I’m playing a solo gig in Trondheim this monday, as part of the PØKK series at Rockheim. I will also be making an introduction to a screening of The Untamed at Cinemateket before the gig.



One week ago at Steirischer Herbst festival in Graz, Austria, there was the premier of the dance piece STATE, directed by Jonas Corell Petersen and Ingri Midgard Fiksdal, which I have composed the music to. The music is performed by Anja Lauvdal og Heida Karine, performing on custom made instruments built by Christian Blandhoel (after my vague specifications). Credit to Anja and Heida for being able to play my music more accurately than I would myself – a two hour noise/sound piece with no written score other than verbal instructions.

Upcoming Norwegian shows:
19-23 October 2016 – Black Box, Oslo
26-27 October 2016 – Oktoberdans, Bergen
1-2 November 2016 – Avant Garden, Trondheim



August flashblack: recording with MoE


Photo: Kohei Gomi


MoE / Pain Jerk / Marhaug at Nødutgang festival 2016

Had the great pleasure of performing a special one-off set with my friends MoE and Kohei Gomi (aka Pain Jerk) at the Nødutgang festival this weekend. Here are two photos taken by Lars Nicolaysen.



Jenny Hval “Blood Bitch” LP

Jenny Hval “Blood Bitch” LP artwork, Norwegian edition on Su Tissue Records. Photos: Jenny Berger Myhre. Art direction: Lasse Marhaug. Vampire model: Orfee Schuijt.





Tony Conrad: All Music at Once

Text writter on commission from Atelier Nord for their Tony Conrad tribute series.


Tony Conrad: All Music at Once
Essay by Lasse Marhaug

Tony Conrad died on April 9th this year. He was 76 years old and had done more before he was 30 than any artist can hope to do in a lifetime. Yet his passing felt painfully premature. Tony was still relevant, still doing things, not floating on past achievement. He was a living legend who thought being a legend and nurturing celebrity status was bullshit. He was not only accessible, he was actively seeking new challenges, hooking up with young people rather than resting in his ivory tower. Tony would rather play a basement than some fancy concert hall.

Like many others I first got to hear Tony’s music with the Table of Elements releases in the mid-90s. I had read his name before, in connection to Velvet Underground, La Monte Young, John Cale, Faust and avant garde cinema, but none of his works were available in any way, so the impact of hearing Four Violins and Outside The Dream Syndicate was life-changing. The music hit me in the guts. I knew about minimalist music from before, but this was a whole new level. Tony’s music didn’t seem minimal at all, it was maximal. At the time I was obsessed with electronic noise music, but the dissonant violins of Four Violins felt just as intense as any underground noise racket. It sounded absolute. Like there was no need for any other music. I later named an album of mine All Music At Once, and that was the feeling I got when I first heard Tony Conrad.

Tony was a mathematician with complex ideas about many things – including tuning. I couldn’t (and still can’t) tune anything to save my life, but I understood that he had a hatred for the Pythagorean musical tuning theory that has been a dominant force in Western music for centuries. Tony saw it as a control system, something constructed to control us. Tony had issues with authority. As someone making (obscure/subversive/underground) noise music I can relate to this. Here was a guy who seemed to have done everything, but didn’t bother to brag about it. He just did brilliant stuff and then moved on. For Tony it was about the pleasure and importance of doing the work, not the glory.

In the 90s I lived in Trondheim and together with my friend Tom Løberg (who had become equally obsessed with Tony’s music after hearing Four Violins), we started a duo called Two Limited in homage to Tony. Each of us had an old one-stringed violin, so we started a one year long research project of seeking out strange locations and playing those crappy violins as smoothly as we could for the duration of an hour. We played in the street; in an underpass near the train station; in a silent chamber; in a stairway; in the forest – and the final performance was late at night outdoor in December which we ended with dragging/scraping the violins on the frozen pavement. It wasn’t meant as a project for the public, but as an experiment to learn something, with Tony as our imaginary invisible teacher. I remember Tom announced that year as his year zero, when he denounced his degree in classic literature, and went on to become a filmmaker and artist.

