Kreken is perhaps Sommer Eide’s most personal record to date. It is also his richest and most complex. The acoustic nature of his sound sources is apparent throughout, and tints the record with beautiful tonal nuances, from the earthy drones of a violin or the stern thuds of a drum to the spritely élans of a flute, but these are submitted to intense processing, often distorting them or warping them beyond recognition. Layered into fragile formations, these take on an infinite number of shapes, from the spellbinding jig of Kvaale II or the wonderful textures of the title track to the warm accordion motif of closing piece Ilka, and contribute greatly to make Kreken an extremely colourful and pastoral work... A true original and an inspired artist, Espen Sommer Eide has once again created with Kreken a work that is like no other, and while he in essence sticks to a formula which has until now proven extremely successful, his approach is totally different, and pushes into territories he has never ventured in before. He has, with every new Phonophani record, become more confident in his method. This record is the work of a visionary musician at his creative peak. 4.9/5. The Milk Factory (UK)
There´s a tendency in much recent electronica to fill up silence with activity, as if the listener can be transported by maxing out the available audio space. On "Kreken", instrument builder Espen Sommer Eide posits that it´s possible to achieve a rarefied, surreal intensity without overdosing the listener on input. Key to Eide´s approach in keeping one ear on melody and the other on texture. Throughout, Eide keeps everything one step shy of the acousmatic ideal, every instrumental colour hovering between familiar and alien, and grafted onto diverse, assymetrical song structures. Eide´s sensitive ear for arrangement shows most plainly in how he incorporates the human voice. Three different vocalists appear, and Eide foregrounds them without making his compositions more conventional. He fades them in and out of the flow of the pieces, insinuates their phrasing into the rhythms and lets them suggest new directions. He pushes the croon beyond intimacy towards a more interior, imaginary space, a place that´s all the more intense by being so hard to get to. The Wire (UK)
While Espen Sommer Eide's pastoral ambient project Phonophani has been most notable in the past for using live instruments, deconstructed in real time, to build his soundscapes, this conceit has always been a bit tenuous to the casual listener. In a live setting, it's a grand theatrical flourish to watch process-based art take shape, but the documentation of those processes, while pleasantly beautiful on their own, do feel a bit light when the mechanism has more promise than the result. With Kreken, however, Eide has settled on a recapitulation of the traditional music of Norway through the lens he has been chiseling over the past 12 years. Electronic textures wither into re-imagined reed and vocal tropes that are less faithful reproduction, and more evocative musical euphemisms of lands of moss, campfire and tundra. The album also benefits significantly from the vocal contributions of three female Norwegian singers: Jenny Hval, Haco and Agnethe Christensen. On "Neverdal" in particular, the vocals are treated subtly to reveal their inherent polyphonic vocal overtones, especially in conjunction with the warmly wheezing processed bellows and zither. That Eide writes all his own sound manipulation algorithms may be beside the point, but it does imbue the proceedings with a sense of the unattainable, that this is a statement that was not just made, but created exclusively as a means to its own end. Fans of the Fonal label, and particularly the distinctly Finnish sounds of ES, Paavoharju or Islaja would do well to make note of this release, as it is a very succinct take on ideas that have been mined from a parallel nature. Beautiful, beautiful stuff. Other Music (US)
Espen Sommer Eide macht aus Hard Core-Elektronik wunderliche Sanglichkeiten. Die Dekonstruktion alter Folk-Instrumente produziert neue Wege des Erschauerns. Michael Engelbrecht, Deutschlandfunk (DE)
