Rune Grammofon was established in January 1998 with the aim to release music by the most creative and adventurous Norwegian artists. Since then, it has documented the amazing flowering and development of young Norwegian talent within the areas of electronica, improvisation, ambient, free music and everything in between to long-overdue international acclaim. Among those impressed is quality label ECM who has handled the European distribution since 2000. Special care is given to the packaging of all releases, most housed in digipacks and sporting the striking design of young multi-media artist, Kim Hiorthøy. "A vibrant vision." --The Wire; "Strikingly fresh cover art, impeccably recorded sound." --BBC Music Magazine; "A label on top of its game." --BBC Online; "An indie in the finest traditions." --Time Out; "On the forefront of Norwegian jazz/electronica..." --Wallpaper; "Norway's finest record label." --The Milk Factory; "Always eclectic and enjoyable." --Dusted; "A consistently interesting label." --Flux
|
|
|
viewing 1 To 25 of 311 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
CD
|
|
MPCD 103CD
|
2019 marks 30 years since Motorpsycho's humble beginnings in Trondheim. Both visually and musically, The Crucible starts where The Tower (2017) ended, but it soon takes on its own hue, and it is clear that it cannot be called a "sequel" as such: this is very much a step further out than anywhere the band ventured on The Tower. While it is broader lyrically speaking, it is even sharper focused musically and, if possible, even more idiosyncratic and insular than ever: unarguably a Motorpsycho album. There aren't many traditional song structures or pop format platitudes on display, and there is indeed hardly any respect paid to any trad rock song conventions on the whole album, but that's not really what one listens to Motorpsycho for anyway, is it? From the most Neanderthal of rock riffs to the most rhythmically oblique polytonal solo sections they've ever recorded, this album musically seems to sum up the extremes of the band's current interests and concerns. The Crucible was recorded at Monnow Valley Studios in Wales in August 2018 by Hans Magnus Ryan (guitars, vocals), Bent Sæther (bass, vocals, sundry), and Tomas Järmyr (drums), with co-producers Andrew Scheps and Deathprod. Scheps mixed the band's last two live recordings -- A Boxful of Demons and Roadwork Vol. 5 (MPLP 302LP) -- and in that process, made himself a logical choice to record the next studio album.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MPLP 303LP
|
LP version. 2019 marks 30 years since Motorpsycho's humble beginnings in Trondheim. Both visually and musically, The Crucible starts where The Tower (2017) ended, but it soon takes on its own hue, and it is clear that it cannot be called a "sequel" as such: this is very much a step further out than anywhere the band ventured on The Tower. While it is broader lyrically speaking, it is even sharper focused musically and, if possible, even more idiosyncratic and insular than ever: unarguably a Motorpsycho album. There aren't many traditional song structures or pop format platitudes on display, and there is indeed hardly any respect paid to any trad rock song conventions on the whole album, but that's not really what one listens to Motorpsycho for anyway, is it? From the most Neanderthal of rock riffs to the most rhythmically oblique polytonal solo sections they've ever recorded, this album musically seems to sum up the extremes of the band's current interests and concerns. The Crucible was recorded at Monnow Valley Studios in Wales in August 2018 by Hans Magnus Ryan (guitars, vocals), Bent Sæther (bass, vocals, sundry), and Tomas Järmyr (drums), with co-producers Andrew Scheps and Deathprod. Scheps mixed the band's last two live recordings -- A Boxful of Demons and Roadwork Vol. 5 (MPLP 302LP) -- and in that process, made himself a logical choice to record the next studio album.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RLP 3204LP
|
$26.50
PREORDER
RELEASE DATE: 3/15/2019