In the early 2000s I started playing more festivals and eventually got to meet Tony. I remember he wore the weirdest clothes. Apparently his system of deciding what to wear was to go into a second-hand shop and pick the one piece of clothing he did not understand the intent of. This resulted in him wearing things like neon-coloured green shirts with big black dots. He stood out.

When I saw Tony at the Avanto festival in Helsinki he gave a brief talk and then showed the video piece Cycles of 3s and 7s from 1977, which is a continuous close-up of a calculator with Tony pushing digits for a good 45 minutes. The audience had turned up expecting a drone music concert, and then had to sit through this video that didn’t please aesthetically or intellectually. You could feel the waves of restlessness and distress going through the crowd as they realized that the film was only going to be the close-up of the calculator. Nobody was having a good time. When the video finally ended Tony smiled and said “Oh, I didn’t think we were going to screen the long version!” He then asked for comments and someone in the back in the packed hall yelled: “We hate you!” – Tony just grinned. Then he started to play his violin set, and the music turned everyone in the room into loving him. I’ve never seen someone turn an audience around like that.

In 2008 Tony was booked by Dans For Voksne for two performances in Oslo. This was the first time I got to hang out with him for several days and it was an absolute joy. He wanted to see as much of Oslo as possible, and had the habit of running up stairs instead of walking them. In the Sofienberg Church he played a trio with C. Spencer Yeh and Michael F. Duch. The recording turned out really good and I later released it as a CD on my Pica Disk label. In the process of preparing the CD, Tony quickly and graciously said yes to the release but then didn’t seem too concerned with the proceedings. When I offered him royalty money and artist copies he simply didn’t respond. It makes me wonder how much great music he left behind unreleased (Four Violins took 32 years to see the light of day), because he was known to be something of an archivist (a box-set of John Cale’s experimental music from the 60s came out only because Tony had kept the tapes). I hope as much as possible of Tony’s work becomes available to the public in the years to come. This especially goes out to La Monte Young, who has been sitting on the Theatre of Eternal Music recordings since the 60s. While I greatly appreciate La Monte Young’s work, it is very hard to empathize with how he has treated his past musical collaborators.

Between 2008 and 2015 I worked at the Henie-Onstad Kunstsenter in Oslo, curating and producing the art center’s music program together with Lars Mørch Finborud. Working there was a really good experience with many memorable events, and one of the absolute highlights was when we had Tony there for two days of talks, screening videos and a solo performance in 2012. Tony’s back was hurting like hell, being in such pain that most other people would’ve cancelled, but not only did he do the talk and performance, he also had me take him around Oslo looking for a harding fiddle, made me translate any Norwegian writing he saw, insisted to hang out when I suggested he get some rest, and held classes with his students in Buffalo via Skype. Spending time with him was an absolute blast, and meeting him in a more leisure setting outside the usual context of busy festivals I got five days of great stories and conversations. For example I remember we had a discussion about the similarities between death metal and Wagner. Tony’s first day of talk and videos wasn’t well attended (shame on you Oslo), but he really didn’t seem to mind and talked with great enthusiasm for hours to a small group of lucky attendees. The second day’s live performance was incredible, although his back pain was obviously a factor throughout, adding a frailty to his playing that made me think that even the great Tony Conrad won’t last forever. It was the last time I saw him.

Tony also said something that has stuck with me: That how we who choose to work in this field of music are rich, just not in money, and that he himself felt like a millionaire. It may be an obvious metaphor, but hearing it from him just made it stick to my mind. So when Tony died the world certainly felt like a much poorer place, but we should be thankful he was around to enrich us like he did.

Lasse Marhaug, June 2016


Brötzmann Graphic Works book

Excited that there is a book of Peter Brötzmann’s graphic works coming out this month – and equally excited that I was asked to write a piece for it (together with people who are actual writers).

