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Archive for the ‘Karl Ove Knausgaard’ Category

SOUNDTRACK: DANIEL NORGREN-Tiny Desk Concert #932 (January 3, 2020).

download (19)I feel like I’ve heard of Daniel Norgren, but I really don’t know anything about him.  In fact, when I first started playing this Tiny Desk Concert I was surprised at the kind of music this Swedish musician played because it was steeped in American roots music.

Daniel Norgren has been self-releasing his analog recordings for nearly a dozen years. At the Tiny Desk, he and his band sampled music from three different records.

For the first song, “Putting My Tomorrows Behind,” Norgren plays piano.  There’s a slow, simple drum beat from Erik Berntsson.  And when the chorus comes along, all four sing with gorgeous harmonies.  There’s a pretty bluesy guitar solo from Andreas Filipsson.

Throughout the five minutes of this slow song, it feels like a piece of working-class Americana:

I hear myself saying, I’m doing fine
My life is a walk through the pines
But I’m sick and I’m tired, spending my time
Putting my tomorrows behind

The sky is big and white and I’m locked inside
Working all day with a frown
I guess I’m just a coward who would need to get fired
And banished from this town

For “Everything You Know Melts Away Like Snow” Norgren switches from piano to guitar.  This simple song runs 6 minutes with minimal lyrics.  But it has some lovely backing vocals and an interesting lead vocal melody that seems to go nicely with the guitar lines that are picked out.  As he played,

the bluesy Swedish musician kept his eyes tightly shut, as he seemed to tap into old souls to help conjure his tunes.  His body sway[ed] and writhe[d] as he and his band create[d] a dream state calming enough to slow the day’s hectic pace to a crawl.

Norgen takes the guitar solo on this song (mostly on the lower strings–a very bluesy kind of solo).  You’d swear this song came from an American band from the sixties.

You can’t really hear his Swedish accent (you can hear a fraction of it when he sings) until he introduces the band.  I also like that Anders Grahn plays the upright bass as Norgren is talking, giving everything they do a musical feel.

“Moonshine Got Me” is the oldest song he plays–it dates back to his 2011 EP Black Vultures.  The title sounds like Americana but the song also is not about “moonshine,” the liquor, it is about the actual moon shining. It’s over ten minutes long and opens with beautiful intertwining guitars–both he and Filipsson play different lines that feel like leads but which keep the melody perfectly.  His voice is the most aching on this song.

There’s a lengthy slow jamming middle section, in which both Andreas and Daniel take solos.  As the song slows, Daniel moves back to the piano and picks out a quiet melody to bring the song to a close.

[READ: January 6, 2020] “Linda Boström Knausgård’s Post-“Struggle” IKEA Trip

I don’t usually write about short pieces like this.  But this is about an author who I’ve recently read and whose new book I am quite interested in.  Plus, Linda Boström Knausgård is the ex-wife of Karl Ove Knausgård and she was written about so much in those books that I feel like I know her (fairly or unfairly).

This piece is, indeed, about Linda Boström Knausgård in an IKEA.  She is in New York for a book tour for her new novel Welcome to America.

It’s odd to feel you know things about a person when you have never met them and your only exposure to them is from someone else’s point of view.  There’s not a lot that Linda Boström Knausgård can do to get away from what we “know” about her.   But this little story does show her to be a bit more upbeat than the way she was left off in the novels.

It also made me laugh that the author of the piece felt the need to explain IKEA as “a notional store from Sweden.” (more…)

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SOUNDTRACK: MOLLY SARLÉ-Tiny Desk Concert #897 (October 4, 2019).

Molly Sarlé was recently on a Tiny Desk Concert with Mountain Man (who I heard but didn’t really see at Newport Folk Festival).

During the Mounatin Man songs, Molly tends to have the high harmonies.  In this session, she doesn’t sing especially high–although her voice is quite delicate.  It’s hard to believe she was a back up vocalist for Feist, not because her voice isn’t lovely–it is!–but because she doesn’t seem to be a very powerful singer.

The first Mountain Man album came out in 2010.  The second Mountain man album came out in 2018.  This is Molly’s first solo album.  During the intervening years, she did a number of things (like sing backup for Feist), but was apparently never sure if music was her calling.  And yet her songs are personal and powerful.

