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
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RCD 2236CD
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In 2019, Elephant9 released two double live albums, Psychedelic Backfire I and II, the latter with guest guitarist Reine Fiske, whose favorite guitarist happened to be Terje Rypdal. With both albums out of print, Catching Fire is a most welcome addition to their discography. Recorded at a remarkable concert from 2017 in Oslo, Rypdal would turn 70 later in the year. David Fricke makes some interesting references to classic live albums in his liner notes, and Rune Grammofon would like to add King Crimson´s underrated USA and numerous Pink Floyd 1970 live bootlegs into the equation, sharing the common energy level and sense of untamed intensity. That said, there are also stretches of calm at play here, especially in the 22-minute opener where Rypdal introduces himself with some trademark, glacier melodic lines. Rypdal is on fire throughout, adding some fierce rhythm work and abstract acrobatics from his toolbox. Ståle and Terje are sometimes so interlocked that it´s difficult to tell them apart. This is partly because the album is mixed to get a sense of being at the concert, by not overly trying to separate them, but primarily due to a common understanding stemming from Ståle being the guitarist´s "right hand" both in the studio and on stage for close to 30 years. Torstein and Nikolai is the most solid of rhythm sections, a well-oiled engine, finesse and power combined. Elephant9 established their reputation as a live powerhouse well before their album debut in 2008 and have since released six more studio albums as well as the live albums from 2019. Terje Rypdal´s musical history dates back to the early sixties as a teenage member of The Vanguards, and The Dream a few years later.
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RLP 3236LP
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LP version. In 2019, Elephant9 released two double live albums, Psychedelic Backfire I and II, the latter with guest guitarist Reine Fiske, whose favorite guitarist happened to be Terje Rypdal. With both albums out of print, Catching Fire is a most welcome addition to their discography. Recorded at a remarkable concert from 2017 in Oslo, Rypdal would turn 70 later in the year. David Fricke makes some interesting references to classic live albums in his liner notes, and Rune Grammofon would like to add King Crimson´s underrated USA and numerous Pink Floyd 1970 live bootlegs into the equation, sharing the common energy level and sense of untamed intensity. That said, there are also stretches of calm at play here, especially in the 22-minute opener where Rypdal introduces himself with some trademark, glacier melodic lines. Rypdal is on fire throughout, adding some fierce rhythm work and abstract acrobatics from his toolbox. Ståle and Terje are sometimes so interlocked that it´s difficult to tell them apart. This is partly because the album is mixed to get a sense of being at the concert, by not overly trying to separate them, but primarily due to a common understanding stemming from Ståle being the guitarist´s "right hand" both in the studio and on stage for close to 30 years. Torstein and Nikolai is the most solid of rhythm sections, a well-oiled engine, finesse and power combined. Elephant9 established their reputation as a live powerhouse well before their album debut in 2008 and have since released six more studio albums as well as the live albums from 2019. Terje Rypdal´s musical history dates back to the early sixties as a teenage member of The Vanguards, and The Dream a few years later.
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RCD 2231CD
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$16.00
PREORDER
RELEASE DATE: 8/30/2024
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 (RCD 2205CD/RLP 3205LP, 2019) is a highlight in both our and the band's catalog, 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 2022 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 ten minutes in duration, interspersed with shorter pieces where you 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 of 2022. 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.
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RLP 3235LP
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LP version. 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. Mythical River is molded 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.
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RCD 2235CD
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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. Mythical River is molded 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.