LP version. Composed, performed, mixed, and produced by Maja S. K. Ratkje, Sult is based upon Ratkje´s music created for the ballet Sult ("Hunger") by director Jo Strømgren for the Norwegian National Ballet. This is a departure from the records and live settings normally associated with Ratkje, as we find her placed behind a modified, wiggly and out-of-tune pump organ, singing songs and improvising. Metal tubes, PVC tubes and a wind machine were built into the organ; guitar strings, a bass string, a resin thread, metal and glass percussion and a bow are also utilized. With little or no previous experience, she had to learn to play the thing live, using both hands and feet at the same time as singing. Maja played live on stage during every performance, but later modified and recorded the music especially for this record, with Frode Haltli co-producing. It´s a freestanding document, an entity of its own, but the atmosphere is very much the same as in the play: the dusty city of Kristiania in the 19th century, the street noises and the sounds.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RCD 2204CD
|
Composed, performed, mixed, and produced by Maja S. K. Ratkje, Sult is based upon Ratkje´s music created for the ballet Sult ("Hunger") by director Jo Strømgren for the Norwegian National Ballet. This is a departure from the records and live settings normally associated with Ratkje, as we find her placed behind a modified, wiggly and out-of-tune pump organ, singing songs and improvising. Metal tubes, PVC tubes and a wind machine were built into the organ; guitar strings, a bass string, a resin thread, metal and glass percussion and a bow are also utilized. With little or no previous experience, she had to learn to play the thing live, using both hands and feet at the same time as singing. Maja played live on stage during every performance, but later modified and recorded the music especially for this record, with Frode Haltli co-producing. It´s a freestanding document, an entity of its own, but the atmosphere is very much the same as in the play: the dusty city of Kristiania in the 19th century, the street noises and the sounds.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RCD 2203CD
|
With Smells Funny being their sixth album in seven years, the explosive and expansive Hedvig Mollestad Trio have gone from strength to strength, gathering respect from both rock and jazz camps, sharing big stages with the likes of John McLaughlin and Black Sabbath, and being equally comfortable in jazz and rock clubs. Smells Funny sees Mollestad truly coming into her own as an amazing lead guitarist as well as a dependable riffmeister. 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 Ellen Brekken and 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. They have stayed together since, and all previous albums have been released on Rune Grammofon; Shoot! (RCD 2115CD/RLP 3115LP, 2011), All Of Them Witches (RCD 2141CD/RLP 3141LP 2013), Enfant Terrible (RCD 2157CD/ RLP 3157LP, 2014), Black Stabat Mater (RCD 2183CD/RLP 3183LP, 2016) and Evil In Oslo (RLP 2184LP, 2016), all to wide international acclaim.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RLP 3203LP
|
LP version. With Smells Funny being their sixth album in seven years, the explosive and expansive Hedvig Mollestad Trio have gone from strength to strength, gathering respect from both rock and jazz camps, sharing big stages with the likes of John McLaughlin and Black Sabbath, and being equally comfortable in jazz and rock clubs. Smells Funny sees Mollestad truly coming into her own as an amazing lead guitarist as well as a dependable riffmeister. 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 Ellen Brekken and 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. They have stayed together since, and all previous albums have been released on Rune Grammofon; Shoot! (RCD 2115CD/RLP 3115LP, 2011), All Of Them Witches (RCD 2141CD/RLP 3141LP 2013), Enfant Terrible (RCD 2157CD/ RLP 3157LP, 2014), Black Stabat Mater (RCD 2183CD/RLP 3183LP, 2016) and Evil In Oslo (RLP 2184LP, 2016), all to wide international acclaim.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"/Book
|
|
RBK 2200BK
|
After having borrowed lines from Jimi Hendrix and English poets for all previous anniversary releases, Rune Grammofon struck out for this one until Kim Hiorthøy, well after the deadline, accidentally stumbled over Johnny Cash and Forever Words: The Unknown Poems (2016). Let's Put It To Music quite nails it when it comes to the basic idea of the book and how the label approach the whole process of making a record. As Tim Gane is quoted in Adrian Shaughnessy's introduction "a Stereolab record was never finished until the cover was done". That rings true for Rune Grammofon as well, and they would like to add that a sleeve is never designed for the sole purpose of selling a product (it took 28 releases before an artist was pictured on the sleeve), or necessarily reflect the music in any way, but rather to establish a suggestive relation between the two, often based on the