Paper DJ Tag Team

Since lockdown the concept of online clubbing has taken off, often with unsatisfactory results. We like watching the back of a middle aged-man DJing in his laundry as much as there next person but the novelty has worn off now. Clubbing is about interaction, fun and being in the moment so in that spirit, here’s the “Paper DJ Tag Team”.

We asked our friends and family to film themselves playing three tracks, continuing on from the previous DJ in a digital back to back. It begins with Flash Atkins warming things up in his kitchen followed by Ed Mahon rocking his man cave, who knows what Leon Sweet is doing but by God he’s having fun, Danny Russell digs deep in Berlin while Leeds’ most finest selector Reeshy rocks a disco fuelled by a large glass of wine and dancing shoes. Crazy P’s Danielle Moore has her own loft party, Hot Toddy needs to tidy his room and Kimo performs musical surgery. By the end the night its peak time, roof raising scenes as Kim Lana and Julie Wills are in full party mode in what could well be day two of a three day rave-a-thon.

A new concept in clubbing?

Probably not.. . More fun than you can shake a light stick at?

Most certainly!

Sirius Rush – Water

London poet Sirius Rush has teamed up with two of Paper Wave’s finest producers for a collaboration of beauty and depth.

Sirius Rush delivers his poem with hypnotic power and grace that is perfectly partnered by Popsneon & The Secret Soul Society. Each of their takes offers fresh insight and context to the meaning of the spoken words.

Popsneon gives the poetry an all out beatless UFOrb style electronic makeover. Trickling arps, sub, synth lines and pads draw you in to a weightless, psychedelic head-trip.

The Secret Soul Society brings a soulful summer jam. Birds, Rhodes, synth bass, subtle acid and some hazy style chords and shuffly drums make this perfect for those sunset moments.

 

Get it on Juno / Beatport / Traxsource / Spotify / Bandcamp

 

The Wild Army vol. 4

The army are back and its as wild as ever with Vol. 4 packing another 4 cuts from some of the newest Paper family members.

Martin Wold starts the party with a slice of Balearic disco pie on ‘Elixir’, a funk packed, hypnotic groover that has summer all over it.

The Secret Soul Society heads to the Transylvanian disco with ‘Dracula Meets The Five Sinners’, a looped up edited piece of disco brilliance. Funky & infectious in equal measures.

Jahn Solo gets in a contender for ‘mega end of the night tune’ with ‘Til The Night Closes In’, a chopped up rework of an Exile yacht rock banger.

Boblebad strip it back and keeps things understated but hot as heck on Frustrasjon, a tweaky & quirky bit of electro goodness. Sparse and atmospheric but with bags of soul and a haunting vocal stab.

Hot Toddy: “Secret Society’s cheeky mash up is pretty cool!”

Massey: “Big all over! Martin Wold just tips it for me though…amazing stuff!”

Pablo Contraband: “Great package – will play on my show!”

Fingerman: “Varied bunch of lovely tunes!”

Billy Scurry: “Great bunch of tracks. The Secret Soul Society got me running for me shoulder pads.. LOVE it!!”

 

Get it on Juno / Traxsource / Beatport

 

 

Memoirs from Norway’s underground dance pioneers: Andy Swatland #7

Travelling around Norway in the Spring is an amazing experience and my trip was made all the more special by being based around hookups with the key movers and shakers from the start of the country’s house and disco scenes. I was lucky enough to touch down in Oslo, Bergen and Tromsø as well as many weird and wonderful places in the surrounding areas.

I travelled with Ben Davis who was directing the film we were working on, which was being formed from interviews with the key people from the dance scene plus Paper Recording’s label artists such as Those Norwegians. We were also curious about the country, its geography and people and how they influenced each other. This film had a working title of ‘Northern Disco Lights – The Rise and Rise of Norwegian House Music’. During that month we spoke to as many of the DJs, producers, promoters and radio stations as we could and decided to publish these best bits that sum up the trip, the film and our findings.

Andy Swatland was manager of Rocky Platebar [record shop] in Tromsø, he now lives in Kristiansand, Norway with his family. 

Where did you first get into electronic music in the UK or Norway and how?
I had been travelling as an international DJ for about 3 years visiting Denmark, Germany, France, Luxembourg and my agent asked if I fancied gigging in Norway? It sounded like fun, so I agreed and ended resident DJ for a club called Jonas which was based at the SAS Royal Hotel (now the Radisson). A friend of mine ran a small record/video department in Tonofoto AS who moved to Tønsberg and recommended me for his position, I then became a resident of Tromsø.

Rocky Platebar Record bag

Rocky Platebar Record bag

Where did you buy your dance imports?
As a DJ, I was surprised how behind the Norwegian record stores were regarding new, trending music and saw a business opportunity. I got in contact with a wholesaler in Manchester called Streetbeat and started importing 12” singles. These were pretty much non-existent in Tromsø. Streetbeat had all the latest stuff such as Depeche Mode, Human League, Japan, Scritti Politti, Duran Duran and Frankie Goes to Hollywood plus the latest remixes. Some albums were released earlier in other countries (e.g. The Smiths, The Cure, Yello), so I imported these as well. I also imported ADDA DJ cases for the DJs, all of whom used to get their vinyl from me. At Rocky’s, Per was a regular customer, as was Rune.

What radio station/shows were people listening to?
Pretty much the only radio station at the time was Radio Luxembourg. I did a couple of gigs with Tony Prince & Mark Wesley from the station while in Denmark. Student radio took off and I had a two hour Saturday show for a called Rocky Radio to help promote my shop; Rocky Platebar (Records).

What genre was the most popular, disco, house or techno?
Disco was mainstream, while Techno and House were more niche genres. Per and Rune, both great guys and were pioneers in Tromsø and were on the cutting-edge of electronic dance.

Per Martinsen buying tunes in Rocky's Platebar, Tromsø

Andy Swatland’s record shop Rocky’s Platebar circa 1988, can you see Per Martinsen?

 

These excerpts were taken from a Facebook Messenger interview conducted as part of the research for the Northern Disco Lights feature documentary film.

© Paper Vision Ltd (Pete Jenkinson/Ben Davis)

Recorded on a Zoom H2.

Transcribed by Fingertips, Louie Callegari and Tongue Tied.

Memoirs from Norway’s underground dance pioneers: Hans T. Zeiner-Henriksen #5

Travelling around Norway in the Spring is an amazing experience and my trip was made all the more special by being based around hookups with the key movers and shakers from the start of the country’s house and disco scenes. I was lucky enough to touch down in Oslo, Bergen and Tromsø as well as many weird and wonderful places in the surrounding areas.

I travelled with Ben Davis who was directing the film we were working on, which was being formed from interviews with the key people from the dance scene plus Paper Recording’s label artists such as Those Norwegians. We were also curious about the country, its geography and people and how they influenced each other. This film had a working title of ‘Northern Disco Lights – The Rise and Rise of Norwegian House Music’. During that month we spoke to as many of the DJs, producers, promoters and radio stations as we could and decided to publish these best bits that sum up the trip, the film and our findings.

Hans T. Zeiner-Henriksen is Associate Professor, Department of Musicology at University of Oslo

Hi Hans, how are Norwegians regarded by the rest of the world? I think we’re seen as a safe area of the world, calm and safe, a bit outside. Our economy is very good it’s an expensive country because of our oil resources so it’s an easy place to be.

Do you think the discovery of the oil changed how Norway thinks about itself? Well yes, it’s been a long time now since the oil, we started getting oil resources and during these years we have kind of grown from being similar to other European countries to have this strong economy. Especially in the last decade, we don’t have any economic problems.

Do you think it’s affected Norwegian creativity? Yes, if you grow up in a country in a situation where you feel that things are going to go well, you don’t really have to stress too much to survive; it’s then that you can move into more creative work.

Do you think Norwegian music has certain characteristics? That depends on what you label on each music because it comes in a lot of sizes and a lot of shapes. I think if you consider Norwegian music as Norwegian folk music then it will have different instruments, the Hardanger fiddle which is local to Norway. The music that you would play on that instrument has travelled from other countries and been influenced by other cultures. Classical music was important at the end of the 19th century and so it was important for building the Norwegian identity. We said goodbye to Denmark and then Sweden and became our own nation. It was important that we had not only the music but the literature, the theatre, all the things that became an important part of Norwegian-ness. At that time, it was considered that this music was Norwegian and that it has something that is specifically Norwegian about it. A lot of us growing up in Norway would consider this music as very Norwegian, maybe because we have already heard played with films including landscape. We have also heard it with Norwegian fairy tales and those connections are very strong. When you refer to Norwegian Jazz or popular music it’s difficult because there are so many influences and today you can just switch on your device and get the whole world into your living room.

Why do you think Norwegians have such a strong connection to nature? We have a strong connection to nature, especially my generation. There’s an understanding that the nature of Norway is beautiful, and you should use it, go on Sunday walks, have your vacations in the mountains in your small cabin, go skiing, of course, all Norwegian’s go skiing! I’m not sure if it’s the same with the younger generation I’m not sure but it’s in our society and important to our culture.

Do you think there’s a connection between nature, landscape and electronic musical sounds? I feel there’s a connection between the landscape and the music, we have album sleeves with photos of the landscape, so the connection is understood. You can kind of connect snow, cold ice with sounds that are similar. For example, if you have an echo, you can have a warm echo. If you add a lot of reverb to it, you create a sound that is a warm echo, but you can also have a cold echo, it’s less reverb and the sound will be brighter. So there might be elements already present in the music but sometimes you have to imagine these connections into the music because if you just listen to music without any kind of understanding, knowledge or photos it’s rare that you would hear these connections. You can see the connection in artwork, titles that will have some association with nature and the landscape. And of course, music is very much about movement and then you have movement or a drive forward. There’s rhythm and you feel there’s kind of a movement. You often set this movement in some sort of landscape.

FEEL THE FJORDS: Urban club culture and Arctic scenery in the music of the Norwegian duo Röyksopp.

FEEL THE FJORDS: Urban club culture and Arctic scenery in the music of the Norwegian duo Röyksopp.

Do you think there’s a Tromsø sound that has been formed by its landscape and geography? I think there are many other influences in Tromsø’s music as well as the natural ones. Tromsø is a coastal area so there’s not permanent ice there the whole time. It’s not like Solvær, an island near the North Pole, Tromsø is more Arctic than Oslo. You have sun, snow, ice and the ‘northern lights’ and a connection to natural experiences when you live in Tromsø; to what extent that has directly influenced these musicians it’s hard to say.

Why do you think Norwegian producers are so collaborative? In Norway, you’re don’t compete too much, and, in the schools, it is not very competitive; we’re busy trying to make people work together and collaborate.