The songs Molly Sarlé performed at the Tiny Desk are all from her debut solo album, Karaoke Angel. These songs aren’t frivolous–at the heart of Molly Sarlé’s songs are stories. Sometimes they feel like dreamy inner thoughts loosely connected.

She opens with “Human,” a song I knew from a different Mountain Man show on NPR (Tiny Desk Family Hour).

 It may simply be a breakup song; but its wisdom is in recognizing our individual flaws, being OK with them and even finding pleasure in being imperfect beings.

Although interestingly at the Family Hour, she said it’s about how “unfortunately easy it is to talk to god like he’s a man.”

The song is fairly simple–a pretty melody and a steady one-two snare/hi-hat (Austin Vaughn).  In the Family Hour, the song was just her and her gently strummed guitar with backing harmonies.  It’s really lovely.  This version has an absolutely wonderful bass line (from Brian Betancourt) that runs through it.  It doesn’t detract form the beautiful simplicity of the song, it adds a nice counterbalance and I can’t really tell which version I like better.

Bob also says, “She’s a captivating performer who sings as much with her eyes as she does her voice.”  That is so very true.  She looks out at the audience throughout the song, with a possibly inquisitive look.  He blue eyes piercing through the lovely melody.

It’s weird just how funny Molly is–she seems fairly serious, and her delivery is quite slow, and yet she has a  great (or wicked) sense of humor.

Before “Karaoke Angel” she starts looking at the tchotchkes on the shelves.  She

began her fascination with the multitude of objects shelved behind the Tiny Desk back when she sang with Mountain Man earlier this year. This time, with her own band, those objects left by others inspired a tale of a sweaty towel, an old lover and more.

The item, labeled “Betty’s Boob Sweat” leads to a funny story of dating a ember of Feist’s band and the sad aftermath when she could feel somewhat jealous of a sweat rag.

After telling this story she ends with this amusing non-sequitur:  “No one should have to see their ex-boyfriend’s sweat rag on an other woman’s clutch.  Life is painful and this song is called Karaoke Angel.”

Molly plays the main guitar chords (so gently) while Adam Brisbin plays a quiet wavery slide guitar part.  The song sways gently and Molly’s voice is just beautiful–unadorned and clear and very pure sounding.

For all the quietness of the song, the lyrics are pretty amusing too:

I walked into a bar and gave my heart away to the first stranger I met who could remember my name.
I got up on the stage and sang at the top of my lungs Its so easy so easy to fall in love.

Each subsequent verse is about a man in the bar

Mike walked over / he was picking up what I was putting down / he said honey I am only gonna disappoint you somehow / oh Mike quit talking to me like you’re saying something I didn’t already know / I can tell by the beauty / of the furrow in your brow / you’ve been anointed by disappointment / and it might even be something you like.

Before the final song “Almost Free,” Molly tells the shockingly sad origin of the song, but has to laugh, because what else can you do

Molly cleared her throat and said this song is “about my dad wanting to talk to me about committing suicide — and it turns out writing a song about your dad talking to you about wanting to commit suicide is a great way to shift the conversation, because now we just talk about this song.” Molly Sarlé laughed a bit about the absurdity and truth of it all and, with what I sense as holding back a tear, sang a powerful, personal song in an awkward, open office space.

It starts out with just Molly strumming her guitar and singing.  It seems so stark and exposed, that when the rest of the band comes in and the song almost rocks a bit (sounding like a jam band song) that it’s comes as a relief.

This is a quietly powerful Tiny Desk and really shows off how beautiful Molly’s voice is.

[READ: Summer 2019 and October 29, 2019] The Helios Disaster

This is a weird book, to be sure.  It was written by the then wife (now ex-wife) of Karl Ove Knausgaard.  But it is absolutely nothing like his books.  Linda has her own style and perspective that makes these authors miles apart.  This book was translated from the Norwegian by Rachel Willson-Broyles.

It opens like this:

I am born of a father.  I split his head.  … You are my father, I tell him with my eyes.  My father.  The person in front of me, standing in the blood on the floor, is my father. …The blood sinks into the worn wooden floor and I think, his eyes are green like mine.

How at my birth, do I know that?  That my eyes are green like the sea.