Der Elektroniker, Computermusiker, Programmierer, Instrumentenbauer und Multiinstrumentalist Espen Sommer Eide verlegt sich hier – nach extensiver Rock’n’Roll- und Computermusikvergangenheit – ausgerechnet aufs Brauchtum, auf traditionelle (Volks-)Musiken, ihre Instrumente, ihre Gesänge und ihre digitale Verfremdung. Alle Tracks auf „Kreken“ sind nach Orten in Norwegen benannt, die nach Angaben der Plattenfirma selbst für norwegische Ohren exotisch klingen. Zu dem Zweck umgibt sich die One-Man-Band Sommer Eide, die auf visionäre Weise alte Weisen mit ihrer innovativen Neudeutung verknüpft, sich ihrer völkischen Elemente entledigt und sie stattdessen an Luftwurzeln ansiedelt, mit gleichgesinnten Fortschrittsartisten wie dem Gitarristen David Grubbs und der japanischen Experimentalvokalistin Haco. Resultat: ein so sexy wie sperriges, Konkret- und Abstrakheit virtuos ineinander verschachtelndes Album, das neugierig auf mehr macht und zugleich einen nicht zu unterschätzenden Unterhaltungsfaktor aufweist. Freistil (AT)
Auf dem oft recht spröden Experimentallabel rune grammophon tummeln sich die norwegischen Hipster zwischen Jazz, Improv und Krach. Espen Sommer Eide sticht mit seinem Projekt Phonophani daraus hervor, weil sein Brückenschlag zwischen Elektronik und Folklore zugleich experimentell und elegant, archaisch und modern, magisch und wohlklingend ist. Fantastisch! Einer der Gäste auf dem neuen Album, Kreken“ ist David Grubbs. Kompakt Disk (DE)
Det er lett å trekke frem Jenny Hvals lyse toner på "Mendel" som en skjør og vakker englesang, for vakkert er det virkelig. Selv har jeg i tillegg stor sans for Agnethe Christensens folkemusikalske preg på "Neverdal", som bader i Sommer Eides motsetningsfylte lyder og får det til å høres ut som et strandet romskip på en norsk fjellstøl. Det er også på denne måten gjestemusikerne arrangeres inn i musikken; det elektroniske pakker inn det akustiske. Undertegnedes favoritt er kanskje siste spor, "Ilka", der pedalene på trøorgelet synes hentet fra pedalene på en en-giret sykkel i oppoverbakke, hvor tonenen formelig presses gjennom orgel og høyttalere, stadig innpakket i knitring, blip-blop og kontrasterende rytmer. Dette er et punktum som understreker den vellykkede stilblandingen gjennom hele platen. Jazznytt (NO)
The opening 'Lavenderloops' is one of the most astonishing tracks you will hear this year, layered vocoders twisting into disembodied psychic reel, while 'Cook Islands' plaites vocal abstractions into vivid synapse-tapestry. It's all too easy for electronic wanderers to rely on the glitch and the drone: this brilliantly unnerving record repaints the atmosphere in a thousand shades of strange (8/10). New Musical Express, UK
Crystal clear production and visionary artistry make this a brilliant sophomore effort and one of the label's best releases yet. Motion, UK
50 minutes of sublime sonic experimentation that seldom loses your attention and gets down to inventing it´s own, runic musical language. A quiet triumph. Muzik, UK
A strange and beautiful beast. Wire, UK
A second album from Norwegian Espen Sommer Eide, his first on this consistently interesting label. It's digital stuff, Eide's own software gradually mutating loops in a gentle and very modern ambient style. His sounds change with a very naturalsounding unpredictability; it«s beautiful. Flux, UK
Drones and glitches have become the lingua franca of experimental electronica and it is rare that an artist forces them to articulate anything different. Genetic Engineering begins with the striking Lavenderloops, twisting vocodered phrases into a beautiful melody. The occasional vocals, as on End of all Things, enhance the disembodiment, a sense of mental static lovingly pressed on to a small silver disc. The Times, UK
Both (Phonophani and Supersilent) possess the ability to let you wander off yet find yourself returning to their absorbing textures, becoming an integral part of your environment, as per Eno's definition of ambient. Beware, instant hit music is a barely visible dot on the horizon from this, but if you've got some time and concentration to spare, these are worth spending it on. 8/10. Wax, UK
An often unsettling slice of electronica combining melody and subliminal disturbances. Mojo, UK
Phonophani distils his obfuscated samples into post-Oval music that is strange, beautiful and moving. Phonopanis boreal scrapes, throbs and ticks are as emotive as any other record issued this year. Ammocity, UK
I made a new composition for the Ultima festival 2015, to be performed and spatialized live on the acousmonium of GRM/Ina at Vulkan arena, Oslo 16. September.
The piece is inspired by the my experiences with mosquitoes and salmon across the Sør-Varanger Peninsula. It is in part also an investigation into animal sensory biology. Both animals have a very unique way of hearing. The mosquito has vibrating antennas that is tuned to certain frequencies, in particular the ones connected to the "flight tone" of the female mosquito. The salmon has a more deep listening ability, being able to hear infrasound and using it to navigate the ocean back to its origin river.