How important to Norwegian music is national identity? Identity is important for everybody everywhere. We are proud of our country, nature and landscapes. I think some of the electronic dance producers felt that they were on the outside. They didn’t live in Britain but influenced by the music and that urban sound that they heard from there. It’s a kind of collaboration between these different identities. There is a very strong sense of wanting to be culturally cool or hip in the dance music community. It was very important to be one of the hipsters or VIPs jumping the queue and getting into all the cool places in Oslo’s club culture during the nineties. This is important when you talk about identity, it is false to be hip and cool. Norwegian nature and landscape are not really that cool to Norwegians. For example, when they are portrayed in a British magazine they would say ‘Feel the Fjords’ or the ‘ultimate chillout’ linking directly to the connection with nature in Norway. In this sense, artists may feel pressure to connect with the environment or even fight against it. Maybe you can see a sense of irony in many of the photos where they present themselves in the natural environment in an ironic way?

Norwegian music seems to have a sense of mischief and humour. Why do you think that is? Maybe some of the same reasons. Mischief can be used to show that you don’t think things are that important or I’m not struggling to make a success in somewhere, this is just something I do for the fun of it. This is just a part of it, but I think the ‘cleverness’ in making good dance music is much more important. The production of tracks with good grooves and melodies are more important elements in becoming a success.

What is it about Norway that is considered ‘exotic’ to the rest of the world? I don’t think it’s that exotic to grow up here. We are on the outskirts of central Europe. Of course, there are the clichés about living in Norway, the country life, the snow, the cold winters but now we have warm houses and it’s not that awful. Norway’s ‘exotic’ label is also created abroad when (music and culture) journalists write about Norway, it’s a way to start writing about Norwegian artists. As a journalist it’s difficult to write about music, for instance, how are you going to talk about the ‘sounds’ of the music? ‘ It’s easier to start with something specific and Norway has mountains, ice, snow, dark season and Tromsø being so far north, it has all of these.

How important do you think Röyksopp’s Melody AM was for global recognition of Norwegian dance music? We must go first back to the eighties and A-ha’s breakthrough with ‘Take On Me’ and ‘Hunting High and Low’ was also very important for Norwegian artists. It showed that it was possible for Norwegians to make it in the US, England and the rest of the world. After that, quite a few Norwegians artists were successful international in places like France, Japan, the Philippines and other exotic countries. For example, in the late nineties, Röyksopp and Kings of Convenience (Röyksopp in 2001) were successful in England and globally and this inspired Norwegian artists. It’s difficult living in remote locations but when artists are successful it presents an opportunity; recently we had Ylvis, ‘The Fox (What does the Fox Say?)’. It shows that there are new ways of distribution, online or YouTube to make your start. You don’t have to travel to England or contact with a British record label to be promoted, now if you have something good you can go for it on your own. ‘Melody AM’ was released at the right time and showed that dance music can be taken into a different place. For example, the track, ‘Poor Leno’, it’s very danceable, but it also has very strong melodic themes. ‘Eple’, uses sampling techniques in a cool way, taking a tiny piece of improvisation and making something fantastic out of it. The album was very creative and did fun (mischievous) things with samples and the music. It had great grooves and strong melodic themes and brilliant vocalists such as Anneli Drecker and Erlend Øye who sing on ‘Poor Leno’ and ‘Remind Me’.

From where has Norwegian music absorbed its wide range of influences? Growing up in Norway, we only had that NRK Radio which did not play very much popular music apart from the Top 10. We had a strong economy and disposable income and we’d buy our own records. My local youth club held a disco every Thursday where I learned to dance to disco music, club music that came a few years later. We bought records and spent a lot of time at each other’s houses listening to what we considered good music. Everybody has their own [formative] listening experiences with music. This is enormous to the artist and producers, every different tune they have listened to during the years growing up; that creates identity. You can explore that identity to a much deeper level. I didn’t know very much Kraftwerk before I got into club music and then I really got interested also in them, exploring their early releases. In Norway, we had the record stores and we had friends who also had records!

How is homegrown dance music regarded by the establishment now? The national broadcaster NRK or cultural politics did not support dance music back then. They play it, but they generally supported Norwegian classical music composers, folk music and jazz and acoustic singer-songwriters that sang in Norwegian. While people that made pop music, sang in English or worked in the dance music scene was not supported but they did have tracks broadcast on radio. There was lesser national interest around the success of Röyksopp or Todd Terje, compared to classical music, jazz and other events that are considered culturally important for Norway.

How do you think Norwegian music has evolved from the 70s?A-ha were important, their synth-pop music was produced by programming synthesisers. We must go into the nineties before something really exciting happens and it came from Tromsø. It started with Bel Canto in the late eighties, who was Geir Jenssen, Anneli Drecker, and Nils Johansen. Geir Jenssen went on to become Biosphere.  There were a lot of artists and electronic music producers coming from Tromsø such as Rune Lindbæk and Bjørn Torske. It started the style of dance music that is famous today. When Röyksopp released ‘Melody AM’ it opened it up for other artists, then came Hans-Peter Lindstrøm, Prins Thomas and Olle Abstract and now Todd Terje.

How influential do you think Bjørn Torske has been? Bjørn Torske has been influential when it comes to using Norwegian track and album titles. His name, Bjørn Torske, Torske means cod (the fish). So, he’s given himself an artist name which Norwegian people think is fun. I think he encouraged the use of Norwegian words in this way, for instance, why would Röyksopp call a song Eple? It’s the traditional Norwegian name for a fruit. There’s probably a link to the Bob James album (with an Apple on the cover), from the sample used in the track? The band name Röyksopp is based on a Norwegian word with a Swedish spelling.  It’s means mushroom. The ones that blow smoke if you step on them.  It’s small, white. I think it’s called a puff mushroom in the UK. There might also be an association with magic mushrooms as a drug. You step on it and something amazing comes out!

Röyksopp and Todd Terje seem to have the most success internationally. Do you see similarities in their music? It’s easy to state the differences. Todd Terje is much more instrumental and seldom uses vocals. While Röyksopp use more vocalists. Similarly, they both use strong melodic themes paired with good grooves and beats that you can follow with your body and dance.

Why do you think Norwegian electronic music has a strong affinity with disco? We grew up dancing to disco music, and maybe coincidentally, but somewhere along the line people started to explore this connection. House music has a connection to disco music, such as with the fun, the irony and outrageous clothing of disco, which also connects to being mischievous.

Can you hear Norway’s influence being reflected by international artists and producers? I hope that our influence has been great melodies and grooves that evolve.

DJs seem to be very open-minded here, why do you think that is? Because we are outsiders? If you’re in the centre of cultural activity you’re more worried about what’s right or what’s wrong. We can explore different landscapes with nobody telling us how to do it.

Tell us about Röyksopp’s ‘Poor Leno’ video? It’s very traditional Norwegian at the beginning when they fly over landscapes that are very mountainous and head towards the sea surrounded by Arctic coastal landscapes, few houses, lots of skiing. Then you have this person, Poor Leno, but it’s not a person, it’s a strange creature with hipness and cool. Leno longs to go back to the mountains and it can, of course, be understood as a link to traditional Norway.  It’s not clichéd, and it’s cool to still have connections to Norway and it’s the environment. Musically, there’s one specific part that builds up, almost like going up the mountainside. Then suddenly it’s like you have come to the top of the mountain and see the amazing view; there are definite metaphorical associations between the music and nature in the video.

Do you think Röyksopp have a strong sense of Melancholia? There is an element of melancholia but if it’s specific to a Nordic sound I’m not sure. They do use minor chords which are also used in deep house productions which they might have been influenced by.

These excerpts were recorded and transcribed with some parts of the interview being used in the final print of the Northern Disco Lights feature documentary film.

© Paper Vision Ltd (Pete Jenkinson/Ben Davis)

Recorded on a Zoom H2.

Transcribed by Fingertips, Louie Callegari and Tongue Tied.

Memoirs from Norway’s underground dance pioneers: Kolbjørn Lyslo #6

Travelling around Norway in the Spring is an amazing experience and my trip was made all the more special by being based around hookups with the key movers and shakers from the start of the country’s house and disco scenes. I was lucky enough to touch down in Oslo, Bergen and Tromsø as well as many weird and wonderful places in the surrounding areas.

I travelled with Ben Davis who was directing the film we were working on, which was being formed from interviews with the key people from the dance scene plus Paper Recording’s label artists such as Those Norwegians. We were also curious about the country, its geography and people and how they influenced each other. This film had a working title of ‘Northern Disco Lights – The Rise and Rise of Norwegian House Music’. During that month we spoke to as many of the DJs, producers, promoters and radio stations as we could and decided to publish these best bits that sum up the trip, the film and our findings.

Kolbjørn Lyslo is an electronic music producer from Tromsø, Norway, was a key stakeholder in the Tromsø music community from the later eighties and worked with Aedena Cycle, Röyksopp and produces house music under the name of Doc L Junior.

Hi Kolbjørn, what was it like growing up in Tromsø?Tromsø is a small town in the far north of Norway with more culture than most other towns this far away from the rest of Europe or the rest of the world; it feels bigger than it is. Growing up in Tromsø we had a great sense of freedom and a lot of space to explore. Culturally, Tromsø was kind of avant-garde. When I was a kid, there was a lot of punk music. We had a local radio that played a lot of new stuff that people in this country had never heard. I remember I was about 9 and an older sister of a friend of mine, gave me a tape with Depeche Mode on one side and The Cure on the other side. And this kind of started the whole electronic music thing for me. I was 10 when I bought my first synthesiser, it was Poly 800, Korg.

Did you look up to the previous generations? I knew them by face because Per was working in the record shop and had heard of Bjørn Torske because he was into Depeche Mode as well, we were kind of on our own. We had a covers band that played Depeche Mode music. After a while, I hooked up with Torbjørn Brundtland and Svein Berge and Gaute Barlindhaug, we hooked up with Bjørn Torske and Per Martinsen after that. We kind of knew that if we wanted to put out music then we could just do it. They just did it so why couldn’t we? So, yes, they did make an impression on us. There was this record shop called Rocky Plate Bar and the unique thing about this place was it was run by an English guy who ended up in Tromsø as a travelling DJ. There was a lot of travelling DJ’s from the UK and Australia in the hotel circuit and club circuit. In the eighties, they had nowhere to get their records. This guy, Andy Swatland settled in Tromsø and set up a direct import link with the UK supplying all the travelling DJ’s in northern and southern Norway as he imported stuff that never made it to the regular shops. So, Tromsø was were very important for the DJ circuit as Rocky was the main store for that kind of electronic music. I was just a kid then, but as I said I was into Depeche Mode and I found a lot of music that was hard to find in other Norwegian cities at that time. I bought my first house record at Rocky, the Whistle Song by Frank Knuckles. I remember it very well.