album title or a song title, but not in an obvious way. After some 200 releases, Kim has never "explained" a sleeve design, and Rune can't remember ever asking him. But it's hard to recall another label that has worked with one designer exclusively for 20 years and 200 releases. The exclusivity was a premise for the collaboration from the very beginning, but Rune certainly never had any expectations about how long the label would be able to keep it going. Especially when considering that Kim is occupied on a number of arenas; as photographer, filmmaker, illustrator, painter, writer, musician, dancer, and choreographer. As one will discover, the book is far from being a catalog lining up the releases (it's not even "complete" or chronological in that sense), but gives an interesting insight by also including sketches, rejected designs, and unused ideas that never left the drawing board... until now. Lists are a source of controversy, as Hedvig Mollestad discusses rather well in her text. The idea of including a 7" single also came late, and would depend on getting at last one track really quick. To Rune Grammofon's delight, they miraculously ended up with what is surely three of the most beautiful tracks in their catalog, and all exclusive for this release, featuring Fire! Orchestra, Maja S. K. Ratkje, and The Last Hurrah!! with Nora Zheng. Introductions by David Fricke and Adrian Shaughnessy. 224 pages.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
RALP 318LP
|
Rune Grammofon presents a reissue of Motorpsycho's Roadwork Vol. 1: Live in Europe 1998, originally released in 1999 and since long out of print. This first volume consists of recordings made on the Motorpsycho Mobile during the Trust Us (1998) tour of Europe that started 6th May 1998. Some 40 hours of live Motorpsycho was captured on tape, and these are the songs the band felt represented the musical content of the tour the best.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
RALP 319LP
|
Rune Grammofon present a reissue of Motorpsycho's Roadwork Vol. 2: The MotorSourceMassacre , originally released in 2000 and since long out of print. In 1995 Motorpsycho was invited by Trondheim freebag jazz combo The Source to share the stage at Kongsberg Jazz Festival. The band´s psychedelic/kraut/prog-leanings hadn´t taken them as far as jazz yet, not to mention the Ornette Coleman-style free jazz stuff The Source were playing, but they were game. This is the result: some 70 minutes of metal overkill, early '70s crypto-funk, analog synth hell and some pretty free form, out-there escapades. An early example of Norwegian genre-crossing that still sounds surprisingly fresh 23 years later.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RLP 3202LP
|
LP version. The Last Hurrah!!'s Los Angeles started out as a commission work for the Vossajazz festival, and was performed in Voss in western Norway in March 2018. A far cry from Los Angeles, but to mastermind and founder HP Gundersen there are no boundaries in music and such differences are only sources of inspiration and natural parts of his vast musical universe. For the previous album Mudflowers (RCD 2171CD/RLP 3171LP, 2015), HP Gundersen "found" and recruited the perfect singer in Maesa Pullman, daughter of famed actor Bill Pullman. Coming from a musical family, she performs frequently in different musical constellations in Southern California, being a profiled presence in the local roots community. A songwriter in her own right, Maesa also handles guitar and piano as well as the drums. Since the release of Mudflowers, bass player, recording engineer and co-producer Jason Hiller has come onboard as a permanent member of the trio that currently serves as the core of The Last Hurrah!!. Originally seen as a one-off project, it soon became clear that the chemistry between the three went much deeper and far reaching than the Americana influences that dominated parts of Mudflowers.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RCD 2202CD
|