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RCD 2233CD
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The combination of Espen Eriksen Trio and UK saxophone giant Andy Sheppard is truly a match made in jazz heaven, and in the words of Andy: "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." The common conclusion drawn in reviews of their first album Perfectly Unhappy was simply "more, please," and now Rune Grammofon is delighted to introduce As Good As It Gets, the quite brilliant follow-up. The two album titles aptly indicate a subtle change in mood, and it´s fair to say that the new album finds the trio slightly more-lively and sunny in parts, still highly melodic and lyrical, often with a typically Nordic melancholic signature (check the Grieg nod in album closer "Drifting Clouds"). Eriksen is a master of catchy tunes and when Sheppard adds his inimitable playing to the trio´s minimalistic approach, magic is created. Espen Eriksen Trio was formed in 2007 and released their debut album in 2010. As Good As It Gets is their seventh album, all on Rune Grammofon. Andreas Bye is one of Norway´s most requested drummers in jazz and pop and has played with Bugge Wesseltoft, John Scofield, Joshua Redman, Dhafer Yousef, Nils Petter Molvær, and many others. With a career spanning over four decades, working together with the likes of George Russell, Gil Evans, Carla Bley, Steve Swallow, and numerous others, Andy Sheppard is truly one of Europe's leading saxophonists. As a leader he has recorded for labels like Antilles, Verve, Blue Note and lately four albums for ECM.
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RLP 3233LP
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LP version. The combination of Espen Eriksen Trio and UK saxophone giant Andy Sheppard is truly a match made in jazz heaven, and in the words of Andy: "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." The common conclusion drawn in reviews of their first album Perfectly Unhappy was simply "more, please," and now Rune Grammofon is delighted to introduce As Good As It Gets, the quite brilliant follow-up. The two album titles aptly indicate a subtle change in mood, and it´s fair to say that the new album finds the trio slightly more-lively and sunny in parts, still highly melodic and lyrical, often with a typically Nordic melancholic signature (check the Grieg nod in album closer "Drifting Clouds"). Eriksen is a master of catchy tunes and when Sheppard adds his inimitable playing to the trio´s minimalistic approach, magic is created. Espen Eriksen Trio was formed in 2007 and released their debut album in 2010. As Good As It Gets is their seventh album, all on Rune Grammofon. Andreas Bye is one of Norway´s most requested drummers in jazz and pop and has played with Bugge Wesseltoft, John Scofield, Joshua Redman, Dhafer Yousef, Nils Petter Molvær, and many others. With a career spanning over four decades, working together with the likes of George Russell, Gil Evans, Carla Bley, Steve Swallow, and numerous others, Andy Sheppard is truly one of Europe's leading saxophonists. As a leader he has recorded for labels like Antilles, Verve, Blue Note and lately four albums for ECM.
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RLP 3227LP
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First time on vinyl features extra tracks than the CD. After five successful studio albums in 12 years, here is their first live album, by popular demand. A popular concert attraction in Norway through Europe, Russia and South East Asia, the trio have constantly been asked when they will release a concert recording. Five of the seven tracks were recorded live in concert at Oslo´s Nasjonal Jazzscene in 2018 and 2020, one at a special one-off intimate concert at Propeller Music Division in Oslo in 2020 and one in Poznan, Poland, in 2021.
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RCD 2232CD
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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. One could 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.
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2LP
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RLP 3232LP
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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. One could place the trio in the same musical landscape as Bitches Brew-era Miles, Supersilent, Henry Cow, and King Crimson '73-'74.
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3LP
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RLP 3231LP
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Triple LP version. 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 (RCD 2205CD/RLP 3205LP, 2019) is a highlight in both our and the band's catalog, 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 2022 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 ten minutes in duration, interspersed with shorter pieces where you 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 of 2022. 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.
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MPLP 306LP
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LP version. Considering the tight run of albums since the first part of the Gullvåg Trilogy in 2017 -- three double and a single album in less than four years -- the 16 months wait for Ancient Astronauts must feel like an eternity for the fans. Much of the music continue in the manner of Motorpsycho's popular long form "N.O.X." suite from The All Is One (MPCD 104CD/MPLP 304LP, 2020) album, including "Mona Lisa/Azrael" and "Chariot of The Sun", the latter clocking in at 22 minutes, being the band´s longest instrumental track to date. Most of Ancient Astronauts was recorded in Amper Tone studio in Oslo during five days in August with old compadre Deathprod at the helm. All four tracks are basically the band playing live in the studio, with the odd keyboards, some guitar and the vocals added afterwards. Some of it is in turns pretty frantic and angular or grandiose and hypnotic and is mined from the same sources as the band's more explorative music from recent years. Meaning there aren't many choruses to hang on to here, but plenty of mouthwatering music for the progheads. The album was mixed by Andrew Scheps.