Did it feel like you were creating your own scene? We were very much on our own and there weren’t many people our age into the same stuff. We didn’t feel isolated, we were just into our own thing. I guess you could say that we were proud of it as well, but no one really understood that at the time. It was just the way things were, we were into electronic music and nobody else was. I remember my first party on the 16th of May 1990, at a place called the Youth Center put on by Bjørn. I guess it was the first party in Tromsø that ordinary Tromsø people attended. It was kind of a crowd of around 50 – 60 people. I had to sneak out of my house as I was only 15 at the time. The new music that was going on at the time also gave us a new mentality. It was an underground thing. You didn’t have to send your music to a traditional, big record company. You could just send your demos to somebody and if they liked it, they would put out a few copies. And we were happy with that. It is a very new thing, a totally different mentality of how music should be.

When did you put out your first record? We sent out a lot of demos in 1992 and one was sent to Planet E (Detroit, USA) record label and the owner Carl Craig called us. He wanted to put it out the demo, but we didn’t manage to finish it, but the year after we sent something along with Geir Janssen, down to see Renaat (R&S Records owner) in Belgium. and he released it on Apollo Records in early 1994.

Were you involved with Brygga Radio? I did a couple of shows when I was visited Bjørn Torske as he had his own show on Brygga Radio. I listened to it all the time and it really meant a lot to me, we had nine hours of techno music every week. It was a local radio station without any strict rules on what was being played. Bjorn and Geir had the opportunity to play whatever they liked, and Bjorn had a lot of records! Geir had a mail-order set up getting all the new things from Detroit and Europe, so I guess we were kind of lucky to have that station. It was a station for the younger generation of Tromsø and these programmes were for just 20 or 30 people; there weren’t many more people listening to it.

Doc L Junior, Bjørn Torske & Mental Overdrive circa 1990

Doc L Junior, Bjørn Torske & Mental Overdrive circa 1990

Did you feel like you were rebelling against anything? Making music in these days was a kind of rebellion. I wouldn’t compare it to the punk because the punk scene was much angrier. This was more like using electronic equipment that we could get our hands-on and do whatever we wanted with it. That was the rebellion. Not using it as it was supposed to be used, but the way we wanted to use it. The local reaction was that we weren’t really making ‘real’ music. People thought that we just pressed some buttons and the music came out all by itself. I remember we played some concerts at our school and nobody really understood what we were doing, they thought it was just some noisy stuff that they didn’t really have to bother about.

Tell us about your band with Svein Berge, Gaute Barlindhaug and Torbjørn Brundtland. We started when we were 13, 14 or something and we bought a drum machine and sampler together. We didn’t have a sequencer at that time, so we played the instruments and recorded it onto tape. What was special about it was that we started making music immediately. I bought a sound card for my computer and we started using sequencers then it became more technical. What happened then was that we started making our music individually. We weren’t a band anymore. It split us up in a good way because we helped each other out; we evolved individually as artists.

How did Röyksopp begin? Röyksopp started out when Torbjørn moved to Bergen he was then joined by Svein and they started producing music, making some really good tracks. I remember listening to them and they were much better than anything I had heard for ages. It sounded like something new. They then met up with Mikal at Telle Records who pressed their first single and he actively encouraged them to go and send it out to other labels. Röyksopp were unique in that they used samples in a totally different and very creative way. Everything was processed in a very precise and complicated way. It was technically advanced compared to other productions at the time. Plus, the music is brilliant, they were compositions rather than just samples over the top of beats. That was new in this genre of music.

Were you aware of the Bergen Wave music phenomenon? I was in Bergen a lot from mid-nineties and I was in the middle of the Bergen Wave. I met Erlend (Ralph Myerz) at the time and we produced some music together. I did some work with Bjørn, Torbjørn and Svein in their studio. For me it was just something that evolved, it just happened organically as certain people met each other. Of course, Tore (Erot) made some brilliant music, also something very new at that time in Europe, his tracks sounded much more American

What’s your favourite Norwegian record? Biosphere, with Substrata.

Favourite Norwegian producer? Biosphere.

What’s your favourite Norwegian club? Café Opera in Bergen because it was one of the first clubs where I could play my own music in Norway. Café Opera was a venue where you could play American, vocal, house, garage and more soulful tracks. It was the first place that it was beneficial to make this kind of music. It was an open-minded crowd, interested in all aspects of electronic music.

You were playing American house, were you the only one playing it at the time? I started playing US house tracks early-on and I was pretty much the only one for a while. People played the ‘harder’ Chicago sound, but I played the Frankie Knuckles and Masters at Work productions from the early nineties. Bjørn Torske and Strangefruit started playing a lot of new tunes but they preferred the harder style. I loved the old soulful and soft, American electronic music, but I do like Detroit techno!

These excerpts were recorded and transcribed with some parts of the interview being used in the final print of the Northern Disco Lights feature documentary film.

© Paper Vision Ltd (Pete Jenkinson/Ben Davis)

Recorded on a Zoom H2.

Transcribed by Fingertips, Louie Callegari and Tongue Tied.

Memoirs from Norway’s underground dance pioneers: Vidar Hanssen #4

Travelling around Norway in the Spring is an amazing experience and my trip was made all the more special by being based around hookups with the key movers and shakers from the start of the country’s house and disco scenes. I was lucky enough to touch down in Oslo, Bergen and Tromsø as well as many weird and wonderful places in the surrounding areas.

I travelled with Ben Davis who was directing the film we were working on, which was being formed from interviews with the key people from the dance scene plus Paper Recording’s label artists such as Those Norwegians. We were also curious about the country, its geography and people and how they influenced each other. This film had a working title of ‘Northern Disco Lights – The Rise and Rise of Norwegian House Music’. During that month we spoke to as many of the DJs, producers, promoters and radio stations as we could and decided to publish these best bits that sum up the trip, the film and our findings.

Vidar Hanssen was, and still is a key stakeholder in the creative industries of Tromsø, Norway since 1989. He runs the Beatservice record label which has just passed its 200th release from mostly Tromsø based producers and artists.

Hi Vidar, A lot of artists and producers from Tromsø seem to have a mischievous sense of humour which is apparent in the personality of the music, for example, with Röyksopp, Bjørn Torske, Rune Lindbæk, why do you think that is? The first generation of Tromsø artists was more mysterious, techno crew and used English titles; the second generation including Ole Johan Mjøs, Bjørn Torske, Rune Lindbæk were all close friends who like having a laugh. Before they started making records, they played gigs in town all the time. Bjørn Torske (Ismistik) and Drum Island showed a lot of their sense of humour with the strange track titles and they used this humour in their records. I think the Oslo scene was also influenced, I saw a Full Pupp (label) compilation, and some of the track titles were very strange, Norwegian sounding track titles. I think this makes it interesting for the international audience abroad when they have these titles and they don’t know what it’s all about because it’s Norwegian and they don’t understand it, but the tracks are cool!

When did you first hear about Bjørn Torske? Bjørn Torske was one of the people I knew were listening to my radio show because he had been in contact and bought some of the records. When we were ordering stuff from England, sometimes you would order two copies and forget you already had an extra one so he got some of those records from me. I knew Bjørn before he was started to make music as also DJed on Brygga Radio along with Rune Lindbæk, so I knew him from those days. I started following him when he made his more techno music under the Ismistik alias.

Vidar Hanssen's Vinyl Collection

What was Brygga Radio like? We had four or five local radio stations in Tromsø, and Brygga Radio was for the more alternative, anarchic styles of music. A lot of guys had shows on Brygga from the first wave of Tromsø music producers like Per Martinsen and then from the second wave with people such as Rune Lindbæk.

How did the Norwegian disco compilations come about?
In the beginning, there was a lot of techno from the Tromsø artists, then we had this period where there was some techno but also some electronic and breakbeat stuff. As we approached the year 2000, people were starting to release a lot of house music from international labels, some on their own labels and some one-off stuff that they made themselves. Also, in this period we had a very small, tiny club in Tromsø called Yazz’n which was the start of the club scene that you now see in Tromsø. The club nights mostly played funk and house music. I DJed there a few times and the first Beatservice compilation, ‘Prima Norsk’ was my DJ set at the time. My thoughts were that the music was very cool and needed to reach a larger audience.

Do you think disco has had an influence on Norwegian dance music? I’m not sure about disco there are influences from the house scene. When you DJ with house music those records have disco elements, but the pure disco scene is more of an Oslo thing. You have Bjørn Torske who has done some cool disco stuff. There are not many disco artists in Tromsø. When Bjørn made his disco records he was living in Bergen.

Did the ‘Bergen Wave’ make a difference to your record label Beatservice with the increasing international attention focused on Norwegian music?
Beatservice has always been an underground label and the successes have been more by accident than design. For example, the first Xploding Plastix album has been the label’s best-selling album and my biggest success has come with a pop style, a guitar-driven band called Flunk.

Vidar Hanssen making his Beatservice Radio

Vidar Hanssen making his Beatservice Radio

Do you think Norwegian electronic music has certain characteristics?
I think it’s spacy and has a bit of playfulness. You have a lot of sub-genres here, there are also some very good drum and bass players in Norway. Now you have a new generation of electronic artists, Cashmere Cat, for example, he is a very young guy with a lot of musical skills.

What’s your favourite ever Norwegian club?
My favourite club must be the original Yazz’n because it was so intimate and small, it’s legendary but nowadays I really like two clubs in Tromsø called Circa and Verte (VT – Verdensteatret). In Oslo, I have had some memorable evenings at Blå.

Who is your favourite Norwegian producer?
It is very difficult to pick one Norwegian producer. It switches from time to time. Nowadays I like Lindstrom very much. I have a complete Lindstrom compilation on my car stereo. I like everything he has done, but also the Geir Jenssen’s Biosphere is classic.

What is your favourite ever Norwegian track?
My favourite Norwegian tracks are ‘I Feel Space’ by Lindstrøm, ‘Novelty Waves’ by Biosphere and ‘Jeg Vil Være Søppelmann’ by Bjørn Torske.

These excerpts were recorded and transcribed with some parts of the interview being used in the final print of the Northern Disco Lights feature documentary film.

© Paper Vision Ltd (Pete Jenkinson/Ben Davis)

Recorded on a Zoom H2.

Transcribed by Fingertips, Louie Callegari and Tongue Tied.

Memoirs from Norway’s underground dance pioneers: Rune Lindbæk #3

Travelling around Norway in the Spring is an amazing experience and my trip was made all the more special by being based around hookups with the key movers and shakers from the start of the country’s house and disco scenes. I was lucky enough to touch down in Oslo, Bergen and Tromsø as well as many weird and wonderful places in the surrounding areas.