Antisolar ∞ series is a small-run endless loop cassettes label. The artists invited present a piece specially designed for this format.These cassettes are handmade one by one. It's a lo-fi product. These type of cassette may not work on every cassette deck since they have no sprocket/teeth. (it should work fine on a vintage two-head design cassette deck. But, for example, it doesn't work on Nakamichi LX-3 or Tascam 122 mkIII). The cassette is meant to last around 10,000 cycles = 500 hours. But you never know. A tape is a tape. 10 copies is not much. But it takes a lot of time to build them. The cassettes will be available exclusively here. Only one copy per person.
Happy new year! Some upcoming winter shows:
12. January, Bergen Kjøtt, 20x20x20 collaborative concerts (with Thea Hjelmeland (song), Odd Martin Skålnes (song/gitar), Øystein Skar (synth), Stephan Meidell (gitar), Espen Sommmer Eide (div elektronikk), Øyvind Hegg-Lunde (trommer) Ana Jorge (visuell kunst), Guro Rimeslåtten og Ole Martin Meland (dans)).
17. January (Kvien & Sommer live), Arts birthday, Norrlandsoperan Umeå, Sweden
26. February (musical performance), Sonic Acts (opening at Stedelijk) Amsterdam.
28. February (presentation of Material Vision – Silent Reading), Sonic Acts conference.
Came across this quote that seems to explain it all:
"I’m thinking about the piece Espen Sommer Eide played in the school in Nikel on Saturday evening. He basically took what I guess was a first inversion of a harmonic minor triad – the kind of chord you play before the tragic resolution of a sad symphony about your deafness, or whatever – and he made it ooze, sort of atonally, a little bit around the edges, and made it bleed a little bit. Then he took the oozing-bleeding and bent it and moved it around and started playing with it. It was as if he took some kind of hard clay and warmed it up and bent it, transmuting it until it became something much more sensual, something that set the stage for what happened next..."
– Timothy Morton, interviewed after the Dark Ecology journey.
I often get the question: Where can I buy your music? or Where should I buy your music? It used to be easy to answer, go to your record store or order the physical album by mailorder, but with the rapid decline of the CD format, and the rise of streaming it has become more complicated. My recent releases are also available in vinyl which by now most people agree will be the sole physical product left for music. But my earlier works were only available on CD so their digital future is at stake.
The situation is changing so fast and new services come and fade away every year. So I find myself in the strange position that I cannot answer the question. Even the question itself seems old and out of fashion. Why put a price on music at all? It only seems to decrease the value of the music, because it builds a old fashioned paywall and ends up in fewer hands and ears. This leads to the question of the value of music. The value of people having musical experiences versus the economical value. And right now the economical part is more or less hijacked by the evil pyramidal empire of Spotify and the like.
Lets talk briefly about streaming. Like in pyramid scheme I am working at the bottom, trying to recruit new workers (fans), and then everybody pays money upwards in the system. With the dream of reaching more listeners as the reward. Seems to be a circular argument somewhere... But to complain today about this model is a dead end, because it has become ubiquitous. In a parallel reality there should be a completely free and distributed streaming service for subculture-music (maybe organised without owners, like bitcoin? Alogcoin?). At least then no swedes would get rich by giving away my albums with commercial breaks between the tracks.
Its an irony to think about all the work that used to go into mastering the album just right. It used to take days and weeks to even conclude about the length of the breaks between tracks on the CD. 2 seconds like normal, or maybe 5 seconds will make a greater emotional impact or flow? But I am not such a reactionary about the album format, lets not go there... Being a romantic one must allow a building become a ruin. It only increases its beauty, right?
End of part 1, I will continue to rant in a second part soon. In the meantime if you still would like to actually buy my music online (shocking!) a favorite right now is Bugge Wesseltofts Gube Music, that also includes hi quality weird formats your computer will probably not be able to play. Alog and Phonophani available.
The amazing guys over at Voy (famous for their WIFI lightpainting amongst other works) have made a (kind of) music video to present my new instrument the "Wind Speaker". The instrument was made in collaboration with Voys Einar Sneve Martinussen, who designed and built the birch casing for my electronics.
The Wind Speaker may best be described as a digital electro-acoustic harmonica made of birch that turns blowing into computerised singing. The sound emerges from the speakers at the front of the instrument when the player blows into the holes in the wooden mouthpiece at the back. The amount of pressure controls volume and various effects to add expression. There are both singing and speaking poetry modes (the latter I play towards the end). The red wire out of the box is the powercord.