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2LP
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RLP 3228LP
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Double LP version. Hedvig Mollestad says her new album, Maternity Beat, is her most ambitious work to date, and that's not a proclamation to be taken lightly. Mollestad, after all, has been one of Norway's most adventurous and hardest-working musicians since the Molde International Jazz Festival named her the "Young Jazz Talent of the Year" in 2009. Recorded with the 12-piece Trondheim Jazz Orchestra (who have previously worked with legends like Chick Corea and Joshua Redman), Maternity Beat is a sprawling double album and true career milestone. In addition to encompassing the full evolution of her sound to date, it offers deeply personal meditations on the nature of family and pressing social justice issues. While listeners will no doubt encounter the Mahavishnu Orchestra-inspired fire music that has made the Hedvig Mollestad Trio (HM3) heavyweights in 21st-century fusion and jazz-metal, Maternity Beat also expands on the contemplative experimentation showcased on two of Mollestad's recent solo works: 2020's Ekhidna (RCD 2215CD/RLP 3215LP, 2020), and the Arne Nordheim-inspired Tempest Revisited (RCD 2223CD/RLP 3223LP, 2021), both of which netted her a Spellemannpris (the Norwegian equivalent of a Grammy). The sheer sonic and emotional scope of Maternity Beat required Mollestad wear multiple hats: guitar explorer, composer, arranger, improviser, collaborator, and, as the striking title implies, mother. That latter role serves as the album's thematic focus. This represents a novel direction for her. Back around 2019 -- when the Molde International Jazz Festival and Midtnorsk Jazzsenter originally commissioned the creation of Maternity Beat -- Mollestad felt compelled to compose a new and far more personal work that weighed her own privileged experiences with parenting and nurturing against the harsh political realities unfolding before her. Let's not forget: This was a time when graphic images of migrant families drowning at sea were flooding international news. Then came the COVID-19 pandemic, which further drove home how the economic systems in which we are all complicit tear apart humanity's far less fortunate. The harsh contrast of humanity and systemic failure fuels the tense shifts in mood coursing throughout Maternity Beat. Featuring the vocals of Mai Elise Solberg and Ingebjørg Loe Bjørnstad, the opening "On the Horizon Part 1" directly references the migrant crisis, while "On the Horizon Part 2" unleashes the full power of the Trondheim Jazz Orchestra. Harrowing moments are counterbalanced by some of the most unabashedly touching music in Mollestad's catalog. "Her Own Shape," for example, expresses the profound desire of parents to give their children the tools they need to thrive. Jazz has witnessed an explosion of boundary-breaking creativity in the last several years. The boom of musicians interested in cutting-edge forms of fusion, spiritual jazz, and electronic-based improvisation has infused the genre with an urgency relevant to our tumultuous times. Mollestad -- who likens the making of Maternity Beat to the jittery thrill of "jumping off a cliff" -- embodies precisely the kind of daring that not only makes her a vital leader on the Norwegian jazz scene, but also a key voice in jazz's global vanguard.