I travelled with Ben Davis who was directing the film we were working on, which was being formed from interviews with the key people from the dance scene plus Paper Recording’s label artists such as Those Norwegians. We were also curious about the country, its geography and people and how they influenced each other. This film had a working title of ‘Northern Disco Lights – The Rise and Rise of Norwegian House Music’. During that month we spoke to as many of the DJs, producers, promoters and radio stations as we could and decided to publish these best bits that sum up the trip, the film and our findings.

Rune Lindbæk was a key participant in the Tromsø music community in the late eighties and nineties who has worked with Röyksopp, Those Norwegians and is a successful international DJ.

What was it like growing up in Tromsø in the seventies? Growing up in Tromsø in the seventies was very safe. Society was changing because in 1970 when I was born, Norway started to extract oil and gas from the sea, and it became a solid foundation from which our society could grow. Geographically, it is an outpost to the Arctic. But it is the most northerly university town in the world and our influences come from all over the world. It’s a very international city with so much going on, which you just wouldn’t expect from a city with a population of only 70,000.

What music were you listening to growing up? The big influence for me was Boney M’s ‘Night Flight to Venus’ album and ABBA my mum liked to listen to disco music. A friend’s big brother had ‘Man Machine’ by Kraftwerk and it changed my life completely. I thought it was really cool and very scary. I thought Kraftwerk were some of the scariest things I’d ever heard, but it was addictive. At the time, in Norway, there were no rhythms, it wasn’t like living in in the Bronx [New York, US] hearing beats and rhythms all around you. The only music we heard was played our national radio station which would have been something like the Carpenters, and other ‘nice’ music. I do really like the Carpenters because it reminds me of those days but there were certainly no rhythms in Norway! I started checking out AM Radio and built an AM receiver in my bedroom that had a 20-metre cable running out of my window to our neighbour’s tree, just to try and listen to music from Radio Luxembourg. Nowadays you can have all the songs in the world in seconds.

When did you start hearing [rhythmic] dance music? Well, when my mum came home with cassettes of disco compilations like labels like K-Tel [from the UK], and Grandmaster Flash on the Wheels of Steel, which Danish next-door neighbour came home back from Denmark with one day, I absolutely loved it. My mum had a very bad quality turntable and I tried to scratch with the Grandmaster Flash record to mess around with the bass and the treble and really enjoyed it. Whenever a similar track sneaked into our charts, there was that rhythm again, I loved it. When I heard ‘Blue Monday’ by New Order, it was the coolest thing I’ve heard in my life.

Club Volcano flyer, Tromsø 1995

Club Volcano flyer, Tromsø 1995

How did the Norwegian dance music scene start developing? The first thing I heard about synthesisers which were the ‘coolest things’, was that Geir Jenssen’s [Biosphere] brother, who was in my class at school had several of them at his home. They lived very close by, but I didn’t know him because he was older, but I do remember walking past his house and thinking, ‘he has synthesisers’. Bel Canto went to Ghent to record music and they returned having recorded an album that was really inspired us. Per Martinsen [Mental Overdrive], travelled to London to the first Mutant Waste Company parties which were one of the few places that played ‘Chicago’ dance music. There was a really influential record store in Tromsø called Rocky Plate Bar run by an Andy Swatland who was importing music once or twice a week. A lot of DJs in Norway were buying vinyl from that shop because days or weeks after it has been released in America or England you could find it in Rocky. So lots of us were meeting in the import section of Rocky because you could find the latest international music on vinyl; Per Martinsen [Mental Overdrive] worked in that shop, it was very important to us. In the early nineties, I remember Biosphere was in The Face magazine and we were like, wow! We started to get DJs and producers like the Idjut boys, Harvey these British people that inspired us, coming here. We were digging their stuff, and they were digging our stuff and that was really exciting, it felt like a recognition of what we were doing musically in Tromsø, Oslo or Bergen.

Did you play music on the Radio? We had Brygga Radio which allowed us to play everything we bought live on the air. It was independent local radio station it wasn’t a national radio and we would just play Detroit techno at peak times, at breakfast or drive time in the afternoon because we were selecting the music. There was also Beatservice radio run by an old friend called Vidar Hanssen that I engineered for sometimes. Beatservice used to be on Brygga Radio but moved to the local Student radio. At that time Beatservice was probably more of a synthesiser programme for synthesiser music but it overlapped with Brygga musically, it was fantastic, Beatservice played great music.

Tell us about the Drum Island and Those Norwegians projects? You could say that Tromsø actually means Drum Island. I like to use real names and word in tracks, and it has some relevance to myself because I’m from Tromsø. I could tell you. The musical project came from my record label also called Drum Island. There was an excellent record label in Ghent called R&S Records who we were contacting and Renaat who owned the label loved my Drum Island label name and wanted to get involved, and we thought fair enough, why not! Those Norwegians started because we were listening to a range of music like the early Idjut Boys. UK productions that merged house with disco and we were really influenced by the way they used Jamaican [reggae] dub effects on disco; Those Norwegians made our own version of that. We were called Those Norwegians because there wasn’t any other Norwegians in that scene and it just stuck; I guess we were poking fun at ourselves because the name ‘Those Norwegians’ was actually really  ‘uncool’ at the time and we liked that.

Rune Lindbæk clapperboard, Tromsø 2013

Tell us about your record-buying trips to London. In the early nineties, we would save up money to go and buy records in the UK. Mostly London but also one of my friend’s parents had moved to Manchester, so I used to fly to Manchester and spend all my money at Piccadilly Records, which is still open and a great record shop. I would then fly to London to meet Bjørn [Torske] and return home. I was so skint that my choices were to buy the last Carl Craig 12″ in stock and not east, just eat soup or not buy it and enjoy my time in the cafes and restaurants of London. I chose to buy the record!  Bjørn and I would meet up to go record shopping over a couple of days before returning home together to Norway.  We tried to get as many records we could get from London and Manchester England and bring them home to Tromsø for our radio shows. We also brought back from London cassette recordings of pirate radio shows which were then copied and shared around everyone in Tromsø. If you listen to the first Biosphere album ‘Microgravity’, it’s actually ‘breaks’ [beats] from those tapes. Biosphere had a radio show on Sunday nights, and he played ambient and breakbeats. The imported music must have clicked with him because if you listen to his radio show you can actually hear elements of ‘Microgravity’. At around the same time parts of Tromsø got satellite television and the daytime sci-fi programmes; all the sounds on this album are sounds I recognise from those shows!

What was Bjørn Torske’s role in the development of Norwegian dance music? Bjørn was a massive part of the scene, his thing was to fuse his sound with dub and disco. Also, he was very important in the development and growth of the scene because he was the among the first of us to move from Tromsø to Bergen. I didn’t really feel the Bergen Wave, it was more a case of just Bjørn and old friend Erot who were making music. The ‘Bergen Wave’ name was just a typical UK way of reporting and making linking it to a specific geographical area.  It wasn’t like Bergen this and Oslo this, Bjorn was from here, Tore [Erot] and Annie were from here and staying at mine. Tore & I used to hang out when I used to live in Oslo, as a producer and inspiration he was very important for Norwegians. His productions have a bit of quirkiness in them and they still work on the [dance] floor when I use them as a DJ.

What makes the clubbing experience so special? When I DJed in Oslo, Skansen was a fantastic, very hedonistic club, along with other great places in Oslo like with Jazid, Head-On and Blå. It had a great sound system for a converted public toilet that had been closed for ages. It was tiny and we didn’t need many people to create an atmosphere, and it had tonnes of atmosphere! The best clubs in Norway though have probably been in Oslo, it’s the smaller sized clubs that get ‘packed out’ as you don’t need many people or really pumping [hard] music to get the dancefloor going. You just need a few heads and a great atmosphere, and there are plenty of ‘weirdos’ who like to dance in Oslo! The clubs have definitely been a factor in shaping the music we make as you don’t need to reach thousands of people in the club. If your music reaches the right people, the experience inspires you. If this were a place where you needed mass appeal, big [superclubs] clubs with hard sounds then our music would definitely have sounded different. This was a smaller version of Berlin with little basements or jazz clubs, not made for a lot of people, but for the right people. The nights at the legendary Nomaden in Oslo were also very important to try out new music on the crowd. It’s one of the few places in the world where you could play this [specific] kind of music and the dancefloor would scream, it’s one of the best clubs that has ever existed.

Why do you think Norwegian music is influenced by such a wide range of music? I think the collective influences from the people here are one of the main reasons, a lot of people who produce electronic dance music in Norway have large record collections. There are synthesiser guys, dub guys, Kraut guys and disco that came before us and now we can just make our own ‘local’ version of it with a ‘Norwegian twist’ because we have the technology, they didn’t. We gained confidence from our record releases which did ok amongst the people we consider it important to reach. This bred confidence between us. Norwegians were producing some great records; you’d play them out and they worked on the radio and in clubs and the locals really liked it. They didn’t realise that it was Norwegian music. Some of the biggest records I’ve played in my 30 years of DJing have been made in Norway.

Could you tell us about Frode Holm’s role in the Norwegian scene? There didn’t appear to be many attempts at making disco in Norway and we had all been trying to find traces of proper disco [being produced in Norway], then we found Frode Holm who was running a record shop in our main hangout in Oslo. His best track ‘Fotspor’ has fantastic production, great vocals and lyrics which tell a story about going out into the world and marking your mark. There might not be much going on in your local area, so you can go to LA, New York or San Francisco in North America. I can relate to these lyrics because in Tromsø until we started doing parties, I really wanted to be somewhere else.  I can really relate to the feeling that you don’t want to be stuck in the same place forever. Probably why I ended up in Oslo of course, it’s such a fantastic city. Frode’s music was influenced by really pure disco, jazz-funk and soul but with a Norwegian lyric which made for an odd record which was so important in Norwegian musical history. So Frode was a pioneer here in Oslo, of a generation born twenty years before us but doing what we are doing now, back then.

When did you start DJing internationally? My first gig abroad was in North Yorkshire, in 1993, when I was studying journalism at Darlington College in the North East of England. There was a record shop in Darlington where I met Moonboots who was putting out twelve inches. I had heard a rumour about this record shop in a derelict area of town behind some garages, as I walked past, I heard a bass drum and went through a door. I thought I’d arrived in heaven. It was packed with people, shrink-wrapped American imports, even back then! From 1998 I was a bi-monthly resident at Plastic People in London. I started going to London on the last British Airways plane on a Saturday afternoon and flew back on the first plane Sunday morning. After that, we discovered ‘Sunday Best’ which was a key club event in the timeline of disco and Balearic music, and it became a home from home for me. Around 2000, I started DJing in Easter Europe more and you think that Eastern Europe, just after the Berlin Wall came down that it would be dull and grey. Wow, they like to party. I have DJed at so many gigs and they’ve been fantastic. My style of DJing is not for every club, so the number of places I can play is limited but I DJ once a month somewhere in Europe and have a great time. I DJ in clubs that want to hear good music, I put in ethnic elements, dub it up and have a bit of fun, try not to be so serious. Dance music is in a strange world but I’m really happy to be a part of it.