More images and information over at Voy (how many Scrabble points for that name?). They just started their design-studio and opened their webpage, so pay them a visit!
And yes... in case you were wondering... the location is a woodshop, the birthplace of the Wind Speaker!
The Sound of Dead Languages by phonophani
A mini-LP with a collection of various experiments based on audio clips of dead or dying languages.
What is a language? What do we loose when a language dies? If not any meaning, then at least the unique sound. Each track tries to extract harmony, rhythm and timbre from recordings made of the last speakers of various languges.
The set is released under a Creative Commons License.
I received my Arc today. After unboxing, I updated an old patch I had lying around to be controlled by it. The patch mimics a long-wave radio, and the "stations" I tune into are soundfiles lying on my desktop. It was actually originally made to be controlled by the Griffin Powermate knob. But this upgrade to Arc gives me much better control through high resolution and visual feedback. One knob is for tuning in larger/coarser steps and the other for fine tuning into the stations spread around the Arc.
5. March: HKS, Bergen (music for Len Lye film).
11. March: Knipsu, Bergen (presentation/performance "the sound of dead languages")
23. March: Blå, Oslo (with Pierre Bastien)
24. March: Borealis/Landmark, Bergen (with Pierre Bastien)
27. March: Presences Electronique / GRM, Paris
31. March: Athens (with Pierre Bastien)
Some phonophani concerts are lined up for the autumn:
20/10 - Ekkofestivalen, Bergen
21/ 10 - Bimhuis, Amsterdam
19/11 and 22/11 - Les Boreales festival, Caen, France (together with Pierre Bastien)
24/11 -- Japan tour (details TBA)
Inbetween this I also will do some shows with Verdensteatret (http://www.verdensteatret.com) as I have been involved quite a lot with sound and instrument design for their latest show. The premiere is on Blackbox in Oslo on the 8. September.
Now, I am on my way for a stay at the SUMU new media art residency in Turku, Finland - so if you live in Finland please tell me if something is going on this month!
A music video was just released to accompany the track "Kreken". Marte Aas, an artist collaborateur/friend of mine filmed the material with super-8 and I edited it down together with the music. It was quite a new experience for me to edit film to music and not the other way around! Check it out below in a previous post - the track is based on an old norwegian fiddle music piece (Tussebrura) from wax-rolls that I have electronically reworked.
The term "folk music" was invented by nineteenth-century scholars to describe the music of peasantry, age-old and anonymous. To me it means homemade-type music played mainly by ear, arising out of older traditions but with a meaning for today. (Pete Seeger, 1972)
Press release from Rune Grammofon: Kreken” is the fourth album from Phonophani, aka Espen Sommer Eide, possibly Norway´s most original and inventive electronica musician today. In addition to being a multi-instrumentalist he is also a digital electronics expert, programmer and instrument builder, which goes a long way in explaining why he doesn´t sound much like anything else. His music is about rediscovering the great mystery of music through dissecting the sound of ordinary or ”real” instruments such as cello, vibraphone, guitars and the human voice and dissolving melodies into their elementary particles. While he has previously turned his attention to other cultures and traditions, with ”Kreken” he has now tuned his ears to Norway´s own traditional folk music and instruments, it´s melodic content and special tuning systems, all treated electronically in one way or another. Among the guests are Jenny Hval (Rockettothesky) and American guitarist David Grubbs (Gastr Del Sol, The Red Krayola).
Also available as a very special limited edition in only 250 numbered copies.
The basic idea is to have a simple clip-player that can play upto 7 clips simultaniously per Live Scene. It is made to be as simple and quick to set up as possible (typically at the airport before the gig).
See instructions in the readme file.
Thanks to James Drake for the great Monomebutton and -slider and -pages patches used in this project.
Two packages arrived at the studio today. One from France and one from Germany. The Doepfer Dark Enery on my analog right hand, and the OTO Biscuit on my digital left hand. This is my first experiment hooking up the two for some noisy fun.
The Concertinome is a custom made instrument combining the concertina accordion with the monome style keyboard and electronic air pressure sensors. It was made by Espen Sommer Eide 2009 and demonstrated in this concert at Visningsrommet USF, Bergen, Norway.