After submitting the text Peter said that he liked it although thought it “much tooooo friendly”, but I have to say when faced with trying to put into words how great and influential I concider this man’s five decade’s worth of graphic design to be, it’s tough to suppress the positive adjectives.

Order the book here:







2016 Interview

I’ve been interviewed by the Chinese musician Yan Jun for White Fungus. Click here, or read below.

A Physical Interview for Lasse Marhaug
Q: Yan Jun
A: Lasse Marhaug
(During April – May 2016; through email; the order was re-arranged during final editing)

The trigger of this interview is your magazine Personal Best. You told me that you want to keep this magazine physical format only. This leads me to be wondering on some physical aspects of you and your activities. So…

Q: Can I ask how much do you weight? Does it changes during tour?

A: My own weight is usually around 95 kilograms. So I’m quite big. I’ve had this weight since my early 20s. Even in the periods when I’ve worked out I’ve had the same weight. I trained for a marathon and even then my body remained basically this same weight. And my diet is mostly pescatarian, I eat healthy. When I tour I usually put on a few kilos. If I ever wanted to seriously lose weight, I would have to train full-time, which I don’t want to. I’ll never be skinny. That’s ok. It’s good to be big, I never had anybody try to beat me up. I probably more look like someone who likes to fight, but I’m a peace and love kind of guy.

Q: How much weight of instrument you normally carry on?

A: I travel with maximum 20 kgs. I really hate to drag a lot of stuff around. Not because I can lift a bag, but it’s just a hassle to travel with lots of things. It slows you down. I like easy and flexible.

Q: Can you help me to weigh the weight of all your releases (cds, vinyls, cassettes, books… one copy each)? Or can you guess if it’s difficult to weigh?

A: It’s difficult to guess. I have been involved in around 200-300 record releases. If you count record covers I’ve designed for other people, or stuff I’ve mixed or mastered, that’s at least another 200. And then many books and fanzines. I don’t know the weight. But already the archive of stuff I’ve been involved in takes up a lot of space in my apartment.

Q: How much weight you post your own and your label’s releases each month?

A: I send around 10-15 kilos every month. When a new Personal Best comes out I send around 60 kg of that. In one year I probably send out around 250-300 kgs.

Q: One night during All Ears festival in january 2016, while I hold a bottle of Nøgne Ø, I saw you thumbed up. Which type of Nøgne Ø is your favorite? What else (alcohol drinks) in Norway would you recommend? Have you been drunk during a concert, your own or other’s? How was that if you did? Or how is it if you have never?

A: I never drink alcohol. I never started. Not even one beer. I don’t know what it’s like to be drunk. Same goes for drugs. Never been high or stoned either. I was a stubborn punk when I was a teenager, only interested in music and art, and drink and drugs was something that grown-ups did and I didn’t want that. I wanted all my money for things related to my music – like postage, blank tapes and printing fanzines. I found the music mind expanding enough. So it stuck, I never started to drink. I didn’t need alcohol to boost my self-esteem or to belong, which is why many teenagers start to drink. But I’m not anti-alcohol. People should have a good time and enjoy themselves. I know that Nøgne Ø is a good beer.

Q: Chee Wai said your favorite tea is Tie Luo Han. Is it true? How do you brew it? What size of pot or gaiwan, how many grams of tea leaves, how’s the temperature of water, water comes out fast or slow? I assume you make it heavier, smoky and round taste? Oor you drink more raw Pu’er? Do you travel with your own tea and pot (or bottle) as John (Herge) does?

A: Yes, I love Chinese tea. Especially pu’er and high fermented oolong. I like both the smoky and round taste, but also raw pu’er. This is a big passion of mine. I spend a lot of time obsessing over tea; about water temperature, about what pots or gaiwan to use, different types of tea – all this. I don’t travel with my tea stuff; it’s mostly for when I’m at home. When I’m out I usually have a coffee, it’s easier to find a good cup of coffee, and tea demands more time to be properly enjoyed.