These excerpts were recorded and transcribed with some parts of the interview being used in the final print of the Northern Disco Lights feature documentary film.

© Paper Vision Ltd (Pete Jenkinson/Ben Davis)

Recorded on a Zoom H2.

Transcribed by Fingertips, Louie Callegari and Tongue Tied.

Memoirs from Norway’s underground dance pioneers: Bjørn Torske #2

Travelling around Norway in the Spring is an amazing experience and my trip was made all the more special by being based around hookups with the key movers and shakers from the start of the country’s house and disco scenes. I was lucky enough to touch down in Oslo, Bergen and Tromsø as well as many weird and wonderful places in the surrounding areas.

I travelled with Ben Davis who was directing the film we were working on, which was being formed from interviews with the key people from the dance scene plus Paper Recording’s label artists such as Those Norwegians. We were also curious about the country, its geography and people and how they influenced each other. This film had a working title of ‘Northern Disco Lights – The Rise and Rise of Norwegian House Music’. During that month we spoke to as many of the DJs, producers, promoters and radio stations as we could and decided to publish these best bits that sum up the trip, the film and our findings.

Bjørn Torske’s recording career began with the “T.O.S. EP” compilation released on Belgium’s SSR Records where he appeared as Alegria, and with Ole Johan Mjøs as Radikal Buzz. Torske and Mjøs then formed Ismistik and released 3 EPs on Dutch label Djax, as well as collaborating with Rune Lindbæk & Ole Johan Mjøs in Open Skies [Reinforced Records] and Volcano [Olympic Records] in 1992. During this period Torske moved to Bergen, and currently DJs internationally and releases his music on Bergen label Smalltown Supersound (STSS).

Hi Bjørn, Please tell us what it was like growing up in Tromsø?
It’s not a big place and it was even smaller then than it is now so it was kind of boring because there wasn’t much musical culture apparent to us within Tromsø so we started listening to music that came from other places. A lot of the older people that we knew were travelling to London and other cities in Europe and picking up on the music and scenes what were happening there. I remember the time in school at the age of 13 when I started listening to hip hop music and early electro and just copied and shared cassette tapes between us; we didn’t buy vinyl records then. Plus, there weren’t that many records in those genres available, so we started with double cassette decks, making our own remixes with using the pause button. We were listening to the local radio stations which were doing the same thing with the music and mixing; certain shows were picking up the music and in some cases buying it on import; especially Vidar Hanssen who runs Beatservice Records and his radio show was by the same name.  He had a radio show called Beatservice. In retrospect, I think of him as having real importance to the scene because he was playing all sorts of stuff like body pop, Prince, The Cure; an alternative selection of genres and sound. We were mostly into the electronic, harder stuff but then house music came along, and he started playing lots of that as well. We didn’t like it immediately (there was far too much cheerful piano), our tastes were darker and more intense, we liked Front 242 and bands like that. Gradually though, things started changing and eventually a couple of friends and I started doing our own show at a station called Brygga Radio.

Bjørn Torske & Strangefruit in Bergen circa 1993

Bjørn Torske & Strangefruit in Bergen circa 1993

We got access to tape recorders, four-track cassette recorders so we could develop our pause button remixing ideas. We started to make remixes and megamixes for our own shows splicing tape and other techniques. Before we knew it, we had our own sound, started playing around and programming and eventually began making our own tracks. I had a friend who was really into scratching who came on the shows and performed live. When I graduated from school, I was unsure of what to do because my parents wanted me to go to university and become an engineer. But that wasn’t tempting to me, so we got some equipment together and began to make a record to see if a label would be interested in releasing it. Geir Jenssen [Biosphere] listened to some of the music I had made at home on my four-track cassette recorder and said, “Yeah, if you could do this properly, produce and mix it I would like to send it to Crammed Discs in Belgium”. Excitedly we put together a proper production and it was sent off, accepted and released. That was in 1991 which was the start of it all and we were all based in the tiny, boring, quiet and northern Norwegian town of Tromsø!

Who were your contemporaries during this time? For my radio show it was Ole Johan Mjøs, who was also crucial in an early project called ‘Ismistik’ which was released on Djax-Up-Beats in Holland, and Open Skies, together with Rune Lindbæk on ‘Reinforced Records’ from England, and later on there was a more pop project called ‘Volcano’ on which I was involved in two single releases before I  moved to Bergen.

Why did you decide to move to Bergen?
I moved to Bergen when I joined the Civil Service, which is our alternative to the Military service, I think you call it the National Service in the UK? I managed to buy an Akai 1000 sampler, which was really expensive at the time and together with my Atari and keyboard, I suddenly had a studio set up where I could produce music. I decided that this was my destiny, I was already on the DJ circuit and then it happened ‘Bang’! The day I moved to Bergen, the friend that met me at the airport said, “We’re starting up a club. Do you want to DJ there?”, I think you know the answer! The club was called Phoenix and it was in a basement on the other side of town and at that time they had odd licensing laws that meant you could serve alcohol until 1 o’clock, but you could stay open until 5 am. It was an after-hours club. It’s never been anything of the sort, later, because the rules were stricter, but that was really happening at the time. Kai Stoltz (Kahuun) DJed there as well. There was also a guy called Anders Kofsky and he’s still kind of part of the scene but doesn’t DJ play as much. I met Tore [Erot] at the Phoenix, together with Mikal Telle. Erot was still very young then, about 16 or 17 so he wasn’t really allowed into the club, but we managed to get him in any way. So, we started hanging there and some years later (1995) we started DJing together at Café Opera. He started producing his earliest tracks on cassettes and he told me about his working method and processes using the most basic software. I remember him astonished by the sequencer and other hardware I was using such as Q-Base software. I gave Erot’s demo tape to Per Martinsen of Mental Overdrive and he liked it. Per had his own label called Love OD but I had an idea for my own label, which I had already been discussing with Per. He set up a P&D (Press & Distribution) deal with a company in England and the label ‘Footnotes’ was born.

Bjørn Torske DJing Storsteinen (421 m above sea level)

Bjørn Torske DJing Storsteinen (421 m above sea level), 2013

Would you say that Erot and yourself influenced each other musically? We definitely did and I must say that Paul Strangefruit’s role in promoting the disco sounds of the 70s and 80s were an influence on us all. Prior to this, we had been having a laugh about ’70s disco being too ‘kitsch’, but when we started digging in the disco underground and finding tunes that were more funk and groove-based we started taking notice. We realised that the house music that we loved was based on these disco earlier tracks, and that was how the house genre really began. The studio versions of older instrumental disco tracks and Paul Strangefruit was at the forefront of in this craze as he had been buying this music since he was 13, in his hometown of Harmar.

How did your relationship with Svek come about? The relationship with Svek Records came through Erot’s music being signed by Svek after they had heard his release on Footnotes. He was initially asked to do a remix that turned out to be very popular so they asked him to do an original track for them. I had made a track which I didn’t know what to do with, so we ended up on either side of a 10″ vinyl in 1999: Erot’s ‘Battlestar XB-7’ and my ‘Jeg Vil Være Søppelmann’ track. We were aware that it was working on the dancefloor because we had been playing it prior to release from DAT and CDR. It has a very ‘dirty’ sound that was reworked during mastering, and when it was released on Svek I heard that two copies had been mixed up together at Miami Music Conference which was very gratifying.

Can you tell us how Telle Records was set up? Mikal Telle started a record shop in 1995, called ‘Primitive’ stocking mainly of hardcore punk, electronic and hip hop music. When the Bergen scene started evolving around new artists such as Erot, his Footnote 12″ was released and other artists like Ralph Myerz started appearing that were making music were making new, exciting music. Mikal was the ‘professional fanboy’ and he wanted to see others be successful, but saw that musicians, producers and DJs weren’t very good at organising; and he could do that! He put on the first Den Elleville Festen Festival in 1997 that generated funds for him to release his first 7” single on Telle Records. We were all astonished at how quickly the label became so widely recognised. I think Erot’s presence had a lot to do with it because he already had a strong fan base and his releases always did well, but the combination of Mikal and Erot is what made Telle’s launch so successful.

Do you know what sparked Erot’s interest in dance music? I can trace it back to when I started hanging out with him at the Phoenix. He went there with an older friend of his, Svein Arvie whom he produced music in their bedroom studio setups. The first time I heard anything they made together was 1994, I think. It was a rave style type of track with a lot of silly samples; and really funny. I don’t know if any of those tapes still exist, but what do I know is that Todd Terje’s big sister was a friend of Erot, so Todd will have heard the music on those tapes when he while he was 10 to 12 years old. Those tapes were my first experience of Erot’s music-making as well.

What is your relationship with Todd Terje? My relationship began through Prins Thomas, who is an old friend as he lived in Bergen around 2000 before he moved to Oslo.  Thomas started talking about someone on the scene that turned up at all of his club nights and asking lots of questions about the music he was playing. Whether it was a new vinyl or the repress; we called him ‘Disco Terje’. He started producing edits and hanging out with Thomas, who did a remix of Terje’s first release ‘Akwaaba’, ‘Bodies / Boozefinger’ on Bear Funk in 2004.  I started to get to know him when he started making music and DJing. He’s very particular how he’s going to produce his music, it’s cheeky a bit like Erot’s approach. He has that magic ingredient that I can’t put my finger on, it just makes you dance.

Norwegian music consists of many musical influences such as reggae, soul, disco, house, techno, prog-rock. Sweden or Denmark don’t appear to have such a wide range of influences in their music. Why do you think might be? Initially, I was into the Chicago, Detroit and New York sound, but it was mostly house and techno, then I started hanging out with Paul Strangefruit whose disco tastes were an influence. I wasn’t really into dub and reggae, but then disco began absorbing sound and styles from the reggae and dub scene, all those François Kevorkian B-sides! This was the mid-nineties and my fascination with Kraftwerk drew to the likes of Neu! and Can and that led onto other types of progressive rock music. So, it’s basically just a big stew of different musical styles. Norway’s disco influence was linked to Strangefruit. He started his NRK show [national broadcaster] on Saturdays before Olle Abstract’s show and it was a very disco focused event, it was the only national show to present that type of music, as  Olle was more into the pumping kick-drum orientated house music. Strangefruit was into the percussive, groovy kind of style like the Idjut Boys, so Paul’s show on the NRK was very influential.

Was the Norwegian scene influenced by visiting international DJs? Yeah, definitely, in the last half of the 90s the ‘Bergen’ scene was really ‘happening’ with lots of parties and clubs hosting prestigious British DJs. I remember Basement Jaxx played here before they became a household name, and also the Idjut Boys, DJ Harvey and the Rhythm Doctor; I can’t remember all the names but it was like a who’s who of the UK [mainly] disco underground scene and they visited frequently into the 2000s. This definitely had a big influence on us.