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RCD 2228CD
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Hedvig Mollestad says her new album, Maternity Beat, is her most ambitious work to date, and that's not a proclamation to be taken lightly. Mollestad, after all, has been one of Norway's most adventurous and hardest-working musicians since the Molde International Jazz Festival named her the "Young Jazz Talent of the Year" in 2009. Recorded with the 12-piece Trondheim Jazz Orchestra (who have previously worked with legends like Chick Corea and Joshua Redman), Maternity Beat is a sprawling double album and true career milestone. In addition to encompassing the full evolution of her sound to date, it offers deeply personal meditations on the nature of family and pressing social justice issues. While listeners will no doubt encounter the Mahavishnu Orchestra-inspired fire music that has made the Hedvig Mollestad Trio (HM3) heavyweights in 21st-century fusion and jazz-metal, Maternity Beat also expands on the contemplative experimentation showcased on two of Mollestad's recent solo works: 2020's Ekhidna (RCD 2215CD/RLP 3215LP, 2020), and the Arne Nordheim-inspired Tempest Revisited (RCD 2223CD/RLP 3223LP, 2021), both of which netted her a Spellemannpris (the Norwegian equivalent of a Grammy). The sheer sonic and emotional scope of Maternity Beat required Mollestad wear multiple hats: guitar explorer, composer, arranger, improviser, collaborator, and, as the striking title implies, mother. That latter role serves as the album's thematic focus. This represents a novel direction for her. Back around 2019 -- when the Molde International Jazz Festival and Midtnorsk Jazzsenter originally commissioned the creation of Maternity Beat -- Mollestad felt compelled to compose a new and far more personal work that weighed her own privileged experiences with parenting and nurturing against the harsh political realities unfolding before her. Let's not forget: This was a time when graphic images of migrant families drowning at sea were flooding international news. Then came the COVID-19 pandemic, which further drove home how the economic systems in which we are all complicit tear apart humanity's far less fortunate. The harsh contrast of humanity and systemic failure fuels the tense shifts in mood coursing throughout Maternity Beat. Featuring the vocals of Mai Elise Solberg and Ingebjørg Loe Bjørnstad, the opening "On the Horizon Part 1" directly references the migrant crisis, while "On the Horizon Part 2" unleashes the full power of the Trondheim Jazz Orchestra. Harrowing moments are counterbalanced by some of the most unabashedly touching music in Mollestad's catalog. "Her Own Shape," for example, expresses the profound desire of parents to give their children the tools they need to thrive. Jazz has witnessed an explosion of boundary-breaking creativity in the last several years. The boom of musicians interested in cutting-edge forms of fusion, spiritual jazz, and electronic-based improvisation has infused the genre with an urgency relevant to our tumultuous times. Mollestad -- who likens the making of Maternity Beat to the jittery thrill of "jumping off a cliff" -- embodies precisely the kind of daring that not only makes her a vital leader on the Norwegian jazz scene, but also a key voice in jazz's global vanguard.
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RLP 3229LP
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Who Do You Love The Most? is the young trio's third album in just over four years, and continues in the tradition of their two previous efforts; beautiful and evocative melodies, rich on harmonies, often rhythmically complex textures and a typically folk-like Scandinavian character with the occasional gospel feel. The album's ten songs are all Kjetil Mulelid originals, except for a gripping cover of Judee Sill's "The Archetypical Man". Two of the originals are the trio's versions of songs that first appeared on the pianist's much lauded solo piano album (Piano) from 2021 (RCD 2220CD/RLP 3220LP).
Kjetil André Mulelid comes across as an exceptionally mature pianist and composer. The trio's 2017 debut Not Nearly Enough To Buy A House (RCD 2196CD/RLP 3196LP) received wide international acclaim, with writers most typically mentioning Keith Jarrett and Bill Evans. The praise continued for 2019's follow-up What You Thought Was Home (RCD 2208CD/RLP 3208LP), with the Jazz Journal giving it a 5/5 rating and calling it "some of the most captivating music I´ve heard in quite some while". All About Jazz noted the maturity of the work, feeling like coming from three well-seasoned pros. Mulelid grew up in the small village of Hurdal, and started playing the piano when he was nine, after hearing Chopin on the stereo. Later he did a bachelor degree in jazz performance at NTNU in Trondheim, blessed with top teachers such as Erling Aksdal, Vigleik Storaas and Espen Berg. He is also a member of jazz quartet Wako. Bjørn Marius Hegge has been making waves on the Norwegian jazz scene lately, with his quintet's debut album Hegge winning a Norwegian Grammy. He has his own trio as well, with pianist Oscar Grönberg and young drummer ace Hans Hulbækmo (Moskus). In 2019 he released Ideas with Axel Dörner, Rudi Mahall, Håvard Wiik, and Hans Hulbækmo. Andreas Skår Winther is, like the other two, a "product" of the fertile milieu at the Trondheim Conservatory of Music. His discography includes Left Exit, Mr. K with Michael Duch and Klaus Holm (Clean Feed) and Megalodon Collective.