Two mini-concerts this summer demonstrating the new custom built instrument by Sommer Eide: the Concertinome. More info about this soon!
25. july 09
Phonophani, the Nord Land, Sørfinset
17. july 09
Phonophani, c/o Visningsrommet, Bergen
Bergen Electronic Racecourse was the opening event at the 2009 borealis festival i Bergen, Norway. It took place at the local horseracing course and was curated by Espen Sommer Eide and Alwynne Pritchard. In this clip you can experience one of the acts improvising to a choreographed horse race.
John Hegre (Jazzkammer), bass steel guitar
Espen Sommer Eide (Phonophani, Alog), elecronics and race-choreography
Chris Rune "Noiseboy" Olsen, trot-generator and noise Amund Sjølie Sveen, drums
24. march: Phonophani will play a piece for horses at the local racetrack, collaborating with John Hegre, Amund Sjølie Sveen, POW and Noise-Boy. It`s the opening night of the Borealis festival. Be there at 18.45 - More info at www.borealisfestival.no
It´s been a long, long time but finally it´s here. Originally planned as an update and slightly revised edition of the long deleted 2cd / book of the same name released in 2003 to celebrate 5 years of Rune Grammofon, this has now turned into a completely new and absolutely gorgeous book, quite simply a must have. Completely redisigned and improved with all new art from Kim Hiorthøy, more pages, slightly bigger and with 4 different types of paper, it features graphic works, photos, video stills, used and unused sleeve art, complete discography and more. The essays on the musical and visual profiles of the label from the first book are included, as is the original interview Kim did with label founder Rune Kristoffersen in 2003. New to this edition is a new interview as well as forewords by Rough Trade founder Geoff Travis and David Fricke, senior editor at Rolling Stone magazine.
Alog contributes one track to the compilation, a live collaboration with Spunk called "Picnic avec", and Phonophani is represented with a track called "the Atlantic".
In a couple of weeks (all dates below) Espen Sommer Eide (Phonophani, Alog) will appear for a special project at the "Tabularasa" room of the Manifesta Exhibition in Bolzano, Italy. At the table I will "refurbish" and "reconstruct" old italian vinyl records to become instruments. A picture of a prototype can be seen below - And in the end there will be a mini-concert with the newly built instruments. If you are in the area at the time please bring your old records to be transformed (you even get to bring the finished instrument back home with you)!
The big ALOG project for the autumn is our first tour of Japan in October. Having done only large scale shows the past year with 3-6 people on stage and a ton of custom made instruments to carry around it will be interesting to go back to doing some intimate duo-shows again. In Japan we team up with Alexander Rishaug/Marius Watz and Jana Winderen. The exact dates and venues are not set yet, but we expect to visit Kyoto, Osaka and Tokyo. Also we will visit London for a special concert in the woods together with the Owlproject (www.owlproject.com).
Here are all the dates, and hope to see you there!
12. Sep. 08 Phonophani, Manifesta, Bolzano, Italy
2. Oct. 08 Alog, Concrete and Glass, London
14. Oct. 08 Alog Stimul Festival, Prague
22. Oct. 08 Alog, (tba) Japan
23. Oct. 08 Alog, (tba) Japan
24. Oct. 08 Alog, (tba) Japan
25. Oct. 08 Alog, (tba) Japan
8. Nov. 08 Phonophani, Toulouse, France
11. Nov. 08 Phonophani, Perpignan, France
6. Dec. 08 Alog, Urbaines Festival, Lausanne, Switzerland
Tip of the day: If you´d like to download our songs instead of ordering them in physical formats from our webshop, we suggest you use Musiconline, an online store in Norway. They might be a bit more expensive than iTunes, but you get the tracks DRM-free in MP3 format. Links here to their alog and phonophani catalogue.
Some new dates have been added to our autumn schedule, including a surprise phonophani performance in Geneva this Wednesday.
04.-08.12.07 alog, Madeira (Dig Festival), Portugal
20.10.07 alog, Amsterdam (Bimhuis), Netherlands
14.-15.9.07 alog, Museo Nacional Centro de Arte, Madrid
6.10.07 phonophani w. Marius Watz, microscope session, Dresden, Germany
5.09.07 phonophani, Geneva, Switzerland
Phonophani has been commisioned to make an opening piece for the Nordlys festival in Tromsø, Norway. It will be performed live 22. january 2007 outdoors in the snowstorm, and is a quadrophonic piece called "The electronic campfire".