Q: Where is your favorite restaurant-near-by-venue around the world? Who are the best organizers of bringing musicians (to) good food around the world?

A: I’ve had incredible food in all parts of the world, but probably the best have been in Singapore, Japan, Korea, Mexico and Argentina. Many organizers understand how important food is for a travelling artist. It’s common that noise musicians also are foodies. We are as adventurous in our taste buds as our ears.

Q: When and how was last time you cried for an artistic experience?

A: Probably never. I’m not much of a crier. I wish I could cry for art.

Q: Do you visit museums/art spaces or ancient sight spots when you travel?

A: Yes, I want to see the world and learn things. Why travel long distances if you only get to see the venue that you play in. There is more to life than restaurants and bars. If I’m in a new city I like to get early in the morning and explore by myself before I have to move on.

Q: What was your last visit to a museum or art space? If it’s a friend’s show, then what was the one you go without an invitation?

A: The last thing I saw an one-night sound and light installation by Alexander Rishaug and HC Gilje. Really enjoyed it, except that it was too many people talking, I would’ve liked to see it by myself with less people in the room. Alexander and HC are talented artists, good to see them working together.

Q: What music have you enjoyed during tea time recently?

A: Lately a lot of John Coltrane. I’ve been on a Coltrane-trip the last months. Especially his final years, when he got more spiritual and avant garde. I also listen a lot to Andrew Chalk, the the pace of his music fits drinking tea well.

Q: What was the biggest book you have read?

A: I have a two-volume Complete Far Side by Gary Larson that’s 5 kg each book. It’s funny as hell, but also the heaviest book in my house.

Q: Who are your most intensive writers?

A: My taste in literature is all over the place, I usually read books just by recommendation from other people. I don’t obsess about writers like I do with film directors, painters or musicians. Recently I read Franco Berardi, just because someone told me to.

Q: How much ratio of films you reviewed are watched at home and at cinema/on large screen?

A: Now when I have a daughter I don’t get to see so much in the cinema, so it’s mostly at home. I try to watch one movie every day.

Q: What are your favorite films in 2015?

A: My favorite film of 2015 was probably The Lobster by Yorgos Lanthimos. I like his work a lot, and he managed to make the transition to English language films with famous actors without selling out or scaling down his vision.

Q: What are your favorite zines?

A: My all-time favorite zine is Bananafish. It’s the bible of noise music. People ask me what books to read about noise, but I tell them to read every issue of Bananafish, it tells you everything you need to know about the noise music culture.

Q: Have you been denied for a visa or refused to enter a custom? Or double checked by airport security?

A: No, I never had a problem anywhere.

Q: What brand of suitcase you are using now?

A: I travel with a Pelicase now. I need something solid with wheels, and plastic. I have a Rimowa, but never really liked it, felt like things got too beat up inside it.

Q: How many suitcases have you used?

A: For touring? Probably 4-5 different ones.

Q: Do you have golden card of any air alliance?

A: The best I got was a silver card at Star Alliance, but now that’s lost because I didn’t fly much the last two years. That’s OK, because flying is bad for the environment. I’ve done enough damage.

Q: Do you do hardcore tour (such as Anla Courtis) nowadays?

A: No, I have stopped doing that, and I will never do it again. It’s great when you are younger, but now I’m 40 it’s too tiresome. I have a family I would rather be more with them. I don’t need to play 100 shows a year anymore, if I can do ten it’s enough. I have an urge to work with music, but it doesn’t have to be performing live. Studio work can be just as satisfying.

Q: What instruments have you been building recently? Or patch?

A: I’m not a handy man in terms of building instruments or programming, I get other people to do it. Recently I had Christian Blandhoel build me four string and percussive instruments for a dance performance I’m composing music to.

Q: What are the instruments (hard or soft) did you use for longest time?

A: SuperCollider and some of my pedals. I’m not a gear-head so I can’t really remember what pedals it is, and my SuperCollider patches have to be re-programmed every once in a while, so it’s not really exactly the same.

