Here’s a live recording, filmed by Egil Andersen and posted on his Youtube channel. Crossroads, written by Don McLean in my arrangement.
Line Ira who runs the Perfect Sounds Forever concept in Bergen invited me to warm up for Jeffrey Lewis & Los Bolts when they came to Bergen. So I brought my fathers Alhambra nylon string guitar and played a few songs from The Course of Things and Our Insignificance (iTunes, Spotify) that I released back in february just after my father passed.
I’ve been struggling a little whether I should «use» my father’s death in my music, and really had to think things through: I don’t want to prostitute myself or the people I love to stand on some stage. But life events like these is exactly why music has become so important, it is a therapy and for my own sake and if someone finds any joy or comfort in it then I am grateful. When I sing I sing about the things that puzzle me or occupy my mind. For the last eight or nine years or so my fathers illness has played a big part in my life, and the last six months of his life was a true nightmare. Emotionally it was so for me aswell, but what hurt me was to see how much he hurt, and the terror and angst that tortured him up until he left for good.
The last week he lived I lived in the nursing home with him, sleeping in the room next door. When I wasn’t by his bed side I was in my room, recording. The four EPs that came out winter/spring this year was all recorded there. So that I will never forget that time. So that I will never forget how much I loved my father. After he passed this has become increasingly more important to me to remember. His girlfriend derailed the minute my dad couldn’t speak anymore and revealed a side of human nature I thought I’d never get to experience. That ring she put on his finger a month before he died – little did I know she would use that to take every material thing away from me and my brother. How I wish my father could see what is happening now. What happened there in his room when he was too medicated and sick to stay awake. When faced with greed and mental sickness of this kind I’ve had to focus on what matters the most: the life I have, the life my father had, the life me and him had together. In objects there is no trace of that. I remember my dad talking about his love for Fernando Pessoa – the power of imagination. But it takes a lot, a lot.
Well. Anyway. Here’s a song that sums up a few things about fatherhood, childhood, death and family.
It’s never an easy task to get the overview on the my recordings, and this doesn’t make it any easier. Sorry.
Since the fall of Myspace and AmieStreet this release has yet not been released on Spotify and iTunes, and it is now finally available there. 19 songs, some of them also available on Vamoose!
The songs exclusive to this release is:
Holes in the World, Windmill Eyes, How I Change, Chasing Feet (A Sunday and two hours), Only Color True, Feeling Green, A Glance, Surfer’s Morning, Let Me Bleed, Short of Breath, My Name is Death.
All these recordings were recorded entirely by me on various locations, except Holes in the World that was recorded in Lars Wiik’s home, and was done by him.
The second release from my time in Florø with my father. This is a release consisting of five instrumental pieces played on fingerpicked nylon string guitar.
Recorded during the month of December 2015. Since november 2015 my father has been on his last, sick with cancer, and he has been forced to commit himself to a nursery home in Florø. During this time I’ve left my home in Bergen to stay with my father, and his wife. We’re watching out for father on shifts, and during the time I’ve had by myself I’ve making music and recording. This album is a result of this.
The first track is a mellow version of the Burzum classic, and a favorite of mine. I’ve rearranged it to a open tuning (dadga#d, all other songs on this release are also using this tuning) and arranged a vocal melody for it.
The second song is one of my fathers favorite songs and was written by Don McLean and released on his American Pie album.
The last two tracks were written by me, and also revolve around the themes I’m surrounded by these days. Memories. Death. The future. Fatherhood. Childhood.
Got hours of music just lying around on the computer, so this might count as another step to make it accessible.
My Hometown was written, I think, in 2003 or 4 and recorded maybe in 2005 together with Bosse Litsheim of Ai Phoenix on percussion and backing vocals and Jørgen Sandvik – artistside of Real Ones on mandolin and backing vocals. I sang, plucked the guitar and played the lap steel guitar on this one.
We travelled together with our instruments to Høyanger located by the Sognefjord. Me and Jørgen stayed in the late Bønna’s house (if I remember correctly). I think we were there for a week and recorded in the old gun club house. It seems like forever ago, and judging by the lyrics it is forever ago also. A year earlier I had discovered the Bonnie “Prince” Billy record Master And Everyone, and I was also pretty much soaked in compulsive Elliott Smith listening, finally finding something else than old country-blues, british folk from the 60s and Bob Dylan.
Its been a long road since then, and this was my first in a studio, and a first together with other musicians. I had shown Jørgen my four-track demos of this song and a few others and he wanted us to take it a step further. Bosse planned things, and made it happen.