History shows us that the songs - the myth, the experience and the emotion - live longer the less you explain.
Sometimes you make a record that is what you want to hear. I've made a couple of those, idealized creations of what I wanted to hear. Then there are records that are what you feel.
I sometimes try to write something that is actually really simple and I can't do it. So, then, it's not simple anymore. It's really hard and it gets all messed up. I sometimes sit down and try to write a song with just three chords and it doesn't work.
I'm sort of old-fashioned in the sense that I like to write something that I feel I could just perform alone, obviously, because I do that a lot in concert. So I try to make a song where there is as much that is as distinct as I can get it, just if I'm playing it or if I'm singing it. That makes me really do a lot of stuff in the guitar work when I sit and try to figure out how to indicate what sort of dynamic I'm aiming for. Where, rhythmically, I want to go. That's sort of what ties a lot of different records together, is that it's usually always based around me singing and playing a guitar.
I've come more to terms with the fact that I sound like myself. No matter what I do, I sound like myself.
People need to put my music in a perspective where they use other established artists from the past, and almost all the names I see related to my music are great musicians.
I have this idealistic and maybe naive thought that almost any song can be anything. If you record one song today, it would maybe be exciting and cool. But I could record the same song next week and it would be something completely different.
I like to record with people. I don't particularly enjoy standing alone and recording my own voice or my own stuff. It's sometimes fun to do for demos and stuff, but I really enjoy the social act of recording records, because writing it is so lonely. And it has to be.
I don't particularly enjoy standing alone and recording my own voice or my own stuff. It's sometimes fun to do for demos and stuff, but I really enjoy the social act of recording records, because writing it is so lonely. And it has to be.
You know, I play in small, intimate venues; I'm not an arena performer.
There's a lot of crappy music that people like, you know, all over the world, and Norway is definitely not an exception.
Sometimes, you can't seem to find any song on the radio that you like.
I work with really cool people, and so far I haven't been approached in any embarrassing manner when it comes to image.
I usually enter the studio with a mix of songs that I've been listening to that are relevant to the sound I want to achieve.
I started trying to write songs when I was 8 or 9 years old.
I feel, in a way, on a record, you can be more subtle. In the live setting, everything gets amplified. The dynamics are more extreme in concert.
When I write, I'm sort of old-fashioned in the sense that I like to write something that I feel I could just perform alone, obviously, because I do that a lot in concert.