Q: What is your favorite brand of speakers? Both studio and pa… and amp, of course.

A: At home I have Intelligent Sound in my home office, which are Swedish speakers, and in my living room I have Actimate, which is an Australia brand. I like open and warm sounding speakers. In my studio I work on a set of nice Tannoy monitors, which sounds precise and clear. I like different sound at home and in the studio. For PA I don’t have any strong preference, most of them does the job, it’s more a matter of room acoustics. For backline I prefer solid state to tube – electronics are different than guitar.

Q: How many speakers have you blown up?

A: You mean live in concerts? Not that many actually, but I have blown up quite a few monitors. I consider this the sound technicians fault, as they should put a low-cut filter on the monitors, because I do low-end feedback and it can blow the monitors if you send the same low frequencies to them as the main PA. I always tell the sound technicians to do this, but sometimes they don’t understand why, and then it starts to smell burning during the performance.

Q: Do you have those popular physical problem that touring musicians (especially who make electronic music) always have: pain on back, neck and shoulder…?

A: I used to have problems with my back from sitting on airplanes, but it got better when I started training the muscles in my back.

Q: Have you hurt yourself during performances? or your audiences?

A: Yes I have hurt myself, but never an audience. I have some scars and one time I had to go to the doctor. I have a scar from that performance. I’m not so interested in physical performance, mostly I just want to focus on the sound, but some projects, especially in my early days, were quite physical. But even when I sit at my table I still get so into it that I sometimes hurt myself.

Q: Many noise musicians report that they have made audiences physically reacted with the sound, such as feel numb or painful, orgasm etc. Has that been the case for yu?

A: Yes, I have had many reactions like this. I want the music to be intense, not just in volume, but also on the musical level. I want the audience to experience something. Since I don’t dictate what those feelings should be each audience member will have a different experience, and I like this aspect of this music a lot. It’s like a mirror – the music will reflect and amplify the feelings of the spectators. One time a couple came and told me they would go home and make babies after my concerts. That’s still my favorite compliment.

Q: Is there any music that hurts you?

A: The hurt I get from music is volume. I can’t take extremely loud volume for too long. Especially guitar tone feedback hurts me. I try to be careful of my ears. I’m more sensitive now than when I was younger. I love the noise, but can not take it at 130 decibels anymore, haha. So I try to make the music intense in its content and depth, not just the volume.

Q: Once one of my friends said after he stayed in the mountain with tea farmers for three months he stopped to nitpick on tea and start to enjoy any tea he has. After staying with music and musicians for such long time (25 years?), how do you judge your kind of music?

A: Your friend’s tea story is interesting. I still love this music after working on it for 25 years. Hopefully I will have another 25 years of it. The music still fascinates me, and I still find a lot of ideas to explore, new possibilities that opens up and reveal themselves. I try to support the music that I see has a value, even if it’s not totally to my taste. I appreciate the intent of the artists and that’s enough. What I listen to at home may be something else, but it’s important to appreciate the full scope of what is done within our field of music. For me noise music represents a way of thinking that is positive. It has a social and political aspect outside of just the musical content. I’ve also realized that the friends I’ve met in this music is my extended family, and that is important to me. For me it was a the best choice I made in my life to get involved with this music, I’m fortunate to where it has taken me.

Q: Francisco Lopez donated his CD collection (mostly from musicians he met) to establish an archive. Alvin Lucier donated his collection to Wesleyan University when he retired. Frans de Waard sells review copies to maintain his Vital Weekly. Do you and will you keep all these CDs, vinyls, cassettes and books forever?

A: No, I trim my collection from time to time. I keep around half of what I accumulate, maybe less. I keep the stuff that I will return to, so it’s more like having a library for my future-self than nostalgia for what I used to be into. But I do try to collect all Norwegian experimental music, especially the underground releases, and old stuff.

Q: How many early Norwegian electronic music have you collected? How is the selling of your reissues of these music?