Do you think the key Norwegian cities (Oslo, Tromsø and Bergen) have different styles of ‘sound’? I don’t really think too much about that because if feel it’s more the national scene of Norway but Oslo, which is the biggest city, has always been more fragmented but ultimately it’s the same key people behind the releases, club nights that create the styles of sound. Oslo has a wider range of distinct scenes in relation to specific musical styles and sound but not necessarily of the people and social environment [clubs]. As for Bergen, and as I remember of Tromsø, it’s the same people moving around the different places and venues, but having said that I do feel part of a Norwegian music scene.

How did your relationship with Smalltown Supersound (STSS) in Bergen develop? There weren’t a lot of other options as the I first released on Svek [from Sweden] was just winding down. Per Martinsen [my friend from Tromsø] had just started working with STSS, so I contacted Joakim Haugland [owner of STSS] and we decided to work together and released ‘Ny Lugg’ [12″ vinyl] in 2006, and then ‘Kokt Kveite’ in 2007; this led to my first album project on STSS [‘Feil Knapp’] released later that year. STSS and Telle Records had similar working practices all based around friendship. I’ve never signed a contract with them. I never did with Mikal [Telle Records], either, I feel comfortable with that. No lawyers were involved!

Bjørn_Torske at Haggle Records, London_2014

Bjørn_Torske at Haggle Records, London-2014

How did you present your first album [Feil Knapp] to Joakim (STSS)? I don’t know where to begin, but basically, Per and I were always plotting and loved what The KLF were doing with their music, art and the industry, so Per suggested we play a prank with the album and STSS. So, what happened is that I gave the album master CD to Per who cooked up this idea whilst he was touring China! He took a handheld camcorder to Oslo Central Station and he made a ‘covert’ film of the CD being put into a small luggage/post locker. Whilst filming he took the CD, walked into the station and straight up to the box [number 30?], opens it, puts in the CD, pays with coins, gets the key and then turns off the camera. Next, he goes to the Post Office and manages to put the key envelope with no stamps, no address, nothing just the key in the STSS postal mailbox. Then the next stage of the plan: Joakim was really into Pitchfork [the magazine/website] and the record reviews that STSS  received,  so Per designed a mimic blog called ‘Fitchpork’, posting a video he’d made on YouTube with a text linking to the forthcoming Smalltown release of the Bjørn Torske album and sent this link to Joakim from a fake email. Joakim sees the mail, goes to his PO Box to grab his mail and returns to the office. He opens the envelope and finds a key and it took a week to connect the video, the key, P.O. Box and station but he finally got the album CD from the Postbox. It was a bit of fun; I delivered my second Kokning album him on a USB stick hidden inside a marzipan Codfish [Norwegian for Torske].

How do you create your music? It’s mostly inspired by DJ sets. I get a lot of material from playing records to and experimenting with music live. I will mix two tracks of totally different styles, and if it works then try and recreate the idea in the studio. I will use software such as Ableton to begin creating snippets of sequences, and then compose and transfer the idea to an instrument so that I can play it live. If it requires live drums then I will add them and once all done go into a studio to mix it down! I feel my eclectic style falls in between the main genres of the Norwegian dance scene; at first, I was into the Detroit sound, which you can hear in my earlier album, but I just want to explore music to find a combination of styles and genres. I have also produced other artists, for example, Crimea X from Italy. I spent a week in a studio in Bologna, Northern Italy re-recording instruments, composing and re-arranging the compositions, and returned to Norway with the Pro Tool Sessions to mix them in an entirely analogue studio.

Has the natural environment of Norway influenced the music scene? Initially, everyone producing and performing music was trying to escape the dull reality of living in Norway, which we saw as a totally ‘not’ happening place to live. So, we began travelling to London to buy our records which very influential to us.  I think Norwegian-ness is something I became aware of later because it inspired us to make music and live here as well. I’ve never lived in any big cities, and if I had lived and produced music in Berlin or London it would definitely have influenced my music and perhaps, even take my music in a different direction. Bergen, it’s relaxed, it’s close to nature, it’s very green and I feel a strong attraction and influence from that.

What’s your favourite ever Norwegian record or piece of music? Wow! That’s quite hard to answer. A contender is Erot’s remix of Mental Overdrive’s track ‘About Jazz’. I can’t explain why, but it’s a massive dancefloor track when I DJ that I like to pull out, the Idjut Boys put it out on their Discfunction label. It’s astonishing how it works and speaking as a DJ, I think that might be the best.

Who’s your favourite Norwegian producer? Biosphere

Favourite ever Norwegian club? Café Opera in Bergen, Oslo’s Jazid in its heyday, and also Skansen runs it close.

These excerpts were recorded and transcribed with some parts of the interview being used in the final print of the Northern Disco Lights feature documentary film.

© Paper Vision Ltd (Pete Jenkinson/Ben Davis)

Recorded on a Zoom H2.

Transcribed by Fingertips, Louie Callegari and Tongue Tied.

Memoirs from Norway’s underground dance pioneers: Per Martinsen #1

Travelling around Norway in the Spring is an amazing experience, and my trip was made all the more special by being based around hookups with the key movers and shakers from the start of the country’s house and disco scenes. I was lucky enough to touch down in Oslo, Bergen and Tromsø as well as many weird and wonderful places in the surrounding areas.

I travelled with Ben Davis who was directing the film we were working on, which was being formed from interviews with the key people from the dance scene plus Paper Recording’s label artists such as Those Norwegians. We were also curious about the country, its geography and people and how they influenced each other. This film had a working title of ‘Northern Disco Lights – The Rise and Rise of Norwegian House Music’. During that month we spoke to as many of the DJs, producers, promoters and radio stations as we could and decided to publish these best bits that sum up the trip, the film and our findings.

Per Martinsen is a sonic artist, electronic music producer [Mental Overdrive], DJ and performer from Tromsø, Norway; he’s also one half of Frost with his partner Aggie Peterson.

Hi Per, tell us what it was like growing up in Tromsø. Tromsø geographically is on the outside. It’s the biggest town this far north if you look down the planet from the top. A lot of cultures are based around the survival needs of living here, so when we grew up this shaped our culture, we were told: “This is where we’re from and this is what we do”. When technology-based means communication and creativity such as the internet came into our lives they were organically integrated into our culture. I grew up in the 1970s and moved away in my late teens, before the internet and even before Norway began fully using the English language so communication with the world was difficult but growing up here was perfect because we could just sit up here and monitor the world. We could sit here and watch what the humans were up to in other parts of the world. We ordered fanzines and music from the UK and Europe and the UK and we had little import sharing ‘factories’ where one of us would order a record, we’d copy it onto cassette and distribute it around Tromsø. We imported a lot of youth cultures such as post-punk, early German electronic experimental music, Freaks from the West Coast of the US and even bands like The Residents performed in Tromsø in the nineteen-eighties. Here we were, sitting on top of the world looking out, trying to find things we thought interesting going on down there, where the other people were. We collected everything into a big heap that we shared amongst us. We would import mail order records, fanzines and cassette tapes and copy the music onto tape to share and lend each other the literature to read.

Was there Norwegian culture that interested you or was it all from abroad? Most of it was from abroad and ultimately Norwegian dance culture started emerging, but when you are situated in Tromsø you are three to four hours’ drive from the nearest town, 2,000km from Oslo. It’s all viewed as just the ‘other place’, there was a lot of relevant parties and people in Oslo and other towns that I didn’t know anything about until over twenty years later. It was more difficult to get information from around Norway than it was to find out what was going on in Berlin and London!

Do you think Tromsø’s isolated geographical isolation influenced the music that you began to make? I think when I grew up here eclectic was the best way of describing the music production we made because we didn’t know what was right or wrong [there were no parameters]. The first time I met somebody who was into drum and bass and not, jungle I was like, “Oh, wow you do exist”. People are perhaps more fragmented in larger cultures because you have to choose your ‘place’ or ‘position’ in that scene or culture, but when we grew up we had total freedom free because we could just sample everything, put it into one big cauldron and start mashing it up. I heard music through teenagers when I was pretty small and the radio [National radio] didn’t play any exciting or cutting edge music but there was one programme I listened to on NRK P1 with Harald Are Lund, he played interesting music. The British music papers were very much in demand up here as we tried to follow what was going on in the underground music scenes around the world. The crowd I grew up with really wanted to explore different soundscapes and scenes and were very curious about all forms of alternative music. There was a guy called Jon Strøm who was a couple of years older than me used to invite people like me and Geir Jenssen around his house on Fridays to drink beer and listen to the mail-order ‘catch’ of the week. It would be a very eclectic mix of punk, post-punk and pop and he would introduce us to records by Crass, Dead Kennedys along with ABC and Chic. I remember hearing “Last night a DJ saved my life” by Indeep and “Warm Leatherette” by The Normal for the first time at Jon Strøm’s. He ordered some of his records from Rhythm Records on Portobello Rd in London but not 100% sure. We ended up having eclectic influences such as electronic, punk, pop or experimental music, the music just had to have that something special.

Doepfer A-120 Analogue Modular Synth in Per's Studio

Doepfer A-120 Analogue Modular Synth in Per’s Studio

Tromsø and Norwegian electronic music seem to have this otherworldliness. Do you think it reflects Norwegian identity? It’s a strange question for me to answer because if the music we make has something special to it, a local flavour or oddness it’s more a question that should be asked of someone from outside Tromsø or Norway. It’s hard to analyse your own or my [connected] contemporaries’ music. You do what you do, and you put it out there and see what reflects as other people’s opinions. I don’t need to be shaped by what surrounds me and that is the freedom you get growing up in Tromsø, we could sit here and sample every kind of alternative or strange music from any global subculture and spit back our version; we didn’t have to fit in anywhere. If I grew up in a bigger city where there was a [specific] sound I would [potentially] start trying to fit into that [cities] ‘sound’ and the creative freedom of not having to respond to your surroundings is great. Dance music is such social music, it is a language and you can communicate something with it. It needs to work on some level but as long as it makes you move, or appeals to you at a basic level then you can put as much of yourself into it as you want; that is the freedom that comes from the Tromsø scene. You don’t answer to anyone. You just make what you want to make.

Tell us about Geir Jenssen’s role in the Tromsø music community. Geir and I met when I was 11 years old and he was three or four years older than me. We shared a love of the great outdoors and met in a mountain cabin and it was the first time I’d heard Kraftwerk’s ‘Man Machine’ a portable cassette deck. Geir was a dedicated music fan who got the best stuff and really followed what was happening, and he told me one day that, “I’m going to buy a synthesiser and start making music”. We already played in bands, but he started making electronic music and it was brilliant. I don’t remember the year, but it was when started a transition from rock bands into electronic; I had drum machines already and we were started to play around with my drum machine and managed to get hold of some synths: Korgs, MS10s, MS20s, begged and borrowed until we got what we needed and then we started making tapes. I even used a cassette deck as a sampler using rewind techniques. We had a great time experimenting (and struggling) to make our own sound.

