Paper DJ Tag Team # 2

 

The Paper DJ Tag Team #2 has landed.

3 tracks each, mixing into the previous DJs to create a non-stop, disco dancing & boogie enhancing alternative take on the live stream. Selectors this time round come in the form of Chris Massey with a few celeb pals who don’t move much, BB & Richie V from their very own Supernature Disco rave den then Anoraak drops the heat from his studio which will make you salivate over his synth collection! Homoelectric banger queen Gina Breeze lays it down from her loft studio with a UV tinge, Mix-Stress knows that all the best parties are held in the kitchen & drops bangers by the sink, we just about catch a few sights of Reeta & her red handbag whilst she mixes up a storm then Indigo Jung come at us live from their sauna which must be broke as they’ve got coats on. Finishing off the mighty Flash Atkins brings it home with a full on family dance off featuring friends from multiple boroughs.

Best of Paper 2020 – Flash Atkins Mix

While 2020 has been a massive shit sandwich with no ketchup, its been a great for music and let’s not forget that the orange lunatic got told to pack his toys and move on….see ya.
Its been a vintage year for us too us too as Paper Wave got in to its stride with brilliant albums from Popsneon, Stubb and The Secret Soul Society along with a flurry of downtempo beauties. Paper Recordings signed their first African artist in Camblom Subaria and the US represented with Mr. Tea, ThrillHammer and Ryan Kick. Paper Disco knocked it out the park with Anoraak, James Rod and Trash The Wax Vol. 8 while Denmark and New Zealand went head to head with Kennedy and Jahn Solo.
Flash Atkins dusted off his controller and blended it all for this end of year mix to see in to 2021 where we’re headed for the light. And just wait to see what we’ve got lined up for 2021….ooooooooooooooft!
Onwards.
Paper x

1. Sirius Rush – Water (Popsnen Mix)
2. Stubb – We Are Launching feat. Jane Weaver
3. The Secret Soul Society – My Exstasy
4. The Secret Soul Society – Don’t Walk Away
5. Coyote – The Igigi Gods Dub
6. BOM – Moon of Endor
7. Picotriopico – Threescodisome
8. Martin Wold – Elixer
9. Anoraak – Fire Inside (Emperor Machine Maxi Edit)
10. De L’Ivresse – Field River
11. From Beyond – Planetary Groove
12. BOM – The Day
13. 2 Billion Beats – Beats of No Nation
14. Jahn Solo – It’s My House
15. The Secret Soul Society – In The Dark
16. James Rod – Belong City
17. Mr Tea – Dramatic Entrance
18 – Popsneon – This Town Forever
20. Coyote – Finally…House
21. Ryan Kick – All That We Do
22. ThrillHammer – Heart Throbbing Lover (Synthe Tigers Vocal Remix)
23. Danny Russell & Ronald Christoph – Future’s Gonna Get You
24. Kennedy – Who Rocks 89
25. Stubb – Haven Wood

Stubb – The Love You Once Regret feat. Charlie Sinclair Video

The fantastic video for Stubb’s The Love You Once Regret feat. Charlie Sinclair (Sylvette) was made by the super talented animator Caleb Riley.

Based around an ancient tree spirit with nods to Studio Ghibli and Pan’s Labyrinth, it is a comment on the Climate Emergency and how trees offer solution and salvation. Charlie Sinclair brings the soul to the epic, cinematic song and make sure you hold tight for the soaring chorus at the end.

Taken from the album Stubb – Canopy.

Get it on Bandcamp – https://stubbed.bandcamp.com/album/ca…

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!

The July Paper Wave Radio Show featuring Akibar Jnr, Crazy Penis, Sonic Boom and Todd Terje

No celebrity interviews and no retrospectives just aces high music from around the world that covers drone to soul and afro-funk to Digidub. There’s a track from Sonic Boom’s first album in thirty years, an exclusive first play of a Flash Atkins’ edit of Lovelight and album of the month from Vibration Black Music.

Tracklist
1. Crazy Penis – Do It Good
2. Martin Wold – Elixir
3. Vibration Black Finger – Acting For Liberation Pt 1
4. OSHUN – Solar Plexus
5. Tenesha the Wordsmith – The White Folks Can’t Call Me Nigger
6. Elsa Hewitt – Kevlar
7. Etienne Jaumet in Dub – Ma revelation Mystique (Etienne Goes Dub Mix)
8. Coyote – The Igigi Gods Dub
9. Mac & Party – Harambe
10. Akibar Jnr – Sore
11. Antibalas – Amenawon
12. Janka Nabay – Build Music
13. Sonic Boom – On A Summer’s Day
14. Zap Mama – Babanzele
15. Vibration Black Finger – Soul Fire
16. Loure – Heavyweight Sinner
17. Lewis Taylor – Lovelight (Flash Atkins Edit)
18. Mr Fuzz – Briefcase
19. Kraak & Smaak – Pleasure Centre (Turbito Extended Remix)
20. Todd Terje – Jungelknugen (Four Tet Remix)

DOWNLOAD 

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 classical music as very Norwegian, maybe because we had already heard it played alongside landscape footage in films. 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 but it’s part of 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 were influenced by the music and urban sounds 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 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 isolated 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 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 some music along with Geir Jenssen, 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. Bjørn 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 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 music, for example: Röyksopp, Bjørn Torske, Rune Lindbæk, why do you think that is? The first generation of Tromsø artists was more mysterious and into techno using English track 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 that was 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? 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 Lindstrøm 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.