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RCD 2225CD
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The band describe themselves as a spaced-out, instrumental lounge rock outfit, with added vibes of folk music, jazzy surf, psychedelia, free improvised chill-out, jangly post-rock, and travelling bass. Not much to add here, apart from possibly a pinch of krautrock. Tellus is the quartet's fourth album, and their debut on Rune Grammofon. Being something of an all-star team from the fertile psychedelic space drone scene in Haugesund on the west coast of Norway, the members also pay their dues in bands like Electric Eye, Lumen Drones (ECM), Undergrünnen, and The Low Frequency in Stereo, whose album Futuro was released by Rune Grammofon back in 2009 (RCD 2082CD). On Tellus they are joined by Sigbjørn Apeland, a much-esteemed musician largely operating in a landscape of folk music, church music and improvisation. He is a member of Nils Økland Band (ECM and Hubro) and has collaborated with him for 30 years, also appearing on his two albums for Rune Grammofon; Straum (2000, RCD 2015CD) and Bris (2004, RCD 2042CD). Also appearing on Tellus is Ståle Liavik Solberg, a central force on Oslo's thriving improvised music scene. He has performed worldwide with numerous Norwegian and international musicians and curates the excellent Blow Out! festival. With Tellus, Action & Tension & Space heads into the Hardangervidda (the big plains connecting the eastern and western parts of southern Norway) terrain of wide-open spaces, spare vegetation and unruly weather conditions, especially during the winter. The album was recorded in a small studio in Haugesund during two days of heavy rain showers and stormy winds rumbling outside the windows. Personnel: Per Steinar Lie - lapsteel, electric guitar; Øystein Braut - guitar, organ, Mellotron; Julius Lind - double bass; Ørjan Haaland - drums; Sigbjørn Apeland - harmonium, Fender Rhodes; Ståle Liavik Solberg - percussion.
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12"
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REP 2226EP
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One-sided EP with screen print on B-side. No two FIRE! records sound the same, but with Requies they venture into uncharted territory. Musically ever expanding and no strangers to collaborations, FIRE! this time team up with no other than the one and only Stephen O'Malley from Sunn O))) and David Sandström from legendary Swedish hardcore punk band Refused for a truly epic 21-minute ebb and flow journey starting with church bells and ending in a whirlwind of postpunk energy. Spellbinding stuff. Flip it over and discover the stunning silk screen print courtesy of Kim Hiorthøy on the B-side. Strictly limited to 1000 numbered copies, this is a most desirable object you don't want to miss. FIRE!'s debut album, You Liked Me Five Minutes Ago (RCD 2091CD/RLP 3091LP), 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 their debut and their previous album Defeat (RCD 2217CD/RLP 3217LP, 2021) there's been five albums, including collaborations with Jim O'Rourke (Unreleased?, RCD 2111CD/RLP 3111LP, 2011) and Oren Ambarchi (In The Mouth A Hand, 2012). Mats Gustafsson - bass sax, organ and live electronics; Johan Berthling - electric bass; Andreas Werliin - drums; Stephen O'Malley - guitar; David Sandström - drums.
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RCD 2229CD
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Who Do You Love The Most? is the young trio's third album in just over four years, and continues in the tradition of their two previous efforts; beautiful and evocative melodies, rich on harmonies, often rhythmically complex textures and a typically folk-like Scandinavian character with the occasional gospel feel. The album's ten songs are all Kjetil Mulelid originals, except for a gripping cover of Judee Sill's "The Archetypical Man". Two of the originals are the trio's versions of songs that first appeared on the pianist's much lauded solo piano album (Piano) from 2021 (RCD 2220CD/RLP 3220LP). Kjetil André Mulelid comes across as an exceptionally mature pianist and composer.