The Last Hurrah!!'s Los Angeles started out as a commission work for the Vossajazz festival, and was performed in Voss in western Norway in March 2018. A far cry from Los Angeles, but to mastermind and founder HP Gundersen there are no boundaries in music and such differences are only sources of inspiration and natural parts of his vast musical universe. For the previous album Mudflowers (RCD 2171CD/RLP 3171LP, 2015), HP Gundersen "found" and recruited the perfect singer in Maesa Pullman, daughter of famed actor Bill Pullman. Coming from a musical family, she performs frequently in different musical constellations in Southern California, being a profiled presence in the local roots community. A songwriter in her own right, Maesa also handles guitar and piano as well as the drums. Since the release of Mudflowers, bass player, recording engineer and co-producer Jason Hiller has come onboard as a permanent member of the trio that currently serves as the core of The Last Hurrah!!. Originally seen as a one-off project, it soon became clear that the chemistry between the three went much deeper and far reaching than the Americana influences that dominated parts of Mudflowers.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP+CD
|
|
RLP 3201LP
|
LP version with CD. The Height Of The Reeds started as a commissioned work to the city of Hull, Great Britain´s cultural capital 2017. Composed by Arve Henriksen, Eivind Aarset and Jan Bang, the work celebrates the longstanding seafaring relationship between Hull and Scandinavia. It was originally the musical companion to a sound walk that took place in April, May and June 2017. Those who took part could listen to the music on headphones while crossing the Humber Bridge. Initially intended for April only, the arrangement proved so popular it ended up selling out three months. Only minor adjustments have been done to justify the transition from sound walk to album. Other than Henriksen, Aarset and Bang, the work includes important contributions from Hull sound artist Jez Riley French, providing field recordings from the bridge itself: the river below, the noise of engines, the creaking of steel wires, wheels against asphalt and the song of the reeds in the wind. Opera North´s choir and orchestra provides the necessary musical space for the soloists, and two actors and a child read from translated poems by Norwegian poet Nils Christian Moe-Repstad.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RALP 321LP
|
Recorded at the same Rainbow Studio sessions, and with the same top musicians and legendary engineer Jan Erik Kongshaug, this can only be seen as the rightful twin companion to The Nature Of Connections from 2014. One can easily understand how Arve Henriksen must have found it difficult to select tracks for The Nature Of Connections, leaving these on the shelf. Composograph is standing rock solid as a top notch Henriksen album. There are the typical folk music ties, courtesy of fiddlers Nils Økland and Gjermund Larsen, contemporary chamber jazz, nods to avant free music and atmospheric tone poems. All in all, twelve exquisite originals from one of the world´s leading trumpet players.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RCD 2201CD
|
The Height Of The Reeds started as a commissioned work to the city of Hull, Great Britain´s cultural capital 2017. Composed by Arve Henriksen, Eivind Aarset and Jan Bang, the work celebrates the longstanding seafaring relationship between Hull and Scandinavia. It was originally the musical companion to a sound walk that took place in April, May and June 2017. Those who took part could listen to the music on headphones while crossing the Humber Bridge. Initially intended for April only, the arrangement proved so popular it ended up selling out three months. Only minor adjustments have been done to justify the transition from sound walk to album. Other than Henriksen, Aarset and Bang, the work includes important contributions from Hull sound artist Jez Riley French, providing field recordings from the bridge itself: the river below, the noise of engines, the creaking of steel wires, wheels against asphalt and the song of the reeds in the wind. Opera North´s choir and orchestra provides the necessary musical space for the soloists, and two actors and a child read from translated poems by Norwegian poet Nils Christian Moe-Repstad.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP+CD
|
|
RALP 320LP
|
Previously only available as part of the Haircuts DVD (2008). Remastered for vinyl by Helge Sten. Recorded at the Paradiso Club in Amsterdam in 2002. The club streamed its own recording of the show at the time but presented here is Motorpsycho's own recordings, meaning properly mixed from 24 audio tracks. The centerpieces of the concert were heavily extended versions of old warhorses such as "Hogwash" and "STG", showing a band more concerned with exploring the furthest reaches of their improvisational abilities rather than trying to recreate the detailed arrangements for string-quartet and pop-group that had dominated their three previous albums. It's worth mentioning that Baard Slagsvold is on keyboards, his fearless approach to improvisation taking the music well into uncharted territories. Double-LP; Comes on 180 gram vinyl; Includes CD.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