He looks at me.  At my shining armour.  He lifts his hand.  Touches my cheek with it.  And I lift my hand and close it around his.  I want nothing but to stand like this with my father and feel his warmth, listen to the beating of his heart.  I have a father.  I am my father’s daughter.  These words ring through me like bells in that instant.

Then he screams.

His scream tears everything apart.  I will never again be close to him.

She removes her armor, puts down her lance and flees the building.  The neighbor, Greta, says she will help the girl, while the police come and investigate the commotion.  When Greta asks the girl what she wants, the girl says she wants to go to her father.  But Greta says that Conrad doesn’t have any children.

What is going on? (more…)

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SOUNDTRACK: RHEOSTATICS-The Siboney Club, Toronto, ON (November 17, 1988).

I thought I had listened to every show on Rheostatics Live and then I saw today that Daron had posted this new (very old) show.  This show is from before they released their second album Melville.  Most of these songs would appear on Melville, but a couple wouldn’t be released until their third album Whale Music.

This is a live cassette recording of Rheostatics at The Siboney club in Toronto November 17 1988 provided by Tom Parry. It is the earliest live versions I’ve heard so far of Christopher, RBC, The Royal Albert, Greensprouts, Horses, Chanson, What’s Going On, Queer and a one off song which I’m not even sure what it is called. Something about Space? The sound quality is rough but it is an interesting document due to the early nature of these songs – Queer in particular.

This show starts off with a TV show (I guess) about the history of hockey with a story that Bobby Hull has signed a contract with the new World Hockey Association and then a clip of Canada v Russia.  I can’t tell if the reaction to the Canadian goal is from the TV or the people in the room.  It goes for about three minutes and then the ripping guitars come in to start “Christopher.”  The first part of the guitar solo is very different from the sound that Martin would eventually get–although the second half of it is pretty raging.

“RBC” is quick and to the point.  Someone (Dave?) starts the intro to “Dope Fiends” but Tim slaps some bass as Dave says they’re going to play “The Royal Albert (Joey 2)” which I didn’t think was written for a few years.

“Dope Fiends” feels faster than usual.  In fact the whole show feels kind of fast.  Is the tape sped up or did they just play faster back then?

Martin starts playing the Green Sprouts Theme Dong with a crazy hopped up vibrato which actually sounds like munchkins.

Dave: Welcome folks!  Hot dogs only $1.75 Dijon mustard is an extra 30 cents.  It’s hand carved by Dave’s Irish grandmother.

I don’t love the song “Ditch Pigs” (from Greatest Hits) but I always like when they play it because by now it’s such a novelty.   There’s a jamming end section in which someone (Bidini?) is singing about the good food “I want an egg salads sandwich and a box of popcorn”.

DB: It’s poetry time from Clark.  Will it be a winsome poem or a lonesome poem.
Clark: It’s not necessarily a poem.  This is more of a lyric than a poem.  I wrote for a friend and it about if you’ve ever worked for somebody who is kinda dumb and they’re mean to you because they feel threatened by you when you just want to be their friend.

It begins: Don’t call me pal or buddy when your not really my friend…

“Horses” is remarkably slow with a thumping bass.  The chorus is almost painfully slow.  But the ending is really intense.  Martin does some great soloing as Dave screams the end, but there’s very little in the way of horse sounds.

“Chanson Les Ruelles” is loose and fun–Tim’s “French” is quite good.   Dave rambles about some kind of voodoo that he put on the Baltimore Orioles pitcher.  And it worked!

Then out comes Tim with the accordion for “What’s Going On Around Here.”  It all sounds quite good even though the tape is sounding worse.

The last three songs sounds pretty bad (in quality).  The song that Daron says he doesn’t know sounds like Dave calls it “Space Arm.”  It’s a stomping heavy song with some ripping guitars.  Wonder whatever happened to it.

“Queer” sounds very different in so many ways.  It has a really long introduction and a decidedly honky-tonk/country feel to the verses.  The verses end with a kind of old-timey rock n roll bah-bah-bah-bah.  And there’s no ending part.  I’m so glad they fixed it up.

The final song is cut off.  It’s a slow song that I recognize but can’t place called “Seems Like.”  I see that it was only ever released on a Green Sprouts music compilation.

This is a great find–one of their earliest shows where you can hear what their new sound is going to be like.