Northern Disco Lights 2017 screening at TIFF (Tromsø INternational Film Festival)

Northern Disco Lights 2017 screening at TIFF (Tromsø International Film Festival)

How important was his success with Bel Canto on your developing career and scene? We were all making music and performing together but they went off to Belgium, and I went to the UK around the same time. We always met up when we returned to Norway to share experiences and play each other music. Many of us [Tromsø artists], started releasing records around 1987-88 and that they were released on international labels gave us all confidence. if you look at the punk scene in Tromsø there are only two or three single releases, but if you look at the punk scene in Oslo in the late 1970s or even Trondheim, there’s tens or hundreds of bands releasing singles. We up in the Arctic and just to get somebody to transport a pressing of 500 seven inch vinyl up to Tromsø would very expensive and could ruin you. Also, when they arrived, they would just sit in your basement and it was really hard to get them back out into the world because we were so far away [geographically] in Tromsø.

How did you start producing music and was it just for yourself and friends? I started making noise when I was a kid. I was banging and drumming on anything, I would find and destroy my mother’s cookie jars. I just needed my energy out and make it into sound. We started bands when I was about 13-14 years old. Punk had just happened, but I aesthetics and the DIY ethic of the punk movement rather than the music. I didn’t really enjoy the music but after in the post-punk era was a brilliant time to kind of be interested in music. Those were the formative years and shaping of my musical tastes. All the bands I was listening to started using drum machines and I tried to play like a drum machine. Bands that influenced us were mainly UK based such as Joy Division and then New Order and they began getting influenced by American dance music. I had this record from a Canadian duo, I didn’t enjoy the music very much, but they looked like New Romantics sitting at a coffee table and on this table was this ‘crazy’ machine. I was like, “What the fuck is that machine?” as it just looked awesome. I went to the local music shop and took the album to show them asked what it was? and they said, “a Roland”. This was maybe in ‘83 or ’82 and they telephoned Roland it was a TR808 drum machine. I was like I want one of those. I realise that this was the same machine being used by Arthur Baker productions and a lot of the records I was listening to. I worked for the whole summer in between school and spent all my money on a TR808. That was my first machine. It was perfect and it did the trick. I don’t have it anymore, but I still use its sounds. we were very aware that even people that were two years old would not understand what we were doing because we were doing something so wring [different]. We were really opposed everything around us and we tried really hard, perhaps too hard to create our own little space. We were trying to do something different but at the same time absorbing lots of brilliant influences coming from elsewhere. We tried to copy interesting music and when we were successful at the copying it turned out a bit boring but when we were unsuccessful it turned out very interesting.

What did your parent’s generation think of this? The established traditional musicians and crowds in Tromsø already hated the punk scene when suddenly these people came on stage to perform without traditional instruments they were outraged. The only way to be a rebel was to do something that had never been done in Tromsø before.

When & why did you go to England? I actually left Tromsø for Oslo in the mid-1980s but I didn’t find much going on, so I returned to Tromsø and worked in a record shop and then travelled to the UK by chance really. I just got on a train and ended up in Copenhagen, met a friend and we moved around Europe together until ending in London. Luckily, I met some people who were squatting in Hackney and suddenly I had a room for a few months. After that, I had an opportunity to work in a recording studio in Brixton called Cold Storage Studios where a few of the bands that I listened were based.

What was the London dance music scene like when you were in the UK? The first Detroit Techno and Chicago House cassette tapes started circulating just before Christmas in 1987 in Hackney and during the winter of ’88 I really got into it. I was already into electronically produced music that when I heard Detroit Techno for the first time, I immediately understood that need to be investigated! One of my friends came over to London in the early summer of ’88 and was really eager to hear what was going on and I was willing to share all of my new music. I remember returning to Norway for Christmas that year and meeting up with Nils Johansen from Bel Canto as he on Christmas holiday from Belgium. He asked me what kind of music I was working on and I explained there was a lot of techno and house music in London and he said: “What’s that?”. I didn’t have any music with me but he had a synth rig set up in his room, so we went back and I played him some of the sounds and beats and a few months later in London I had a phone call in the studio from Mark Hollander who owned Belgium’s Crammed Discs label and they had started a new dance subsidiary called SSR. He said, “I really like the demos that you made that Nils played me. Can you come over to Belgium and finish them?” I was really surprised as they were just demos but, of course, I went to Belgium to work on the tracks.

Can you remember the first time Bjørn and Rune came over to see you in London? I took Bjørn [Torske] and Rune [Lindbæk] record shopping in Soho and they were so excited, we had a real laugh. I think Bjørn was the most enthusiastic person I think I had ever met in my life. He was so genuine about his interest in music that it was really fascinating. It was like wow! I thought ‘this guy means it and he did he meant it. He still means it’!

When did you return to Tromsø from Belgium? I went back regularly to see my family as I have two younger brothers who were teenagers at that time, and I had lots of friends there still. We had some parties and I got to know Bjørn Torske and other people younger than me such a Kolbjørn Lyslo who had been buying records off me in the record store a few years earlier. There were a lot of young people making brilliant music.

Bjørn Torske & Per Martinsen in the Yorkshire 2016

Bjørn Torske & Per Martinsen in the Yorkshire 2016

Where do you think they found their creativity and inspiration? They were probably just geeks into synthesisers and electronic music because already when I was at the record shop [Rocky Plate bar from ’85-’86] there were always people creeping out of the woodwork asking for weird, challenging music that I didn’t know anyone but myself had heard of. They probably got their hands on information and music culture the same way as me before the internet took over that job of providing information.]

Can you tell us about the first parties you put on in Tromsø? The first club playing house music was when Bjørn & I decided to put on a rave. It was very DIY. We combined our record collections, made all the décor and rented a sound system. I was into hobby electronics since I was a kid and managed to build two strobes and then we were given permission to hold it at the Brygga Ungdommens Hus (Youth Centre). We designed and photocopied flyers and everything was set, it looked fantastic and we had our rave, me and Bjørn. He was playing, I was dancing and then he went on the decks and I went on the decks and he danced. That was first house club in Tromsø, Norway. The classic two-man party. After that, I was asked to DJ at a mainstream disco in Tromsø a Saturday night. There were a lot of US marines based here from Chicago and I think they were quite used to house music by 1988. The club was packed and completely ‘going off’, kind of weird. All these people were asking me, “Where the hell did you get this music?”, “How can this be? We’re in the Arctic” and “How can this happen?”. We had our moments where we were successful in bringing these sounds to the locals here as well; not just exporting it.

Was there a moment where you would say there’s a Tromsø scene and you kind of looked around and thought, “Oh right. Okay, there’s a real movement here.” There was definitely a ‘bedroom movement’ going on because when I returned home one time, a handful of the younger producers wanted to come and produce their recordings at our studio. Some of these sessions were sent to SSR in Belgium and released as the two T.O.S. [#1 & #2] EPs and these were the first releases by Bjørn Torske, Ole Johan Mjøs and Per Syamese.

Can you remember what happened around the emergence of Telle Records in Bergen? Bjørn ended up moving to Bergen after we had played at a party there and I would visit all the time to this great club called Café Opera. It was at Café Opera that he introduced me to this really young guy. I had my portable DAT player (a very important piece of kit then) and this guy who introduced himself as Tore gave me a DAT, I listened to this amazing music. That was Erot, Tore’s first productions. We released Tore’s first two tracks; that was my first experience of the emerging Bergen scene, which ‘blew up’ in the international media with the help of Mikal’s Telle Records releasing all these amazing 7″ singles with brilliant music. The main element of the Bergen sound of the ‘90 was pop. It was brilliantly crafted alternative pop music. It was very eclectic with different producers such as Erlend (Ralph Myerz) and the Kings of Convenience that had a Simon and Garfunkel sound, it was very creative and artistic. These original energies come and a scene explodes and everybody is inspired and then it dies out and something else comes along and takes over but it was an amazing couple of years. The two main musical exports from Norway have been Black Metal and electronic music which reflect a certain level of international success when Norwegians look at themselves in the mirror, and this inspires others. There were so many female electronic pop artists from Norway it’s amazing, we’re such a small population but have a lot of people working in the music industry.

When did you first become aware of Röyksopp? I was playing at the festival here in the 90s and when I was setting up my gear four young lads came up and said, “Hi, we’re playing the support slot for you,” and they called themselves Aedena Cycle. That was Torbjørn [Brundtland] and Svein [Berge] from Röyksopp plus Gaute Barlindhaug and Kolbjørn Lyslo. That was their band and that’s maybe the first time that I met these guys, they were younger than Bjørn’s generation and they were the next generation of youngsters breaking on to the music-making scene. Tromsø had all these young, very enthusiastic people and it was really refreshing meeting them all. All the time there was a new face that turned up that was making music and wanted me to listen, they were always driven by this mad energy. I loved it. You really want to listen to music made by people like that. Most people say, “Listen to this,” and you’ll probably listen to it eventually but if they are right in your face and the sun was coming out in the middle of the dark season you know it’s going to be refreshing. That was my first, very positive impression of Röyksopp. Torbjørn [Brundtland] moved to Oslo to work with Bel Canto on one of their later studio albums. They were in the next-door studio, so we spent some time together listening to each other’s music. Then he started playing me a lot of his own music and it was fantastic; really, good. I think this was pre-Röyksopp and there was probably some of the tracks that were released on the Those Norwegians album [on Paper Recordings], but it was via Torbjørn’s tapes that I heard what was going on with that crowd.

Has dance music changed your life? Yes, in a big way because I hated disco when I was growing up, I hated dancing. I had decided that I was never going to dance in my life but then, I heard quality dance music and some proper disco not just the pop charts stuff, so yeah it changed me a lot. It’s had a massive impact on my life. I think electronic producers in Norway have brought their own character to the sound. Every city or locality will have its own sound or technique that is inspiring to others, this new disco [Nu-Disco] production style established itself globally but I would love to see more challenging productions because I need more edge, more noise. I’m an angry old man come on!

Insomnia Festival 2003

Insomnia Festival 2003 – Frost and Per Martinsen

How important is the Norwegian identity to your music? It’s strange because these days I probably have more in common with you than with my next-door neighbour because we’ve been interested in the same kind of culture and music. On one level the common references are closer than somebody you share a country with. On the other hand, you can’t go anywhere in the world and not bring ‘yourself’ with you. I’m always going to be Norwegian. I’m always going to be Northern Norwegian because I’m very connected to this landscape, and I really like rubbish weather. If it’s too hot I stop functioning and I have all these things built into my genes growing up here; I’m shaped by the people and environment here, it’s important that I’m Norwegian.