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RLP 3225LP
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LP version. The band describe themselves as a spaced-out, instrumental lounge rock outfit, with added vibes of folk music, jazzy surf, psychedelia, free improvised chill-out, jangly post-rock, and travelling bass. Not much to add here, apart from possibly a pinch of krautrock. Tellus is the quartet's fourth album, and their debut on Rune Grammofon. Being something of an all-star team from the fertile psychedelic space drone scene in Haugesund on the west coast of Norway, the members also pay their dues in bands like Electric Eye, Lumen Drones (ECM), Undergrünnen, and The Low Frequency in Stereo, whose album Futuro was released by Rune Grammofon back in 2009 (RCD 2082CD). On Tellus they are joined by Sigbjørn Apeland, a much-esteemed musician largely operating in a landscape of folk music, church music and improvisation. He is a member of Nils Økland Band (ECM and Hubro) and has collaborated with him for 30 years, also appearing on his two albums for Rune Grammofon; Straum (2000, RCD 2015CD) and Bris (2004, RCD 2042CD). Also appearing on Tellus is Ståle Liavik Solberg, a central force on Oslo's thriving improvised music scene. He has performed worldwide with numerous Norwegian and international musicians and curates the excellent Blow Out! festival. With Tellus, Action & Tension & Space heads into the Hardangervidda (the big plains connecting the eastern and western parts of southern Norway) terrain of wide-open spaces, spare vegetation and unruly weather conditions, especially during the winter. The album was recorded in a small studio in Haugesund during two days of heavy rain showers and stormy winds rumbling outside the windows. Personnel: Per Steinar Lie - lapsteel, electric guitar; Øystein Braut - guitar, organ, Mellotron; Julius Lind - double bass; Ørjan Haaland - drums; Sigbjørn Apeland - harmonium, Fender Rhodes; Ståle Liavik Solberg - percussion.
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RLP 3223LP
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LP version. Hedvig Mollestad must surely be one of the hardest working musicians on the Norwegian music scene at the moment, with Tempest Revisited being her third album in a mere 18 months, all at a consistently high artistic level. Her first solo album, Ekhidna (RCD 2215CD/RLP 3215LP, 2020), received a Spellemannpris (Norwegian Grammy), appeared on several jazz and rock best of the year lists and got her into Downbeat's "25 for the future" selection. Tempest Revisited draws lines back to 1998 and the very beginning of Rune Grammofon. This was the year the label released Electric (RCD 2002CD/RLP 3002LP), the collected electronic works of Arne Nordheim, one of Norway's greatest composers. It was also the year when parts of "The Tempest", possibly his most cherished and well-known work, was chosen to be performed at the opening of Parken, the new cultural house in Ålesund, birthplace of Hedvig Mollestad. To celebrate 20 years, the culture house was ready for a new storm, and the first name that came to them was Hedvig, a local artist that was already making waves on the international scene with her power-trio. Hedvig took inspiration from the front of the house, adorned with Nordheim's score for The Tempest, at the same time making a direct connection to the sometime heavy weather conditions of this coastal area in the northwest part of Norway. One could say it's a big paradox that over all this might be Hedvig's most lyrical and less aggressive collection of music. On the other hand, it's quite a dynamic record, lots of light and shade and enough sonic parts at work to evoke the elements, the mighty Gran Cassa drum only one of them. The music included here was adapted from the initial performance in 2018 and produced by Hedvig in the studio the following year for this album release. The musicians included are old friends Marte Eberson from the Ekhidna band, Ivar Loe Bjørnstad from her trio and Trond Frønes (Red Kite) on bass as well as three sax players.
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RCD 2227CD
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After five successful studio albums in 12 years, here is Espen Erisken Trio's first live album, by popular demand. A popular concert attraction in Norway through Europe, Russia, and South East Asia, the trio have constantly been asked when they will release a concert recording. Five of the seven tracks were recorded live in concert at Oslo's Nasjonal Jazzscene in 2018 and 2020, one at a special one-off intimate concert at Propeller Music Division in Oslo in 2020, and one in Poznan, Poland, in 2021. Six of the seven tracks are extended versions of Eriksen originals from four of the studio albums, adding instrumental vividness as well as dramatic and moving elements to the event. The seventh is a splendid cover of Krzysztof Komeda's iconic "Rosemary's Baby".
