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.



Sorry for not updating this website in 10 months… In late spring last year we moved back to Oslo, after two years of living in Bodø, and the last half of the year was spent in a frenzy of work/projects. Updating this website was not a priority. But, I didn’t do that many gigs, and there were hardly any releases to speak of, so there wasn’t all that much to post about. I did work on a lot of projects that will see the light of day this year though, so I will make an effort to post more. Anyway, here are some random photos from 2018.






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Two Bands and a Legend Blå291018_17


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Death of the Noise Artist

Some words on my new piece “Death of the Noise Artist”, which will premiere at Tectonics festival in Glasgow on Sunday May 8th this coming weekend:

I grew up in the rural north of Norway, five hours drive above the Arctic Circle. This is where I started making noise music. When I was 18 I moved south and spent my adult life living in first Trondheim and then Oslo. In 2016 I moved north again with my family.

Returning to the area in where I started out made me question how much the landscape and environment influenced my aesthetics. Why was I drawn towards distorted electronic sounds in an area that had no history for it? I did all my early work in isolation, recording and networking through the mail, until I moved south at 18. How did starting out in such a remote area shape me? (Basically: northern Norway > noise > WTF?)

This self-imposed aesthetic dilemma may seem both simplistic and self-centred – and of course no conclusion except many observations and new insights – but it proven to be a fruitful creative device. After two years of work I have multiple pieces in the pipeline. “Death of the Noise Artist” is the first. Later on there will be a record and a short film. Probably a tape too.

More info on Tectonics:

At the festival I will also be appearing along with Mats Gustafsson for Dror Feiler’s piece for the BBC Scottish Symphony Orchestra – further evidence that this path of strange music has been one worth taking.

Special thanks to Ilan Volkov and Alasdair Campbell for making this possible.

Lasse Marhaug 2018








SUNN 0))) 2005 Inferno festival

13 years lost: March 25th 2005 I joined SUNN 0))) for their performance at the Inferno festival in Oslo. The band was in the middle of an extensive European tour, and I was asked to join for that show. The line-up was Greg Anderson, Stephen O’Malley, Attila Csihar, Tod Nieuwenhuisen, John Wiese and myself. I’m sure this is often said of 0))), but it truly was one of the loudest gigs I have taken part in. The festival setting commanded the band play a shorter gig than they would on a regular night, and it made the music even more condensed. Just out of habit I recorded the gig from my spot on stage on a portable cassette recorded. I figured someone else was recording the board/room proper and didn’t think much of it. The tape disappeared into my highly disorganized archive. A few years ago SUNN 0))) started making live recordings available on a dedicated Bandcamp site. I noticed the 2005 Inferno gig didn’t feature and realized that no one had made a proper/better recording of the gig and that my cassette was probably the only documentation of the performance. I started looking for the tape, but could not find it. Until yesterday (of course it was just in the wrong box). I transferred it and now it’s available on the 0))) live site. Being a cassette recording, done under extreme sound pressure using only the built-in microphones, it goes without saying that it’s rough sounding – Wiese, Csihar and Nieuwenhuisen are hardly audible – but it captures the spirit of the evening rather well.