[READ: May 8, 2019] So Much Longing in So Little Space

Karl Ove Knausgaard just never stops writing.  And he never stops exploring the world around him–through words or, in this case, art.

This book is divided into three parts, although unlike his massive tomes, this one is only 233 pages (with pictures).  Before the parts, he offers a little introduction about how he sees art and how he has always been moved by an (admittedly) simple painting by Edvard Munch called Cabbage Field.

There is a longing in this painting of the cabbage field, a longing to disappear and become one with the world.  And that longing…fulfilled the painting for him.  That is why the painting is so good, what disappears re-emerges in what comes into being as he finished the painting, it is still represented in the picture, which fills us again and again with its emptiness.

In Part One he gives a brief biography of Munch.  Everyone knows The Scream of course, but that represented only one brief phase of Munch’s life-long career as a painter.  Indeed, he started painting when he was a teenager, making small pictures of potted plants and interiors and he continued painting until he was eighty years old.

The years are divided somewhat into phases.  First was the apprentice years during which he painted his first masterpiece, The Sick Child, when he was twenty-two.  In the second phase he was searching and trying many styles–from realistic harbor scenes to Impressionist street scenes.   Then comes the period for which he is most famous (The Scream and more).  The final phase was less abstract and more painterly. (more…)

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  SOUNDTRACK: THE RADIO DEPT.-Clinging to a Scheme (2010).

In this final book, Karl Ove mentions buying a record on a whim by The Radio Dept.  Given the timing of the book, I assume it’s this record.  So I’m going to give it a listen too.

I really enjoyed this record which has a feeling of a delicate My Bloody Valentine fronted by The Stone Roses.  The key word in all of this is delicate.  It’s a very soft and gentle record (except for one song).  It hits all the buttons of 90s Britpop and to me is just infectious.

“Domestic Scene” opens the disc with pretty guitars intertwining with an electronic thumping.  After the first listen I was sure the whole record was synthy, but this track has no synths at all, just like five or six guitar lines overdubbing–each opener just as pretty as the others.  The voice sound a lot the guys from The Stone Roses on the more delicate tracks.

“Heaven’s on Fire” opens with bouncy synths and a sampled (from where?) exchange:

People see rock n roll as youth culture.  When youth culture becomes monopolized by big business what are the youth to do.  Do you have any idea?
I think we should destroy the bogus capitalist process that is destroying youth culture.

Then come the jangling guitars and the introduction of synths.

“This Time Around” has a cool high bass line (and what sounds like a second bass line). I love the overlapping instruments on this record.  I couldn’t decide if it was a solo album or a huge group, so I was surprised to find it’s a trio.

“Never Follow Suit” continues this style but in the middle it adds a recorded voice of someone speaking about writing.

“A Token of Gratitude” has some lovely guitars swirling around and a percussion that sounds like a ping-pong ball or a tap dancer.   The last half of the song is a soothing gentle My Bloody Valentine-sque series of washes and melody.

“The Video Dept.” is full of jangly guitars and gentle blurry vocals while “Memory Loss” has some muted guitar notes pizzicatoing along and then what sounds like a muted melodica.

David is the one song that sounds different from the rest.  It has strings and synth stabs and drums that are way too loud.  Most of the songs don’t have drums at all, but these are deliberately recorded too loud and are almost painful.

The final two songs include “Four Months in the Shade” which is an instrumental.  It is just under 2 minutes of pulsing electronics that segues into the delicate album closer “You Stopped Making Sense.”  This song continues with the melody and gentleness of the previous songs and concludes the album perfectly.

I really enjoyed this record a lot.  It’s not groundbreaking at all, but it melds some genres and styles into a remarkably enjoyable collection.

[READ: September and October 2018] My Struggle Book Six

Here is the final book in this massive series.  It was funny to think that it was anticlimactic because it’s not like anything else was climactic in the series either.  But just like the other books, I absolutely could not put this down (possibly because I knew it was due back at the library soon).

I found this book to be very much like the others in that I really loved when he was talking conversationally, but I found his philosophical musings to be a bit slower going–and sometimes quite dull.

But the inexplicable center of this book is a 400 plus page musing on Hitler.  I’ll mention that more later, but I found the whole section absolutely fascinating because he dared to actually read Mein Kampf and to talk about it at length.  I’m sure this is because he named his series the same name in Norwegian.  He tangentially compares Hitler to himself as well–but only in the way that a failed person could do unspeakable things.

