen to stress that the collaboration with Andy was not a one-off and that the plan is to "continue working together for a very long time". Espen Eriksen Trio was formed in 2007 and released their debut album in 2010, "End Of Summer" being their fifth. They have toured on four continents, becoming an increasingly popular live act, with a wealth of rich material on their repertoire. The music relies on highly melodic and lyrical instrumentals and a “less is more” approach and is often credited for its unique voice within today’s jazz scene by the international press. To quote BBC in their review of the trio’s second album; “A wonderfully plaintive jazz record, abandoned to the lost art of melodic minimalism, stripped back and beautifully near bare. No smoke and mirrors, just the graceful chemistry of superb musicians at the top of their game” All three musicians have versatile backgrounds ranging from pop to jazz and have played with musicians like Bugge Wesseltoft, John Scofield, Joshua Redman, Dhafer Yousef, John Taylor, Vince Mendoza, Eivind Aarset, Knut Reisersrud, Mathias Eick, Nils Petter Molvær, Thomas Strønen, Odd Nordstoga, Håkon Kornstad, Jarle Bernhoft and Bendik Hofseth

TRACK LISTING

1. Where The River Runs
2. Back To Base
3. Dancing Demons
4. End Of Summer
5. Transparent Darkness
6. A Long Way From Home
7. Reminiscence

In young Maesa Pullman The Last Hurrah!! mastermind HP Gundersen has found the perfect singer for this ever developing project that is so dear to his heart. After exploring the possibilites of the drone guitar on their debut "Spiritual Non-Believers" and the slightly more song-oriented follow-up "The Beauty Of Fake", HP is back with a third album that dives straight into the heart of classical song traditions and vintage production values, blending elements from country and Americana, classic British pop, psychedelia, blues and a pinch of soul.

HP Gundersen has been a central figure on Bergen´s vibrant music scene for more than three decades, as producer, composer and mentor for many of the city´s artists. As a producer he discovered and nurtured the career of a very young Sondre Lerche, one of Norway´s most successful international exports. As well as Madrugada´s mega-hit "Lift Me" with Ane Brun, he has produced over 50 albums - including Tim Rose´s final album "American Son".

HP names Beatles, early Stones, Tin Pan Alley, cosmic American country... as his life changing musical epiphanies.Maesa Pullman comes from a very musical family and was brought to the attention of HP Gundersen through mutual friends. Also a songwriter, guitarist and pianist, she performs frequently with different musical constellations in Southern California, being a profiled presence in the local roots community. Her cousin Rosa Pullman sings lead on two tracks, "You Ain´t Got Nothing" and "Those Memories". Among the musicians we fine some of Bergen´s finest as well as American guests such as Marty Rifkin on pedal steel, John Thomas on Hammond organ, Kiel Feher on drums and Jason Hiller on bass. 

TRACK LISTING

Okay
The Weight Of The Moon
Can´t Wait No More
Fairweather Friend
You Ain´t Got Nothing
Those Memories
Is It Me?
You Soothe Me
Tried To Lose You
The Jig

A calculated hysterical melting pot of This Heat, Robert Wyatt, Faust and The Residents, of musique concrète and ethno-folk, all seen through a prism of theatrical improvisations and unhinged set pieces. Formed in 1995, and after several self-released tapes and CD-Rs, VTB so excited Nurse With Wound´s Steven Stapleton that he brought his United Dairies label out of cold storage to release their first album proper, ”The Inhazer Decline”, in 2000. Since then they´ve released music on such labels as Misra, Beta Lactam Ring, Textile, Digitalis, Pickled Egg, Alt Vinyl as well as their own imprints Volucan and Volfurten with the exceptional ”Classic Erasmus Fusion” from 2006 being a possible highlight.