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RCD 2224CD
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Back in 2020, Kafé Hærverk, Oslo's live hotspot for a wide range of jazz and experimental music invited Master Oogway to do monthly concerts from August to December, bringing along a guest for each occasion. Two had to be moved to 2021 due to Covid restrictions, but the other three were recorded for possible use later. Initially, Rune Grammofon thought about doing a "best of" from all of the recordings, but after further listening it soon dawned on the label that the concert with Henriette Eilertsen was nothing less than magical. To make room for the 45-minute vinyl edition, Rune Grammofon had to drop one of the five pieces that were played on the night, and also make two minor edits. Other than that, this is what was played, there are no overdubs or cosmetic treatments. Henriette Eilertsen is part of the fertile and exciting environment around the Motvind label, and a member of Billy Meier and Andreas Røysum Ensemble. She released her solo debut Poems For Flute on Motvind in 2021. Håvard Nordberg Funderud finished his Bachelors at the Norwegian Academy of Music in 2018 and also studied in Gothenburg and Copenhagen. He is involved in several projects, Master Oogway being his priority. Lauritz Lyster Skeidsvoll and Karl Erik Horndalsveen are both educated from the same academy in Oslo as Håvard, while Martin Heggli Mellem is educated from the jazz program at NTNU in Trondheim. Happy Village is Master Oogway's third album, their second on Rune Grammofon. The music on the previous outing two years ago, Earth And Other Worlds (RCD 2213CD/RLP 3213LP) was all written by Håvard, while the music on Happy Village is written by Karl Erik, one track co-written with Håvard. Happy Village finds the band in a more lyrical and exuberant mood than before, in no small part due to Henriette's beautiful contributions. Personnel: Håvard Nordberg Funderud - guitar and 12-string guitar; Lauritz Heitmann Skeidsvoll - saxophone; Martin Heggli Mellem - drums; Karl Erik Hornsdalsveen - double bass; Henriette Eilertsen - flute. The album was brilliantly mixed in Athletic Sound by Dag Erik Johansen.
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RLP 3224LP
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LP version. Back in 2020, Kafé Hærverk, Oslo's live hotspot for a wide range of jazz and experimental music invited Master Oogway to do monthly concerts from August to December, bringing along a guest for each occasion. Two had to be moved to 2021 due to Covid restrictions, but the other three were recorded for possible use later. Initially, Rune Grammofon thought about doing a "best of" from all of the recordings, but after further listening it soon dawned on the label that the concert with Henriette Eilertsen was nothing less than magical. To make room for the 45-minute vinyl edition, Rune Grammofon had to drop one of the five pieces that were played on the night, and also make two minor edits. Other than that, this is what was played, there are no overdubs or cosmetic treatments. Henriette Eilertsen is part of the fertile and exciting environment around the Motvind label, and a member of Billy Meier and Andreas Røysum Ensemble. She released her solo debut Poems For Flute on Motvind in 2021. Håvard Nordberg Funderud finished his Bachelors at the Norwegian Academy of Music in 2018 and also studied in Gothenburg and Copenhagen. He is involved in several projects, Master Oogway being his priority. Lauritz Lyster Skeidsvoll and Karl Erik Horndalsveen are both educated from the same academy in Oslo as Håvard, while Martin Heggli Mellem is educated from the jazz program at NTNU in Trondheim. Happy Village is Master Oogway's third album, their second on Rune Grammofon. The music on the previous outing two years ago, Earth And Other Worlds (RCD 2213CD/RLP 3213LP) was all written by Håvard, while the music on Happy Village is written by Karl Erik, one track co-written with Håvard. Happy Village finds the band in a more lyrical and exuberant mood than before, in no small part due to Henriette's beautiful contributions. Personnel: Håvard Nordberg Funderud - guitar and 12-string guitar; Lauritz Heitmann Skeidsvoll - saxophone; Martin Heggli Mellem - drums; Karl Erik Hornsdalsveen - double bass; Henriette Eilertsen - flute. The album was brilliantly mixed in Athletic Sound by Dag Erik Johansen.