A: There wasn’t really that much early electronic music from Norway released. It was largely undocumented in the 60s and 70s, except for Arne Nordheim. Most of the stuff I helped put out on Prisma Records was previously unreleased. I’m happy to have helped make this music available.

Q: How is the selling of those releases?

A: Yes, those releases sold quite well. It seems people are curious about music from the past. That’s been the case the last 10-15 years, when so much of the past 50-60 years of music have been reissued, reassessed and revalued. This is largely positive, for myself about half of the music I buy is older music. I curious about how things are connected, what movements lead to other movements. It might be that people buy that stuff less now, as there has almost been an overload of releases, it seems every week some forgotten music is brought out from obscurity. It’s hard to keep up with everything that comes out.

Q: According to the physical aspect of art and music, do you familiar with the new materialism of sound theory?

A: No, I don’t know about it. I try to avoid sound theories.

Q: Somehow paintings are similar as speakers that always transmitting energy to audiences…

A: That seems like a very vague metaphor. Speakers doesn’t transmit energy, it transmits soundwaves, and not always even that. Music transmits energy. Ditto paintings, paint on a canvas does not equal energy. I need to see and hear ideas, paint and sound is not enough in itself.

Q: But how about conceptual art?

A: It often leaves me cold. Most conceptual art is based on old and tired concepts, or made to cater to a market. I want to see something makes me wonder and curious, not something that makes me feel clever because I can decipher its codes. It’s good to not understand. I like some of the conceptual art of the 60s and 70s, but most of the stuff done now is terrible. The main problem is that so many artists want to make a living off their artworks, so they remain in a safe zone, afraid to make any real statements. This is at least the situation here in the West, probably there are more brave artists in China and the east, doing political work.

Q: And conceptual music if there is this kind of music?

A: Music is an experience. I’m not interested in silly concepts about music. It’s very rarely that conceptual music touches me – it has to touch me on a musicial level.

Q: Have you made any other musician or artist enemy?

A: Not that I know of. I try to treat everyone with respect and be nice. I’m sure that there are plenty of people who dislike me, but then they dislike me for what I represent and the work I do, not because I treated them badly, and that’s totally ok. Who wants to be liked by everybody? It’s impossible, and those who try end up lying and cheating.

Q: Have you joined political activities? Physical actions like demonstration on street?

A: No, I haven’t been part of demonstrations. I feel bad about that, I should have done that. But I have helped out with some political matters, like designing logos and shirts for causes that I agreed with. I admire people who gets involved in politics.

Q: Have you had any politician as your audience?

A: Yes, Dror Feiler. He is a brilliant politician and activist. Great guy.

Q: Thanx for always been so quick. In what case/situation you hesitate or take time to think before act?

A: Quite often. Most of my solo pieces takes a long time to realize, I spend time thinking about them, sometimes many months before I sit down to record and work. It’s just that I do several projects at the same time, so it appears that I’m quick. In my mind I’m slow. I should do more and be more focused. I try to get better.

Q: How do you go on composing?

A: In my head mostly. I think of specific ideas, moods or directions I want to work with let the ideas develop in my mind. The actual recording is often done quite fast, but I often spend a long time in the mixing stage, I feel that’s where the real composing happens. So first the idea forms in my head, then the recording session, and then reevaluating the idea, finding out if it holds water, or if it leads to something else, and then not being afraid of being led to where the idea takes me. I’m a slave of my sounds, I must follow them to wherever they take me. If I listen well they will treat me well.

Q: What is the lightest music you have done? And sweetest one?

A: All my music is light and sweet. Noise music is candy for the ears.

Q: Do you care about perfection of your work?

A: I’m something of a perfectionist, I spend time labouring details, but I don’t believe that art can truly ever be perfect. An artist who believes his work is perfect is a fool. When I read the words of artists that I consider to absolute geniuses – like Francis Bacon or Werner Herzog – I often find them extremely critical of their work, and don’t believe that what they’ve done is anything but temporary.

Q: Do you care about the length of performance organizers or audiences expect from you? How long do you normally play if there is no limit?