But in this essay, he humanizes Hitler without making him any less of an evil man.  His whole point is that in order to fully appreciate/understand Hitler’s evil, you have to realize that he was once an ordinary person.  A teenager who had dreams about becoming an artist, a boy who was afraid of sex and germs.  If you try to make him the inherent embodiment of evil, it’s easy to lose sight of the fact that he was a child, a teen, a young man who was not always evil.

Why Karl Ove does this is a bit of a mystery especially contextually, but it was still a fascinating read especially when you see how many things gibe with trump and how he acts and behaves–especially his use of propaganda.  It’s easy to see how people could be swayed by evil ideas (and this was written before trump was even a candidate). (more…)

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SOUNDTRACK: RHEOSTATICSFall Nationals The Horseshoe Tavern Toronto, ON. Night 7 of 13 (November 16, 2003).

 This was the all ages Sunday afternoon 7th show of the Rheostatics 13 night Fall Nationals run at the Horseshoe.  Rheostatics Live has recordings of nights 1, 3, 4, 5 and 7.

This is the final concert available on Rheostatics Live for the 2013 Fall Nationals.  It was an all-ages show and as such was a bit more delicate than some of the other shows.

Hip Lingo opened the night. And then the band begins with a sweet mostly acoustic version of “Song of the Garden.”  Then Tim says, “This song “Loving Arms” was written by Dot, our good friend.

Once again, during “Aliens,” at the “distraction” line, someone starts playing the guitar melody from “When Winter Comes” and it does serve as a kind of distraction–they flub the song a bit.   Later, in the quiet part Tim starts playing the melody for “Artenings Made of Gold” on the bass.

“Tarleks” is described as the second in the Alien trilogy.  Mike asks if Martin has another yet to come.  Martin says, “I got a pack of em.”  They miss the segue to the middle but just play one more measure and catch up.

Tim says “we brought some spongy earplugs down if anyone needs them.”  (They’re so nice).

Dave has a question for the kids in the audience.  “Ozzy Osbourne funny or scary?”  Kids:  funny.  Martin:  funny and sad.  Dave says this is a song about the twilight of Ozzy’s career (Martin: and his awareness).

“King of the Past” is a quieter version.  You can really hear Martin doing great backing vocals.

They acknowledge Maureen at the craft table–it’s make your own DVD night.  Martin: She’ll give you a dirty look ’cause shes really mean.

A pretty “Northern Wish” and then a gentle “PIN.”  After the song, Martin plays the riff to PIN one more time.  Mike says: always time to practice.  And then a lovely “Mumbletypeg.”

There’s some joking and then someone says, “By the end of this run we hope to have beautifully constructed spice rack. There’s one shot of Mike on the DVD where mike looks like this.  We call it building the spice rack.  When you can’t come up with any more intense ideas at the end of a song so you just end up pounding the wall.”

This is a song about a girl.  “Claire.”  Was she a girl or a hallucination?  Or was she a really fast car?

For “Take Me In Your Hand,” it’s Mike and Martin singing gently with acoustic guitar.

During a pause Dave says, in case anyone is interested, Edmonton is beating Montreal 24-21 in the 3rd quarter of the Grey Cup.  Good game, jeez, we should get this over with.  Just kidding.  Strangely here’s a song about the CFL [“Palomar”].  We’re trying to get Tim to stop writing songs about football but he can’t.  It’s like a virus with him.  It’s quiet with some great backing vocals especially at the end.

“Here’s a song about nutrition.  More bands should write about nutrition.  A song about nutrition with a political sensibility.”  They start “Brea, Meat, Peas and Rice.”  Dave gets excited: “Really.  A clapping crowd, eh?”

He says Hi to his daughter Cecilia and then says “My dad is here.  Do you wanna watch the Grey Cup?  It’s on in the dressing room.”  Mike says, “Supportive father, extra supportive son.”

Before the next song, Martin says, “This is the actual Fender Strat that Jimi Hendrix ate at Mariposa.  See there’s the bandage.   He used to put pastrami in his sweatband so he could get nourishment while he was playing.”  It’s a beautiful “Here Comes the Image” with a special thanks to MPW on keys.