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RCD 2223CD
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Hedvig Mollestad must surely be one of the hardest working musicians on the Norwegian music scene at the moment, with Tempest Revisited being her third album in a mere 18 months, all at a consistently high artistic level. Her first solo album, Ekhidna (RCD 2215CD/RLP 3215LP, 2020), received a Spellemannpris (Norwegian Grammy), appeared on several jazz and rock best of the year lists and got her into Downbeat's "25 for the future" selection. Tempest Revisited draws lines back to 1998 and the very beginning of Rune Grammofon. This was the year the label released Electric (RCD 2002CD/RLP 3002LP), the collected electronic works of Arne Nordheim, one of Norway's greatest composers. It was also the year when parts of "The Tempest", possibly his most cherished and well-known work, was chosen to be performed at the opening of Parken, the new cultural house in Ålesund, birthplace of Hedvig Mollestad. To celebrate 20 years, the culture house was ready for a new storm, and the first name that came to them was Hedvig, a local artist that was already making waves on the international scene with her power-trio. Hedvig took inspiration from the front of the house, adorned with Nordheim's score for The Tempest, at the same time making a direct connection to the sometime heavy weather conditions of this coastal area in the northwest part of Norway. One could say it's a big paradox that over all this might be Hedvig's most lyrical and less aggressive collection of music. On the other hand, it's quite a dynamic record, lots of light and shade and enough sonic parts at work to evoke the elements, the mighty Gran Cassa drum only one of them. The music included here was adapted from the initial performance in 2018 and produced by Hedvig in the studio the following year for this album release. The musicians included are old friends Marte Eberson from the Ekhidna band, Ivar Loe Bjørnstad from her trio and Trond Frønes (Red Kite) on bass as well as three sax players.
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RCD 2222CD
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As David Fricke pointed out in his liner notes to Q (RCD 2209CD/RLP 3209LP), the previous album from this expanded edition of Krokofant, this is not just another novelty guest-project. In fact, all the involved were so happy after finishing Q that a follow-up was decided upon straight away. So here it is, with four new tunes from guitarist and leader Tom Hasslan, each clocking in between eight and twelve minutes. Originally a guitar and drums duo, Tom and Axel met in a guitar shop in Kongsberg, a town in southern Norway famous for its annual jazz festival since 1964, and recognized for its experimental and innovative profile. Jørgen was invited to join them for the sessions that resulted in their self-titled debut album in February 2014. Two more albums followed in 2015 and 2017. When considering guest musicians for Q, to become their fourth album, keyboard maestro Ståle Storløkken (Elephant9, Supersilent, Terje Rypdal) was the trio's first choice. He had seen Krokofant live in 2015 and, in his own words, "had an instant kick", so he said yes straight away. Ingebrigt Håker Flaten (Scorch Trio, The Thing, Atomic) had seen them the same year, and after a few backstage beers practically invited himself to join up at some time. By his introduction, a "proper" rhythm section was born and work was lifted from Hasslan's shoulders. Hasslan's tunes are perfect vehicles for Storløkken to present the full scope of his playing; from sheer pastoral beauty to full on jazz skronk. The same can be said about Mathisen, who is given ample room for soloing. The tunes are rich in harmonic structures and melodic hooks, but there is also room for adventures into more free passages. Many names have been mentioned in connection with Krokofant over the years, but with the distinctive sax and organ combination, it's difficult not think of Van der Graaf Generator in their prime. Which is the highest accolade in our book, anyway. Thus, the expanded Krokofant is everything a progressive jazz and rock fan could wish for; positive energy, melodic riches, excellent musicianship and a touch of magic served with a healthy respect for the past and a foot in the future.
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