When did that turn into something that you thought good enough to release and share with the world? The first was a cassette release in 1984. It was Geir’s project under the artist name of E-Man and released on a cassette label based in Oslo called Likvidér; I worked with him on a couple of tracks that ended up on that tape. Geir released quite a few tapes at the time as he had invested in duplicating machines so that he could copy cassette tapes, photocopy the artwork and sell them via his mail-order [Biophon]. There were two punk bands in Tromsø that released seven inches but the cost of vinyl manufacture and distribution from so far north in Tromsø was prohibitive, so people saw cassettes as an opportunity to get their music out there. There was a lot of brilliant cassette releases from local bands in the 1980s that never saw the light of day.

How did you get swept up in the acid house movement? I ended up in London, England in 1987. Ever curious and a big fan of ‘industrial’ electronic music, a lot these bands played live in London so I just ended up just going there for gigs and hang out; I ended up living in a Hackney squat for most of ’87 and ’88. I hadn’t consciously set out to end up in this situation, but I was lucky because everything that was happening then in London during that period was so exciting.  I remember the first time I heard Chicago Acid and Detroit Techno music on a cassette tape given to me from a guy who was also squatting nearby in Hackney. He was called Mark Van den Berg, [Mark Luvdup] and that first tape was shared around everybody; we then started going to parties and warehouse clubs. I was ecstatic when I heard this music for the first time because in Tromsø the reaction to my productions was generally “Yes. Love the drum machine and bass lines and stuff but where’s the song?” I didn’t want them to be songs. I wondered whether there was a place for this music in the world, was it just for myself only? But, on hearing electronic dance music a couple of years later that was just ‘instrumentals/dubs’, and it was a revelation. It was like okay there is a space for this kind of music in the world and it’s in the clubs. Geir was with me in the UK at that time and we ended up working as tape-op assistants in a Brixton based studio, and since I had some of the gear that they needed in the studio we did kind of a swap, giving me access to the studio at night time, I’d help out during the day and sleep under the manager’s desk on the floor when needed!

What was your first commercial release? My first release was on Belgian label SSR. The track was produced by Geir & me and was called ‘In Your System’.  When I was working in the UK, Geir and his band Bel Canto frequently travelled to Belgium to record and release music on Crammed Discs. I went home to Tromsø at Christmas 1987 and tried to tell him about this new house and techno music to a good friend of mine, Nils Johansen who played in Bel Canto. I struggled to explain so I said, “Okay switch on your rig and I’ll show you,” and made some quick examples of the music I was currently working right there and then. Nils played these demos to the Crammed Discs label owner Mark Hollander who invited me to Belgium to finish the tracks. The tracks were released on a new dance music subsidiary they were setting up called SSR (short for ‘Sampler & Sans Reproche’) and then later on R&S records. Geir started working on his Bleep album just before Biosphere in Belgium and I did a project with Samy Birnbach, [DJ Morpheus] who created the great Freezone compilation series for SSR/Crammed Discs. We did a track called ‘Hallucination Generation’ as the Gruesome Twosome that totally blew up in the US and they wanted us to follow it up but I had already moved on and started returning to Tromsø to work on new projects.

When you returned to Tromsø how were Bjørn and Rune begin fitting in with the community. I’m a bit older than them and there was a bunch of eager guys hanging around my younger brother who was six years younger than me but the same age as Bjørn and Rune who knew him. When I came back with all this new music which was emanating from our house, they got really into it. They began borrowing records, especially Bjørn for his radio show on Brygga. We produced some tracks together for SSR after Geir [Jenssen] had played some of the demo music they’d produced on the radio to Mark Hollander [SSR]. I then took Bjørn, and I think Rune Lindbæk or Ole Johan Mjøs and ended up with ‘TOS EP’ No. 1 and No. 2 ‘TOS – The Remixes’. TOS was the airport code for Tromsø.

Were you aware of any other producers or electronic music scenes in the rest of Norway? I didn’t know of anybody outside Tromsø that was into this kind of music in Norway. I had heard that there had been a club going for a couple of years in the small town of Lillestrøm outside of Oslo but that was a couple of years later.

Mental Overdrive_London, circa 1992

Mental Overdrive_London, circa 1992

Why do you think Tromsø was such a fertile location for making music? Tromsø is great for taking the time and getting immersed with your projects and in the dark season what should you do? You sit inside and you make music, or you listen to music. It’s a great place to contemplate and be productive. You don’t run around town to parties and gigs all the time. Tromsø has much more to offer socially now than in the early ‘80s but there was a very vibrant music scene with gigs every three months. Pretty strange music was classed as amazing in Tromsø, bands like the Residents were huge in Tromsø. They were bigger than Aha!

When did you first kind of become aware of an Oslo music scene? I ended up moving to Oslo in the early nineties and by chance, was invited to DJ at a party thrown by DJ Geronimo from Lillestrøm. They had been running a club for a couple of years in Lillestrøm (a small town outside Oslo). I made new friends from that crowd and started playing the odd DJ slot at their parties. It was a long journey [from Tromsø] but I was like “how much time do I have on this earth?”. In Oslo during the early ’90s, as in every European city, we arranged some of the first legal raves and had guests like Aphex Twin, CJ Bolland and Outlander. I did support slots for bands like The Prodigy in huge arenas, but [I realised] this was not the reason I got into music. I decided to leave the techno arena rave circuit and return to playing the music we liked in small bars. That’s when I met Pål Strangefruit who had just moved into town and he was my favourite DJ at the time. The scene kept going with clubs like Jazid and Skansen for a few years and that’s when the Oslo style of disco was born. Dan & Conrad, Idjut Boys came over to DJ frequently as they were our favourite DJs at the time. Local music was being produced and I made some tracks with an English producer called Nicholas Sillitoe under the name Illumination. We did a few singles, then an album and suddenly we had a creative, vibrant club scene with lovely music, people, basically everything you need to have a good scene.

Why do you think Norwegian electronic music has such a strong connection with disco? The mid to late 90s club scene of Oslo and Bergen brought disco to the attention of Norwegian clubbers. I grew up hating disco. It was the worst thing ever but I couldn’t understand why I felt like this? I worked out there were two reasons. The first was that growing up I was never played tracks by Patrick Cowley or Arthur Russell Productions; I was just played chart music. The second reason was at the school dance when I was 11. They were playing some amazing disco tracks, I got carried away with the groove and started dancing with some girls and I was in heaven! Getting down to the groove and that was my acceptance of disco music! But the school bully was stood next to me and while dancing, I knocked his fresh new bottle of Coke right out of his hand. At the time, a bottle of Coke cost as much as a skyscraper and he really threatened; I think that was the moment when the word disco left my vocabulary. and I stopped listening to it. Now, listening to disco is like therapy for me. I also had conversations with Renaat from R&S Records in the early 90s when I was really into hard techno, he loved disco and was tried to convince me that all dance is rooted in disco and that I was living in denial! Later, Bjørn [Torske] started bringing along all this great disco and when Tore (Erot) started producing I realised that my personal relationship with disco had been one of trying to come to terms with it, obviously now I understand it’s part of the foundation for all the music I love. The most influential years were when Hans-Peter Lindstrøm and later Todd Terje emerged onto a very health Oslo scene where small clubs were playing great music laced with disco. I rediscovered this great disco music from the past that I had missed out on.

Kvaløya (Whale Island, Tromsø), 2013

Kvaløya (Whale Island, Tromsø), 2013

Did you know Tore (Erot)? One night I was DJ’ing in Bergen and I met up beforehand with Bjørn [Torske] as usual and we went to Café Opera for coffee and a catch-up. He called me before I’d left to tell me to bring along my portable DAT player. Bjørn turned up with this younger friend and introduced Tore and without saying much placed the headphones on my head and Tore gave me a DAT on his music to listen to. Once we had both heard it, we immediately knew that this music had to be heard and we ended up releasing two of the tracks. The label was called Footnotes, Tore did the artwork and the tracks were called Milk Chocolate Swing and Haribo. Footnotes only had one release which was Tore’s first production.

Can you talk about Tore and his role in Norwegian music? Tore was serious when it came down to making his disco music. He came to my studio with a keyboard and played his own solos which then used in my sampler to put them into tracks; he was so focussed with nothing left to chance. Tore was a very funny, lovable and kind person.

Yourself, Bjørn and Röyksopp and a lot of Norwegian producers have a real sense of mischief, why? I think you should take your music seriously but not yourself and if you do your friends’ will tell you. This is a good way of keeping people on their toes and I think life is like that. If you don’t make your own fun you’re not going to have any.

Can you tell me about when you and Bjørn delivered the album to Joakim at Smalltown Supersound? He released some of my music on Smalltown Supersound and he began talking about Bjørn all the time, asking me “What’s Bjørn up to and will he release anything?” and he really wanted to put out some of Bjørn’s music. They started talking and agreed on doing an album and eventually, Bjørn put the finished the album onto a CD master. He called me and said, “How are we going to give this to Joakim?”. We decide on a fun way to do it. I took my camcorder and Bjørn’s CD master to Oslo airport filming myself arriving on the express train, walking through the station to the luggage lockers. I held up the CD master and filmed the number of the box and put it in, turned the key and stopped filming. I then went to the local post office where Joakim had his PO Box and I put the luggage locker key in an envelope and wrote Joakim’s name on it. Since it was also my post office, I started chatting to one of the guys working there and I said, “Can I just put this in Joakim’s PO box? It’s just right there.” And he was like, “It’s not how we usually do it but OK this time”. I managed to put an unstamped envelope with only his name in his PO Box and when Joakim came to collect his mail in the morning, he found this mysterious envelope with just a key inside. I sent him an email from a fake email account linking to a website that I had set up. It was when the US Pitchfork site was launched so we called it Fitchpork.com and I posted the video so all he got was this key and a link to a video and he had to figure out the rest.

How important has Smalltown Supersound been? Is it to the Norwegian fans? Smalltown Supersound and Joakim have been one of the main reasons that Norwegian music was recognised globally from the early 2000s because it was the only independent label that had enthusiasm, guts and a real love of music. When he wanted to start putting out music it was an easy decision to release it on Telle because Mikal was genuine about his interest in music and Smalltown Supersound was an eclectic label. That’s something I value very highly. For a long period, Smalltown Supersound was the main outlet for Norwegian dance music.

 

These excerpts were recorded and transcribed with some parts of the interview being used in the final print of the Northern Disco Lights feature documentary film.

© Paper Vision Ltd (Pete Jenkinson/Ben Davis)

Recorded on a Zoom H2.

Transcribed by Fingertips, Louie Callegari and Tongue Tied.