“Little Bird” starts very quietly with percussion in the form of “shhs” but it gets big by the middle.

Introducing “Stolen Car,” Martin says, “This is a song about stealing really expensive stuff… or dreaming about stealing it.”
Dave: “Sort of like The Bob Newhart show.  It was all a dream.”
Martin: “Really? the last Bob Newhart?  How old is Bob Newhart?  He must be like 95 [he was 74!].  He’s been going forever.  He looks the same.  He was on the TV.”
Dave: “Wow he’s going places if he’s on that thing.  Although I don’t think it will supplant the radio.”

Then Dave tells a story about his friend who had two interesting concepts:

what if the telephone followed the internet and people thought wow I can finally actually talk to someone!

But even better: what if when you farted it was colored.  It would make life way more interesting–Stand at the top of the CN tower and watch all the colors.  At night the CN Tower would be gorgeous.”

Martin says, “This is a very serious song.”
Dave: “It wouldn’t be very serious if you did it in Donald Duck voice.  It would have a whole new feel.”
Martin: “I can’t do Donald Duck voice.”
Dave: “Ala George Jones.  He talked in Donald Duck voice for a year.  My friend saw him play in the States and he did five songs in Donald Duck voice and that was it.  And they loved it.”
Martin: “Was he bitter or is he really funny?”
Dave: “I think he just liked the voice.”
Martin: “That’s a pretty high commitment.”

Even though the song is serious, when he sings he build a fence for all his friends, he throws in “all two of them.”

During the encore, Dave thanks everyone under 18 who came out.

Then comes “Harvest,” sung by Dave’s daughter or son (it sounds like he says Hi Sessi.  She/he is adorable (four/six years old depending).  She says “Harvest by Neil Young.”  How’s it feel to be onstage?  Good.  She does a really good job.  And then it’s over and she says over and over “I wanna do it again, Can I?”  he starts crying a bit, Dave says, “We’ll do one next year a longer one next year.  Your father needs to sing some now.”  “NO!”

They play a boppy version of “Home Again,” in which Martin mutters something about “living in the ass of an uncaring god.”  And they end with a romping version of “Legal Age Life at Variety Store”

[READ: February 10, 2017] Self-Control 

Did I pick up this book by Stig Sæterbakken because his name is Stig and his last name has a character I can’t pronounce?  Yes.  But also because I had heard about Stig from Karl Ove, my favorite Norwegian writer.  He had raved about Stig (and is blurbed on this book).

This book is evidently the second book in the “S” trilogy.  Although as I understand it they are only loosely connected–same characters but the stories aren’t directly sequential.

Andreas Feldt is a conflicted man–primarily internally conflicted.  I’m not sure if book one tells us about this, but as this book opens we learn that Andreas hasn’t seen his adult daughters in many years–talked to one of them, but not seen her.  He is meeting her for lunch.

The talk is awkward, certainly, and eventually he blurts out “Your mother and I are getting a divorce.”  Her reaction is fairly flat.  And later we learn that it is not even true–he just said it. (more…)

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  karlove5SOUNDTRACK: RAGA ROCKERS-“Slakt” [“Slaughter”] (1988), “Hun er Fri” [“She is Free”] (1988) and “Noen å hate” [“Someone to hate”] (1990).

ragaKarl Ove mentions many bands in his books.  Raga Rockers appeared twice in this one.  I can’t find a ton about them online, because they never really made it beyond Norway, but the Google translated version of their website says:

Raga Rockers is an ingenious rock ‘n roll band that has existed since 1982.

Today the band consists of: Michael Krohn (vocals, lyrics), Hugo Alvar Stein (keyboards / guitar), Eivind Staxrud (guitar), Arne Sæther (keys), Livio Aiello (bass) and Jan Kristiansen (drums).

The band came out of the punk community in the early eighties, but became such a “poppy” large parts of the Norwegian people have founded acquaintance with them.  Songs like “She is free” and “Someone to hate” is almost singalong classics! Their greatest triumph came perhaps in 1999 when they played for thousands of ecstatic Norwegians at the yellow stage at Roskilde Festival. (Reviews of the show by Dagbladet (which Karl Ove wrote for) and Dagsavisen–both are in English.

