The second film making its debut this Sunday is THE PRACTICE OF LOVE. For SOMETHING MUST HAPPEN the words were written by Jenny Hval, but this film is a collaboration, as it ties in with Jenny’s recent album on Sacred Bones Records of the same title. I worked on the album in various ways, and during the process we decided it would be interesting to make a short film that visually explored some of the ideas.

The film is partially a remake of Chantal Ackerman’s
SAUTE MA VILLE short from 1968, and it also shares the title of Valie Export’s film from 1985, but most of all the film connects to Jenny’s album.

All shot as single images with a DSLR camera (at ten minutes totalling 15.000 photos), featuring the Norwegian dancer Ingrid Haakstad.

Tomorrow 18:30 at THE DREAM THAT KICKS at Cinemateket i Oslo in Oslo.


Practice of Love image image 2




So this Sunday will be the premiere screening of my first three short films. It’s at Cinemateket i Oslo at Greg Pope’s The Dream That Kicks series. Kind of nuts to come out with three films at once, but I guess triplets are never planned, and kudos to Greg for pushing me to present it like this.

The first film is SOMETHING MUST HAPPEN, and it’s the “main” work of the three. I shot it in northern Norway, close to where I grew up, which a few hours drive north of the arctic circle. Put very simply it’s a mediation on a landscape, trying to make some observations on how it shaped what I do. Making the film was quite an elaborate process, as it was shot not just during winter, but when the weather was at its worst, often at night or early morning. I shot hours and hours of footage, failing more than succeeding, with a steep learning curve, but then made sense of it in the editing process, greatly helped by Jenny Hval’s text, which was read by Vivian Wang.

The film is as much about the sound as the images, and it ties in with a cycle of related works, variations on much of the same material. Already out is “The Death of the Noise Artist”, a multi-channel piece which was commissioned by Ilan Volkov and the Tectonics Music Festival in Glasgow last year, and have been presented several times since then (next up Le Guess Who? in Utrecht), but there’s also five limited edition physical releases – a cassette, a 10″, a 2xLP, a reel-to-reel and a CD – coming out shortly.

Also thanks to Svenn Jakobsen and Simon Ellegaard Ebbe for the surround mix. It’s made to be seen/heard in a cinema, so I won’t be putting it online anytime soon, but would be happy to have it screened anywhere with the right sound system.


Makro elva_00096 copy

Makro is_01268 copy

Slektninger_14 copy






Design work: Nurse With Wound

Poster for Henie Onstad Kunstsenter, 2019. 3 colour screen print with foil finish. Each print is unique. 50 x 70 cm. 70 copies. Printed by Drid Machine.







Runhild Gammelsæter / Lasse Marhaug duo live debut

Me and Runhild Gammelsæter will be opening for Sunn O))) tonight at Kulturkirken Jakob in Oslo. Our debut album “Quantum Entanglement” was out on Utech Records in 2014, but this is our first concert. The last time 0))) played a church in Norway was in 2007 in Bergen, at the Borealis festival, booked by Nicholas H. Møllerhaug. I joined them for that gig (along with Tos, Attila Csihar, Stephen, Greg and Steve Moore), and the recording was subsequently released on Southern Lord as the “Dømkirke” album, with artwork by Tania Stene. Here are some photos from the rehearsals. I remember the windows were rattling throughout the whole time.











Tusk Exhibition: Distorted Circles


Lasse Marhaug: Distorted Circles
Selected photographs and illustrations 1999–2019

Distorted Circles is an exhibition of selected visual works by Norwegian artist Lasse Marhaug (b.1974) that spans the years 1999 to 2019. The pieces originates from various projects but are presented separate from their original context. This includes record covers, books, stills from short films, press photos, mail art, collages, paintings, and photos from Marhaug’s publication Personal Best.

The various techniques are digital and film photography, ink on paper, objects, paper collages, digital composition, vector graphics, and everything in-between.

Given Marhaug’s co-practice as a musician and composer most of the 350 works included are music related, so it’s only fitting to present them at the 2019 edition of the TUSK Music Festival in Newcastle.

The Bastard Doesn’t Dream – Bandcamp

“The Bastard Doesn’t Dream” is now available at my Bandcamp site, including physical copies:

Pinquins – Almost Everything (2019) video

Pinquins – Almost Everything (Lasse Marhaug, 2019) from Lasse Marhaug on Vimeo.

The Bastard Doesn’t Dream

New tape release:

“There is usually a sense of ‘give and take’ associated with any given noise release, often times more experimental sounds come attached to a lack of the precision and intensity which categorizes more straightforward compositions. Lasse Marhaug is an exceptionally rare example of an artist capable of accomplishing both concepts without sacrificing any legitimacy in either direction; he is just as true to harsh noise in the style of 1996’s “White Inferno” (Mother Savage Noise Productions) as he is to the freak flag a member of Origami Replika would be expected to fly. This combination of world’s can be off-putting to some listeners, however Marhaug walks between both with a sense of flawless execution and an ever-expanding knowledge of possibilities. Having built a tremendous body of work over the past three decades (which includes his material with Jazkamer and Testicle Hazard amongst other collaborations), “The Bastard Doesn’t Dream” is well over the 300th recording to showcase Lasse’s inimitable style. Looped sound sources warp and weave their way throughout the thirty minutes found on Side A, creating a disorienting experience that also holds attention with ease. It is effortless to say similar things about harsh noise releases which follow the textures and tones of 90s classics, but it is almost never something said about a release in which the actual sounds heard aren’t easily linked to another of comparable aesthetic and intent. Material of that sort mostly abandons the sense of tightness and structure that is found all throughout “Bastard”, whose B side is even more chaotic than its companion while maintaining the same degree of strict control. This piece does not rely on the same sonic themes which are found on any of the many releases that could share that description, but instead there is a truly unique meshing of the concepts that govern both harsh noise and experimental music. “The Bastard Doesn’t Dream” is something only a foundational artist of modern noise could have created, it draws upon no influence other than a dedicated understanding of sound and the infinite ways in which it can be manipulated.”
-Matt Boettke (Scant/Dead Gods)


Det Latterlige Mørke

My other premiere this week is music for the theater piece “Det latterlige mørke” for Trøndelag teater. Directed by Jonas Corell Petersen, who I have worked with before on several projects, this is a reworking of Joseph Conrad’s “Heart of Darkness” by Wolfram Lotz, translated to Norwegian by Jonas. It’s been an pleasure working on this, using an extensive multichannel set-up in the 200+ year old theater venue.


Percussion piece for Pinquins

My first percussion piece, commissioned by the great Pinquins trio, will see its first performance at Atelier Noua Saturday the 9th. This is an acoustic noise piece, no amplification. More performances to be announced.