Also during the festival an audio installation will be on display at Kulturhuset. It will be based on contributions by anyone using their mobile phones as a recording device. So call the no. +47 934 333 66 and leave your favorite sound now!
Finally phonophani´s debut album is available again! Originally released on Geir "Biosphere" Jenssens Biophon label in 1998 in 500 copies, it is now re-released on Rune Grammofon. It also contains three bonus tracks made during the same period.
"After buying my first sampler in 1996 the second track I made was called 'I.F.A' (the first was 'No Strangeclock' also on the album). I played it to Geir Jenssen one night in Tromsø, and he surprisingly told me that if I made 9 more he would start a record label and release it. The release became the start of my career in music. This was all in all a special period of my life, which luckily was 100% captured on this disc."
- Espen Sommer Eide
The album is available for order on our shop page.
"Imagine the score to Forbidden Planet with its deliciously subtle creepiness and timelessness, aligned with a beautiful solemnity. How ideal is that?" - Other Music
"I dare you to listen to this and not have to wrap your brain around the fact that Eide was pulling this shit in 1998, because what is most amazing is how acutely this record eerily anticipates many of the prominent trends that would become so popular with electronic music between 2000 and 2002." - Cokemachineglow.com
The second release in Enlightenments series of 3" CDs presenting the finest in adventurous leftfield music. The disc features 4 tracks of sparkling sweet Meland music and a remix by Phonophani.
About Andreas Meland:
Andreas Meland has been active in the norwegian experimental music scene through a number of years with numerous memorable concerts in Norway and abroad, and a string of limited edition releases. In addition to this he is a hyperactive concert and festival organiser and also runs his own label Melektronikk. His music has been applauded for it's generous complexity and tasteful mix of warm, layered acoustic drones and electronics. Andreas is also a member of the trio düplo and the duos Sort Mel and Bokfink (with Dag-Are Haugan of Alog fame). He has also collaborated with Lasse Marhaug, Alexander Rishaug, Fe-mail, Low Frequency in Stereo and many more.
Is a young, label for adventurous music and art, made by nice people. Deaf Leoppard is the Second in a series of 3? CDs, presenting the very finest experimental music we know. Enlightenment is currently run from the small town of Trondheim, Norway.
3. june - Phonophanis "feu de camp électronique" performed live at Ronchamp Chapel, France.
Celebrating the UNESCO status of the famous chapel, phonophani will compose and perform a special piece based on the ideas and techniques of architecht Le Corbusier and his collaborator Iannis Xenakis. It will be performed in quadrophony outside the chapel and also diffused on a 24 loudspeaker acousmonium inside the building.
The title "feu de camp électronique" is a rephrasing of Edgar Vareses title "Poème électronique", made for Le Corbusiers and Xenakis´ Philips Pavillon. A campfire is a piece of virtual architecture which creates a sense of home, but with invisible walls, to the people that is sitting around it. Phonophanis electronic campfire will light up outside the Ronchamp chapel, at 20.30h on 3. june.
It will also be aired live on French radio station France Culture.
Phonophani has composed and will perform a bollyfoni at this years Borealis festival in Bergen together with Sigbjørn Apeland on organ. 18. march on Landmark, combining the wonderous world of bollywood dance scenes with electronic music, an homage to the greatest bollywood director: V.Shantaram and his music director-duo Laxmikant Pyrelal.
Just in: Phonophani will play a surprise concert at Fredriks Wonderful evening in London thursday 11. november. The place: dreambasjaguarshoes, www.dreambagsjaguarshoes.com/ (not gallery 17 as prev. announced!), the time 1900. More info to follow...
This is the third Phonophani album, the second for Rune Grammofon.
"The title Oak or Rock refers to mysterious connections between material things, and the album is all about rediscovering the great mystery of music. Through dissecting the sound of ordinary or ?real? instruments such as cello, vibraphone, guitars, trumpets and the human voice and dissolving melodies into their elementary particles, Espen Sommer Eide seeks to excavate the ur-music itself. Instruments are often sampled and manipulated using software designed and made by himself, being a keen programmer who prefers this to the so-called industry standards, giving the album a personal and unique sound. Maja Ratkje and Nicholas H. Møllerhaug have also contributed with voice and cello on oak or rock."