Geir Sundstøl - St​.​ Hanshaugen Steel (October 1, 2021 Hubro Music)

After appearing on more than 400 albums as a sideman and session player, multifaceted guitarist and instrument collector Geir Sundstøl gave us a trilogy of his, long awaited, own compositions. Now he is back, with a follow-up to Norwegian Grammy-/Spellemannpris- winning album Brødløs.

St.Hanshaugen Steel offers an extraordinarily wide range of genre references, and takes us further into Sundstøl’s original and distinctive soundscapes. With clear cinematic features, Sundstøl displays an ever impressing variety of instruments, sliding from the deep and rough bass harmonica to the sharp, circus-like marxophone. In between, multiple layers of glimmering steel. Guest appearances by he angelic Sølvguttene boys’ choir bring utter goose bumps, while other parts of St.Hanshaugen Steel might induce the darker chills of Nordic Noir.

The album St.Hanshaugen Steel is an homage to the factory bearing the same name. The steel factory, founded by the somewhat evasive Jebsen Brothers, was in operation between 1890 and 1969, and was located on St.Hanshaugen in Oslo, which now is a highly popular residential area, and Sundstøl’s own stomping ground.

But rather than the chimes of industry, St.Hanshaugen Steel pays attention to the nuts and bolts that give rise to the whole machine. The title may, of course, also be a reference to Geir Sundstøl’s reputable broad spectrum-treatment of the pedal steel guitar.

While the sound of St.Hanshaugen Steel shares points of continuity with earlier Sundstøl Hubro releases Furulund (2015), Langen Ro (2016) and Brødløs (2018), there are some important departures. A new palette of sound-making devices, from Sundstøl’s hording of synthesizers, has made its quite audible mark.

«Being born in the late sixties, vocoders, Simmons synth drums, and synths in general, sound very modern to me.» Hours of exploration and studies of this “modernity” shine through this otherwise organic music, as does the analog modification of familiar sounds:

«Initially, it startet out as a technical project. I wanted to explore the possibilities of recording pedal steel onto analog tape, at 30 ips, and then slowing it down to 15 ips. Exactly an octave below. There are still traces of that experiment on the album (tracks Smet and Våg), but the exploration turned into songs.»

Another experiment developed into the eclectic track Hoven:

«I fiddled with the pitch controller on my raga box. It slowly evolved into a strange melody. It was still a Hindu melody, but when we added the church-like bass lines and the boys’ choir, it morphed into a multi-religious song.»

Like his first and third album (the sec0ond was recorded at St.Jakob church in Oslo), Sundstøl made the St.Hanshaugen Steel at home, in his Studio Intim. Once again calling upon some of his favourite musical brothers in arms; drummer and percussionist Erland Dahlen, bass players Mats Eilertsen and Jo Berger Myhre, and pianist/keyboardist David Wallumrød.

Although Sundstøl himself handles a vast variety of sometimes “unusual” instruments  - he is indeed a collector as well as a composer and musician - the presence of these “usual suspects” is crucial to achieve the Sundstøl musical universe. Erland Dahlen is also often by Sundstøl’s side at live performances. A Duo Extraordinaire.

A unique voice, yet new to this particular universe, is Arve Henriksen, who leaves his personal mark on the opening track, Våg. «I had admired Arve’s lyrical expression for years, and finally I mustered up the confidence to ask him to participate.» Initially, the trumpeter was asked to play on the outro of Våg, but he «got carried away, and added 10 tracks of trumpet and horn. We recorded Våg, thinking half-speed pedal steel, upright bass and 80’s Simmons Drums would be the core of the song. It came out a little more than that.”

Sundstøl describes the further tracks on St.Hanshaugen Steel:

“Lyssky” draws inspiration from spooky British sci-fi as well as pompous, white wig-wearing composers. David takes us on a trembling journey with his Arp synth.

KA is Indian Shankar- and National guitar-Blues. Handheld bells, analogue synths and Norway’s most beloved traditional boys’ choir, Sølvguttene. The thought of their singing in my living room still fills me with awe.