Despite their punk roots and the rather violent song titles, the songs are almost poppy–heavy guitars but simple chords and a singer who doesn’t sound angry at all.  In fact, if I didn’t read about their punk roots, I’d swear these songs are kinda goofy.

“Slakt” is a simple song, opening with a 4/4 drum and splashes of guitar.  The middle is a bluesy riff with a chorus of “ah ha ha”  The lead singer’s voice is mostly kind of deep–not quite what I expected from the heavy guitars.

“Hun Er Fri” is quite different from the others songs.  It’s only 90 seconds long and features a piano.  The chords are still simple the piano may be playing single notes in fact).  The lyrics are pretty much nonstop and kind of fast.  It seems like a silly pop trifle and I can see why it’s popular among their fans.  The first time I listened to it, I was surprised it ended when it did.  This bootleg live version is certainly fun.

rocknrollThese two songs came from their 1988 album Forbudte følelser [Prohibited feelings]

“Noen å hate” has a bit more of a metal sound, but is essentially the same kind of heavy rock with simple chord progressions.  There’s a good solo at the end.  A black metal band called Vreid has done a cover of this song (which really only sounds different because the Vreid singer is more growly).

This song comes from their 1990 album Rock n’ Roll Party.

And yes, they are still around.  They took a hiatus in the 2000s but came back with three albums 2007’s Übermensch, 2010’s Shit Happens and 2013’s Faktor X.

[READ: May 1, 2016] My Struggle Book Five

karlove 5ukI realized as I read this fifth book that I should have been keeping a vague sense of the timeline of these books.  Specifically, because he opens this book with this: “The fourteen years I lived in Bergen from 1988 to 2002 are long gone.”  So if he was born in 1968, this book covers roughly ages 19-33.

So my general outline for the other volumes:
Book Five: 1988-2002 (19-33)
Book Four: 1987 (18)
Book Three: 1968-1981  (1-13)
Book Two: 2008 (40) (with flashbacks to meeting his second wife in 2003 or so)
Book One: 2008 (40) (with flashbacks to his father’s death in 1998 or so)

What era could Book Six possibly be about?

We’ll find out next year in what is said to be the 1,200 page final volume.

So as I mentioned above, Karl Ove talks about the fourteen years he lived in Bergen.  And it made me laugh that he says:

The fourteen years I lived in Bergen, from 1988 to 2002, are long gone, no traces of them are left, other than as incidents a few people might remember, a flash of recollection here, a flash of recollection there, and of course whatever exists in my own memory of that time.  But there is surprisingly little.

And then he proceeds to write 600+ pages about that time. (more…)

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karlove SOUNDTRACK: ESPERANZA SPALDING-Tiny Desk Concert #110 (February 12, 2011).

esperanzaI didn’t know who Esperanza Spalding was before this show.  But she defied my expectations by being a fairly tiny woman who sings while playing an upright bass (not a very common combination for anyone).

For the first song, “Little Fly,” she plays a kind of jazzy bass, but has a string accompaniment–violins, guitars etc.  But it’s clear that the bass is the star.   And while her playing is very good (she has some great vibrato), it’s her voice that is mesmerizing–she’s hunched over playing the bass and still manages to sound strong and powerful.  “Little Fly”‘s lyrics come from a poem by William Blake.

“Midnight Sun” is a solo performance–just her voice and bass.  I loved the beginning where she sang notes along with what she played.  Then when the lyrics come in she sings in a very jazz voice (with eyes closed the whole time).  Turns out this is a Lionel Hampton song that only appears on the Japanese release of her album which make explain her singing style.

Because on the final song she sounds very different.  “Apple Blossom” is her own composition.  It’s her singing with the string section playing along (there’s no bass).  The song is lovely, but I prefer it when she plays bass in the song, too.

I enjoyed this performance and how delightful Spalding was.

[READ: January 9, 2016] “My Saga: Part Two”

Speaking of not finishing multi part essays, I ended my post about Part One of this essay by saying I couldn’t wait for part two.  And then apparently I forgot all about it because here it is almost a year later before I read part two (which was published two weeks later).

In this second half of Karl Ove’s journey he spends most of his time realizing that he hasn’t really learned very much for his assignment.  I can’t imagine anyone else being able to write endlessly about how he has nothing to write about (and still make it strangely compelling–his stress produces good sentences).

He does make some interesting connections though. (more…)

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