3LP+2CD
|
|
MPLP 302LP
|
Brand new recordings from Motorpsycho's 2017 European tour. New drummer Tomas Järmyr had only been in the band for three months when The Tower was recorded in March 2017, and it was a re-energized band that spent the following summer learning how to play selections from the vast back catalog and getting ready for the tour ahead. Kristoffer Lo (guitar, keyboards, vocals) was added to the lineup for greater flexibility. This volume follows in the tradition of the others, by focusing on the improvisational and experimental side of the band, taking bigger collective chances than ever before, re-imagining songs, stretching them, turning them inside out, and taking them places they've never been before. Triple-LP; Comes on 180 gram vinyl; Includes two CDs.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RALP 315LP
|
There are two previous The Best Of Fra Lippo Lippi releases on CD -- 1995 and 2003 (RACD 102CD) -- but this is the first on vinyl. Only having limited playing time on vinyl, Rune Grammofon had to make some tough decisions, but in the end the song selection very much gave itself. The dark horse here is "Stitches and Burns", an overlooked gem of a song from the final studio album Dreams (1990) that didn't make the previous 15-track collection but has in mysterious ways gained new life through organic streaming, with over 20 million YouTube views. Included is also "Angel" featuring the late, great Walter Becker on guitar and production duties.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RACD 116CD
|
Over the years both Fra Lippo Lippi and Rune Grammofon have had numerous requests for a compilation like this. A number of recordings have only been available on various vinyl formats in small editions and never on CD or in digital form. So here are the 14 missing pieces, dating all the way back to the debut EP in 1980, and up to the final recording from 1995. Although the tracks have been subject to a mastering process, please note that no further effort has been made to turn it into a coherent artistic whole. It is what it is, through 15 years and four line-ups, from experimental bedroom recordings to full-blown studio workouts.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RCD 2199CD
|
Espen Eriksen Trio was formed in 2007 and released their first album in 2010. Their 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. The aptly named Perfectly Unhappy features eight new songs by the pianist, all written with this collaboration in mind. These are enchanting and lyrical tunes, often melancholic and uplifting at the same time and will surely speak to followers of both the trio and Sheppard and attract many new ones. With a career spanning over four decades, working together with the likes of George Russell and Gil Evans, Andy Sheppard is truly one of Europe's leading saxophonists. Lately, his main focus has been with his own quartet and the trio with living legends Carla Bley and Steve Swallow, both acts recording for ECM.
Andy Sheppard on the recording: "I knew from the first time I heard the trio play that I would fit right in. I loved the melodic sense and vibe and was thrilled when I was invited to guest with the trio in London in 2016. Since then we've had a chance to grow the music with tours in Korea and Norway, before Espen wrote a set of fantastic tunes for the recording session in Oslo. They played themselves and we had a ball recording, everything clicked and in two days we had made a very special album."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP+CD
|
|
RLP 3199LP
|
LP version, includes CD. Espen Eriksen Trio was formed in 2007 and released their first album in 2010. Their 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. The aptly named Perfectly Unhappy features eight new songs by the pianist, all written with this collaboration in mind. These are enchanting and lyrical tunes, often melancholic and uplifting at the same time and will surely speak to followers of both the trio and Sheppard and attract many new ones. With a career spanning over four decades, working together with the likes of George Russell and Gil Evans, Andy Sheppard is truly one of Europe's leading saxophonists. Lately, his main focus has been with his own quartet and the trio with living legends Carla Bley and Steve Swallow, both acts recording for ECM.