Kløpper: Mats (Eilertsen) sent me a bass line, without any instruction. I found it especially tricky to add the Mini Pops drum machine. Certainly a backwards way of doing things, but valuable. The melodica solo is an homage to the late Augustus Pablo. Pedal steel and National guitar on a bed of dub beats. My Bermuda Triangle.

Hoven: It’s got ethereal organ, Christian church-like bass over a twisted Hindu beat. I play the usual National- and pedal steel guitar, and to top it off, we added the Sølvguttene boys’ choir,. A ‘multi-culti’ song if there ever was one, with a spiritual twist.

Smet: This is quite an eerie mix of cold DX7 synth, electric insects running around Erland’s snare drum, upright bass and Parisian toy pianos. It bears traces of the mentioned technical experiment; recording steel at high speed and then slowing it down.

Omsorg: I don’t write music - I play, make mistakes that sound good, and then try to create something out of that. This track has guitar-o-phone, optigan, steel, national guitar, organ and an upright bass that sounds like an old motor boat. The bass function lies in the harmonica. And the title translates to “care”.

Pøs: 80’s vocoder and Shankar guitar paired with the Wurlitzer Side Man, the world’s first drum machine. This is probably the only track that bears any resemblance to industrial sounds. It has a somewhat old fashioned melody line, like something the great Cornelis Vreeswijk would have sung about a dad working at the factory.

For me, melody is the key. If there’s no melody, or if the melody doesn’t add up, I don’t get it.» 

1. Våg 05:11

2. Lyssky

3. Ka

4. Kløpper

5. Hoven

6. Smet

7. Omsorg

8. Pøs

Musicians:

Erland Dahlen: drums, drum machine, steel drum, log drum, marching toms, xylophone, dulcimer, musical saw, Schulmerich handbells, waterphone, electric insects, blossom bells and triangle.

David Wallumrød: Minimoog, Prophet 5, Arp Pro Soloist, Hohner clavinet and Juno 6.

Mats Eilertsen: acoustic bass and organ.

Jo Berger Myhre: acoustic and electric bass.

Arve Henriksen: trumpet and vocals.

Sølvguttene: boys’ choir vocals.

Geir Sundstøl: pedal steel, National duolian, Shankar guitar, six string bass, Yamaha CS-20, optigan, harmonica, bass harmonica, cümbüs, guitar banjo, mandolin, Prime Time loops, Yamaha DX7, Logan String Melody, melodica, tabla and drum machines, Michelsonne toy piano, marxophone, guitarophone, Simmons SDS8, concert harp, Juno 6, cither, and Roland SVC 350 vocoder.

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Trond Kallevåg - Fengselsfugl (April 2021 Hubro Music)

Trond Kallevåg’s “Fengselsfugl” (prison bird in english) might well be the soundtrack of the prison-movie that director Wim Wenders never made, closely related to the musical landscapes of Ry Cooder and Bill Frisell. Once again joined by fellow Hubro-artist, the great Geir Sundstøl.

Old Norwegian prison ballads and years of work with inmates in Oslo Prison are a few ingredients the young Norwegian guitarist and composer Trond Kallevåg has put in his distinct lyrical and instrumental guitar-based sound of his upcoming album “Fengselsfugl” (Hubro). Instrumental front porch picking, folk, experimental lyrical soundscapes and field recordings combined with non traditional instruments such as musical glass and saw are some of the ingredients that make up the musical stew of Trond's cinematic and somehow familiar melodic compositions. Some may call it «cinematic nordicana».

“Fengselsfugl” is the long-awaited follow-up to his critically acclaimed album and Hubro debut “Bedehus & Hawaii” (Prayer house and Hawaii) from 2019 which was inspired by his deeply religious grandparents and their strange prayer house music that according to Trond sounded a bit like Hawaiian guitar-music or slack key. Both albums follow an artistic concept that is based upon his encounters with environments that stand next to the established. “Bedehus & Hawaii” was highlighted as one of the 15 best jazz albums in 2019 by Bandcamp - one of the world's largest websites for selling music: "Kallevåg has created one of the most gorgeous recordings to hit the shelves in 2019!"…"The contemplative release from Trond Kallevåg is a deep dive into serenity, where melodic improvisations melt into indistinguishable shapes and take on the logic of dreams." He has also by numerous reviewers been compared to guitarists like Ry Cooder and Bill Frisell. "Bedehus & Hawaii" locates Trond Kallevag Hansen at the right height on the heels of Ry Cooder and Bill Frisell." - Jazzaroundmag.