A: This is one place where my work pleases people – my ideal performance length is one that organizers and audiences seem equally happy with: somewhere between 20 to 40 minutes. For me that’s the perfect length for my music. I’ve tried playing longer – once I played with Stephen O’Malley and Massimo Pupillo for 2+ hours and it was fun – but I still prefer the half hour set.

Q: Once i saw Keiji Haino check his watch several times during a concert. That reminded me how strict the contract of big festivals are…

A: Well, I’ve seen Haino-san drive a whole stage-crew absolutely nuts because he went way over-time at a gig. At the end they went on stage and yelled to him while he was still playing, and then they cut the sound on the PA. It was in Paris and I was on the side of the stage. I filmed it all, if you search you can find it on my Vimeo. The link is:

Q: Would you cancel a performance if all speakers were blown up by someone before you?

A: If I knew it I probably would, but when I played in Washington, DC in 2012 it was the case of the tops being blown – and that was the one gig when we didn’t have time for a soundcheck. We arrived late and it was one of those nights when there’s 6-7 acts on the bill, so no time to sound check. Most of the acts before me sounded a bit weird, but they’re also playing guitar amps in addition to the PA, so I plugged in and start playing, only to discover that it’s basically just the subs working. It sounded awful and I changed my set into low-end feedback.

Q: Or you’d like to change to acoustic if it’s a small venue?

A: I still have not played an acoustic performance. I thought about it, and I could do it, but I would need an ensemble of musicians to help me make it work. I’m working on that idea.

Q: Can you recommend some field recording works?

A: This is not my favorite genre. It often feels like I’m just listening to the filter of the microphone. There are so many boring location recording works released. I quite like Chris Watson’s works, he’s really interesting, and especially his works with are just pure documentation. But, one of my all-time favorite records of any genre is a location-recording album called “Sounds of North American Frogs” by Charles M. Bogert. It’s a Folkways LP from 1958 and it’s one of the records I’ve heard the most times in my life. One of the best albums ever put out. It would make my top 20 list. Everybody must hear it.

Q: How much are you a city person? What does nature mean for you?

A: I grew up in the exact opposite of a city, in an island in the rural countryside of Northern Norway, with almost no people around. You can check the location on Google-maps:
It is kind of a nature paradise – beautiful mountains, big sea, forest and with fresh air. But I was bored with this environment as I grew up. I was interested in movies, music and books more than going fishing, hiking or skiing. So now I love big cities. I like the energy of large groups of people.

Q: Do you care if people upload then let the apps stream your music as 56kbps mono mp3? Maybe that makes more audiences to you (for instance in China)?

A: Overall I see online sharing of music is a positive. This kind of non-profit sharing has helped me quite a lot – it has made my music heard by people all over the world. I understand that in some countries people cannot afford to buy records and that’s OK, I want my work heard. I’m not so happy when the sound quality is reduced, I want people to hear my work with good sound, but what can you do? That’s the way it goes. On the other hand I really despise the commercial record industry version of this – I have several albums of Spotify and iTunes that I never agreed to put there – but they do it with in a so-called legal way and they are claiming money for it – so where does that money go? This pisses me off, that big corporations steal from artists. Non-profit sharing I support, but the big business hijacking of artists’ work I deplore.

Q: Since my first batch of questions (April 26) till now (May 12), what have you done (creatively, artistically, publicly…)?

A: Oh shit, if I were to list that I would feel like a maniac. Probably the most exciting is I’ve recorded with a sax player called Kristoffer Alberts for a duo record, and rehearsed for a performance of Christian Marclay’s Screen Play film with the piano player Christian Wallumrød that’s due next week. I’ve also mixed and mastered an LP with Christian Marclay and Okkyung Lee, although those two Marclay-projects are not connected. I’ve also done a remix and worked on some other mixing and mastering jobs. And record cover designs. And done a few interviews for Personal Best. And wrote some stuff for some books and magazines. And helped put together a music video. It’s been a busy few weeks.