Andy Sheppard on the recording: "I knew from the first time I heard the trio play that I would fit right in. I loved the melodic sense and vibe and was thrilled when I was invited to guest with the trio in London in 2016. Since then we've had a chance to grow the music with tours in Korea and Norway, before Espen wrote a set of fantastic tunes for the recording session in Oslo. They played themselves and we had a ball recording, everything clicked and in two days we had made a very special album."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
RASI 117EP
|
A gem of a track from the final studio album Dreams (1990) that all by itself has gained new life through organic streaming and some hefty YouTube viewing (more than 20 million), making it the most streamed song in the catalog, by far. So to balance it out Rune Grammofon present a vinyl single edition of 500. Here it is backed with the beautiful instrumental "The True Story", previously only available as a B side on the Everytime I See You single from back in 1986.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP+CD
|
|
RLP 3198LP
|
LP version. It's not often a "jazz" band take the big step from the club scene to a 1300 capacity rock venue like Oslo's Rockefeller. But then again, Elephant9 is not your ordinary jazz band. Often being named Norway's best live band -- surely quite rare for an instrumental band -- they are equally popular in jazz and rock circles. On Greatest Show On Earth, their fifth studio album, Elephant9 is back to the core trio of their first two albums; Ståle Storløkken, Nikolai Hængsle, and Torstein Lofthus, three of Norway's finest musicians. The Greatest Show On Earth displays some truly astonishing playing and is a more dynamic, structured and focused album with all tracks clocking in around the six-minute mark. It's also very much a trio effort where all members are equal, and not only a vehicle for a soloist. Ståle Storløkken (keyboards) is widely considered the most inventive keyboard player on the Norwegian scene, his playing with bands like Supersilent, Humcrush, Motorpsycho, Terje Rypdal, and countless others being firm testament to this. Nikolai Hængsle (bass) is since long a member of popular rock group Big Bang as well as Ketil Møster's quartet Møster!, Needlepoint, and Band Of Gold. Torstein Lofthus (drums) is probably the most in demand session drummer in Norway.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RCD 2198CD
|
It's not often a "jazz" band take the big step from the club scene to a 1300 capacity rock venue like Oslo's Rockefeller. But then again, Elephant9 is not your ordinary jazz band. Often being named Norway's best live band -- surely quite rare for an instrumental band -- they are equally popular in jazz and rock circles. On Greatest Show On Earth, their fifth studio album, Elephant9 is back to the core trio of their first two albums; Ståle Storløkken, Nikolai Hængsle, and Torstein Lofthus, three of Norway's finest musicians. The Greatest Show On Earth displays some truly astonishing playing and is a more dynamic, structured and focused album with all tracks clocking in around the six-minute mark. It's also very much a trio effort where all members are equal, and not only a vehicle for a soloist. Ståle Storløkken (keyboards) is widely considered the most inventive keyboard player on the Norwegian scene, his playing with bands like Supersilent, Humcrush, Motorpsycho, Terje Rypdal, and countless others being firm testament to this. Nikolai Hængsle (bass) is since long a member of popular rock group Big Bang as well as Ketil Møster's quartet Møster!, Needlepoint, and Band Of Gold. Torstein Lofthus (drums) is probably the most in demand session drummer in Norway.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
RCD 2197CD
|
Very much a tight knit unit with three equal players, Fire! has been likened to powerful guitar led trios such as Cream and The Jimi Hendrix Experience, but with Johan Berthling's heavy, doom-laden basslines being such a typical identifier, you can't help but think of Black Sabbath's debut album (1970) when it comes to hypnotic impact. The Hands is the trio's sixth album and it once again displays a totally uncompromising and intriguing mix of (mostly) heavy, dark, and intensely burning music whether one decides to call it jazz or rock. The album closes on a quiet and reflective note with the appropriately titled "I Guard Her To Rest. Declaring Silence." And you might say it's easily their best so far. Personnel: Mats Gustafsson - tenor, baritone and bass saxophones, live electronics; Johan Berthling - electric and double bass; Andreas Werliin - drums, percussion and feedback.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RLP 3197LP
|
LP version. Very much a tight knit unit with three equal players, Fire! has been likened to powerful guitar led trios such as Cream and The Jimi Hendrix Experience, but with Johan Berthling's heavy, doom-laden basslines being such a typical identifier, you can't help but think of Black Sabbath's debut album (1970) when it comes to hypnotic impact. The Hands is the trio's sixth album and it once again displays a totally uncompromising and intriguing mix of (mostly) heavy, dark, and intensely burning music whether one decides to call it jazz or rock. The album closes on a quiet and reflective note with the appropriately titled "I Guard Her To Rest. Declaring Silence." And you might say it's easily their best so far. Personnel: Mats Gustafsson - tenor, baritone and bass saxophones, live electronics; Johan Berthling - electric and double bass; Andreas Werliin - drums, percussion and feedback.
|
viewing 1 To 25 of 311 items
Next >>
|
|