Trond is originally from the small rain-filled west coast town of Haugesund which he thinks has inspired his distinct lyrical sound. "For me personally, I think my music is very much inspried by my home town. I think it has something to do with the rain, the coastal landskape and the people living there, which conveys a kind of somber mood. My music also has that somberness, I prefer the sound, melodies and form over individual virtuosity.»

As with the previous record, Trond composed the music and mixed the record himself, which is a big part of his creative work. The recording was also this time recorded in three days in Studio Intim which is owned by the legendary Norwegian guitar player, and fellow Hubro-artist, Geir Sundstøl. On both albums Geir has contributed with his sublime steel guitar playing that perfectly matches Kallevåg's obvious affection for atmospheric film music and broadside ballads. In the sextet you also find one of Scandinavia’s foremost keyboardist David Wallumrød who tastefully complements the lyrical songs.

Trond tries to convey something personal through his music. While composing “Fengselsfugl” Trond wanted to draw inspiration from his many years of work with inmates inside Oslo Prison.

"There is a strange and interesting mood inside Oslo Prison. Getting inside the prison walls is like entering an unfamiliar world yet only separated by a dozen inch thick concrete wall. The inmates told me stories and gave me insight into their innermost feelings. Feelings that we all share as human beings. But of course, a few times also nasty and bad stuff.”

«Inside Oslo Prison I composed a lot of the music for the record. As on my previous album, "Bedehus & Hawaii", I wanted to portray self-experienced moods in my encounter with societies next to the “normal” and established. There are also several musical similarities between the prayer house music and the old prison songs, which makes "Fengselsfugl" a natural sequel to "Bedehus & Hawaii.”

He examined the prison songs or broadside ballads written by some famous Norwegian prison birds from the 1800-s who were national celebrities in their time. A broadside (also known as a broadsheet) is a single sheet of inexpensive paper printed on one side, often with a ballad, rhyme, news and sometimes with woodcut illustrations. They were one of the most common forms of printed material between the sixteenth and nineteenth centuries, particularly in Britain, Ireland and North America. They were also popular in Norway. They were often about famous people, stories and legends and often served as the social media of the time and often "Fake News". The famous prison birds of Norway served the entire Norwegian people with self-composed ballads, they created myths about their heroic and exciting lives. Many of the titles on the record are the same as some of the prison broadside ballads.

Trond uses his guitar as a tool for conveying his musical ideas that often has a strong melodic foundation and storytelling quality to them but still open enough for his fellow musicians to express themselves effortlessly. Everything seems to fall quite naturally into place, sounding intimately poised and at home with itself. “I wanted the musicians to express themselves without feeling limited by the music, but I also wanted to tell stories and have a cinematic quality”, he says.

The music draws in expressions from folk music, American folk / blues where one can mention Ry Cooder and the eccentric composer and folk musician Kenneth Sivertsen from his home town. Hawaiian Slack Key tradition inspired by Joseph Spence and Ray Kane. In addition to classical music and modern improvisation, in combination with electroacoustic musical directions inspired by Arne Nordheim and Helge Sten, among others. 

1. Til fengselet jeg vandrer 05:01

2. Amerikabåten 03:50

3. Brevet 04:16

4. Desember 04:51

5. Sentralen 02:10

6. Cowboy og Indianer 04:39

7. Porten 02:15

8. Bodskirken 03:07

9. Levnedsløp 03:10

10. Fengselsfugl 07:27

Trond Kallevåg: acoustic and electric guitar, electronics and field recordings

Adrian Løseth Waade: violin

Geir Sundstøl: electric guitar, pedal steel and harmonica

David Wallumrød: upright piano, Wurlitzer, Arp Solus, Clavinet, Minimoog og Logan Strings

Alexander Hoholm: double bass

Ivar Myrset Asheim: drums, chimes, percussion, musical saw and glass

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