On record VTB offer stark and stunning absurdities in the most bizarrely beautiful way. Recycling and recontextualising their material is an innate habit, and the variety of recording options they might chose (be it a highly equipped professional studio or a second hand dictaphone) allows their craft to be formed in a myriad of different ways. VTB have toured extensively throughout Europe and North America and in concert they are the duo of Daniel Padden and Aaron Moore. Third member, Clarence Manuelo, no longer performs live but his inimitable sounds and influence are still very much a part of a VTB performance. In their unique, often chaotic live shows, the adrenalin and invention drips from their earlobes as they thrust spectacular oddities in the faces of their audiences, always aided by their sublime multi-instrumentalism. Absurd humour and eclectic ways of producing sounds are characteristic of their live performances and their extensive knowledge of the traditions of experimental and folk music makes the band difficult to categorise. The band record everything they play and will often use these recordings as raw material for their albums. VTB have released a number of records since the start, often mixing studio, live and home recordings. Golden Rhythm/Ink Music is their first more or less ”proper” studio album since ”Amidst The Noise And Twigs” back in 2007.

Largely based on the sonic fault-line between Aaron Moore and Daniel Padden, it´s also the most focused and driven of VTB’s prolific output so far, showcasing the duo’s unique musicality and interplay, whilst retaining their trademark eccentricity and humour throughout. It presents “rock music” as seen through VTB’s skewed eye, featuring more of Padden and Moore’s drum/guitar combination than on previous albums. Taking the bizarre energy of their live duo performances into a studio environment, and combining it with VTB’s eclectic instrumentation and Clarence Manuelo’s singular audio-work, GR/IM shows VTB making their most vital work to date.

”The Choko King” is Jono´s third album since 2009, but the recordings are from the period between 1995 and 2008, some of which predates his first album by four years. ”The Choko King” offers an open door into Jono´s surrealistic musical universe and is a rare gift to his increasing number of fans and anyone interested in the workings of a truly eccentric and artistic mind. The album has been meticulously assembled from home recordings, demos, rehearsal tapes, live and studio recordings and made into a completely new work by Jono himself.

Jono El Grande is a self-taught composer, musician, conductor and prankster and remains an outsider on the far margin of the Norwegian experimental music scene. He released his debut mini album ”Utopian Dances” in 1999, a collection of absurdist instrumentals recorded at home using not much more than a workstation synth. 2003 saw the release of ”Fevergreens”, an album that drew upon classic progressive rock, film music, easy listening and a variety of pop idioms and featured a nine piece orchestra. The Wire noted that ”the vitality of his writing keeps just the right uplifting balance between sweetness and acidity” and called it ”a pleasant surprise”. Next up was ”Neo Dada” (2009), an album brimming with musical adventure, odd turns, weird combinations of sounds and instruments, complex signatures and a good portion of pure joy, all mysteriously sugared with infectious melodic hooks. ”Neo Dada” represented something of an artistic breakthrough and received great reviews everywhere. This was followed by ”Phantom Stimulance” in late 2010. The sleeve paintings are by acknowledged Norwegian artist Christer Karlstad and shows the Choko King, intentionally misspelt to point to the megalomaniac´s hybris: to choke on what you desire the most.

”The Choko King” also comes as a limited, numbered vinyl edition of only 300 copies with ”insanely nerdy details” on each track by Jono himself.
The CD edition has a 14 minute bonus track.

This is the new project from HP Gundersen; well known producer, artist, musical partner, creative force, teacher, mentor and music enthusiast from Bergen, Norway. He has produced some 50 albums, probably best known for Sondre Lerche´s debut album ”Faces Down”. After stumbling over Stephen Stills´ ”secret tuning” as used on ”Suite: Judy Blue Eyes”, HP has dedicated the last couple of years to explore what he calls drone guitar, music based on open, in this case modal, guitar tunings offering a fuller sound world and polyrhythmic possibilities not achieved with standard tunings. It soon became an obsession and he would sit at home for hours and days just playing as a means of meditation and for his own mental health. Friend and singer Heidi Goodbye would come to visit and ended up becoming so hypnotized by his playing that she just had to become involved. Heidi, also from Bergen, travelled to Denmark at the age of seventeen to study jazz vocal for two years. On returning home she was considered something of a sensation, but couldn´t identify with a role in the jazz world and became more interested in American roots music, old country music and blues.

Others who have been intrigued include Jon Irabagon, dubbed the greatest saxophone talent in the US since John Coltrane, and Michael Powers, the blues guitarist, both having played with HP in the recent months. ”Spiritual Non-believers” is a lovely mix of acoustic drone guitar, cosmic raga, pure pop and the very local take on country music so special for the west coast of Norway.

The half hour centrepiece of the album is based on a dark, sordid and bizarre story, in stark contrast to the almost high spirited feelgood atmosphere of most of the music. ”The Ballad Of Billy And Lilly” is bookended by ”Mother Nature”, a cover from the 1970 album by Norwegian cult band Oriental Sunshine and ”Melodi Grand Prix 73”, an unlikely but sweet mix of Bossa Nova, surf music and Steve Reich.

Jono El Grande is a self-taught composer, musician, conductor and prankster and remains an outsider on the far margins of the Norwegian experimental music scene. He released his debut mini album ”Utopian Dances” in 1999, a collection of absurdist instrumentals recorded at home using not much more than a workstation synth. 2003 saw the release of ”Fevergreens” (RCD2031), an album that drew upon classic progressive rock, film music, easy listening and a variety of pop idioms and featured a 9 piece orchestra. The Wire noted that ”the vitality of his writing keeps just the right uplifting balance between sweetness and acidity” and called it ”a pleasant surprise”.His previous album ”Neo Dada” (2009) was a masterstroke; brimming with creative ideas, odd turns, weird combinations of sounds and instruments, complex time signatures and a healthy dose of pure musical joy, all mysteriously sugared with melodic hooks that would stick to your brain like any annoying pop tune. As far as musical form and content goes, this can be said to continue with ”Phantom Stimulance”, his fourth album. It´s put together to celebrate Jono´s 15 years as a composer and performer and 10 years as a band leader, but it´s not a mere compilation. Recorded in Athletic Studio, home to great analogue recordings by Supersilent, Motorpsycho, Scorch Trio and countless others, it´s a collection of new versions of stage favourites and previously unreleased songs as well as a brand new song.Jono lists movements like Rock in Opposition and the Canterbury Scene and artists and composers like Frank Zappa, Stravinsky, Magma, Henry Cow and Gentle Giant as inspirational sources but has established his own signature with his latest releases and stage shows. Instrumentations and arrangements have become more adventurous, he has picked up the electric guitar again and successfully added a rougher edge to the ensemble sound.

TRACK LISTING

Borrelia Boogie
Utopian Semi-Waltz
La Dolce Vidda
Phantom Stimulance
Rise Of The Baseless Press-bay Toy
Pongery In Evention
Beggar To Beggar
Moon-stricktly In Love With A Figment Foetus
Negation / Penetration
Double-edged Triplets
The Goat

Ultralyd was formed in 2004 when legendary saxophonist Frode Gjerstad suggested that the trio Gjerstad/Olsen/Hana needed a distinct bass player. The very first rehearsal with Kjetil D Brandsdal (also of Noxagt) was released as the self titled album "Ultralyd" in 2004. After a UK tour the same year the band established the sound captured on the album "Chromosome Gun" which was released in 2005 on the American avant-rock label Load Records. Frode Gjerstad decided to leave later in the year and for a short while the band operated as a trio before recruiting new sax player Kjetil Møster. During two extensive European tours and several studio sessions Ultralyd's direction slowly changed from a rather chaotic free rock approach towards composition and more structured forms of improvisation, experimenting with different layers and altered roles of the instruments, integrating elements from contemporary music, electronic music, funk and doom metal and ending up with something that might be classified as chamber rock. However contradictory that might sound. Ultralyd is part of the N-Collective, an international conglomerate of musicians, composers, improvisors and artists.