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  • Dalia Faitelson Powered By Life - Losen Records · Mexican Standoff has a definitive Ennio Morricone flavour to it, stemming from my long standing affection for his iconic film scores
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1. Miso 4:49 2. Mexican Standoff 5:53 3. Casu Marzu 5:51 4. The Bing Bang 6:36 5. Osim 1:21 6. Chili Con Carne 4:49 7. Nostalgia Isn´t What It Used To Be 6:05 8. Ahab 5:36 Total Time: 41:00 Recorded January 7 and 8, 2017 by David Alexander Sjølie at Kvadraturen Studio, Oslo Mixed March 10 and 11, 2017 by David Alexander Sjølie at Kvadraturen Studio Mastered November 15 by Christian Obermayer at Strype Audio, Oslo Produced by Pangpang and David Alexander Sjølie Executive producer Odd Gjelsnes This recording is supported by BandOrg and The Norwegian Academy of Music Front cover art by Synne Amanda Salvesen 7 090025 831942 © 2018 Losen Records www.losenrecords.no info@losenrecords.no All rights reserved. Unauthorized duplication, public performance and broadcasting of the music on this CD is a violation of applicable laws. Made in EU. ISRC: NO2NJ1894 LOS 194-2 Dalia Faitelson Powered By Life Losen Records LOS 199-2 All compositions by Håkon Norby Bjørgo Sander Eriksen Nordahl guitar Håkon Norby Bjørgo double bass Ivar Myrset Asheim drums PANGPANG KISSKISS PANGPANG Losen Records LOS 194-2 Miso The first tune on the album also happens to be the first tune I wrote with this band in mind. In the last few years prior to writing it, I had mostly composed music with a strong emphasis on chords and harmony - Wayne Shorter’s mid-60’s records being a key source of inspiration. A growing desire to write tunes with freer structures and more emphasis on riffs and lines, coupled with a fondness for John Coltrane, Atomic and Ornette Coleman, as well as Arnold Schönberg, resulted in this tune. The melody is by no means based on the latter’s concept of twelve-tone serialism, but rather inspired by the rich chromaticism of his earlier works. Mexican Standoff Mexican Standoff has a definitive Ennio Morricone flavour to it, stemming from my long standing affection for his iconic film scores. Growing up, I'd watch Sergio Leone’s The Good, The Bad and The Ugly tirelessly, Morricone’s music being a major part of the appeal. The fact that the last ten minutes of the film were missing from my VHS did little to lessen my appetite - the visuals, the atmospheres and the music made me come back again and again anyway. Casu Marzu Casu Marzu basically consists of the angular opening melody and the big heavy riff near the end, with an improvised section in between. This section presents the task of connecting the two other parts - getting from A to B - even though they have quite different characters. To me, playing music like this provides an interesting challenge: it sets up a compositional goal for the improvisation, providing framework to stimulate the imagination, yet allowing freedom for spontaneity. In this case we play around with implied tonal centres, creating tension and release while building intensity. The Bing Bang In a sense, the first and second halves of The Bing Bang represent two of the principal contrasting opposites featured on this album. The first half has assertive riffs and long, chromatic lines suggesting sequences of different tonalities. The second half on the other hand pivots around space and timbre, with rich textures and dynamic cascades of sound. Both sections feature composed as well as improvised elements, but we approach them with a different mindset. Osim This short through-composed piece is by far the softest track on the album, providing a sombre contrast to the more ecstatic tunes. The influence of 20th century classical music is quite recognisable, but to me the tune still feels very much cut from the same cloth as the rest of the tracks. In fact, the guitar part is actually based on the melody of Miso played backwards, hence the title. Osim, being the newest song on the record, indicates the direction in which this band is developing; not necessarily becoming quieter, but rather more dynamic. The future will see us playing both softer and harder, in addition to playing both strictly notated through-composed parts and openly improvised sections. Chili Con Carne Chili Con Carne opens with a heavy riff, over which a jagged melody is then played. Some sudden twists and turns provide variation and loosen up the regularity of the form. The improvised section on this track exemplifies how we tend approach open improvisation in this band: not really «no rhythm» and «no tonality» but rather «free rhythm» and «free tonality». Nostalgia Isn’t What It Used To Be This tune - essentially a six minute crescendo - features Sander’s soloing over a series of modulating odd metre riffs. There's definitely a retro vibe going on, which the ironic title - not of my invention - references. Sun Ra and Gong’s early 70’s albums provided the initial spark of inspiration that resulted in this tune. Ahab The final tune on the album draws inspiration from Ken Vandermark’s music, as well as the character from Herman Melville’s novel Moby Dick after whom this tune is named. There’s no tangible connection between the two, but they found their way into the same composition nonetheless. Håkon Norby Bjørgo

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Page 1: Dalia Faitelson Powered By Life - Losen Records · Mexican Standoff has a definitive Ennio Morricone flavour to it, stemming from my long standing affection for his iconic film scores

1. Miso 4:49

2. Mexican Standoff5:53

3. Casu Marzu5:51

4. The Bing Bang 6:36

5. Osim1:21

6. Chili Con Carne4:49

7. Nostalgia Isn´t What It Used To Be6:05

8. Ahab 5:36

TotalTime:41:00

RecordedJanuary7and8,2017byDavidAlexanderSjølieatKvadraturenStudio,Oslo

MixedMarch10and11,2017byDavidAlexanderSjølieatKvadraturenStudio

MasteredNovember15byChristianObermayeratStrypeAudio,Oslo

ProducedbyPangpangandDavidAlexanderSjølie

ExecutiveproducerOddGjelsnes

ThisrecordingissupportedbyBandOrgandTheNorwegianAcademyofMusic

FrontcoverartbySynneAmandaSalvesen

7 090025 831942

©2018LosenRecordswww.losenrecords.noinfo@losenrecords.noAllrightsreserved.Unauthorizedduplication,publicperformanceandbroadcastingofthemusiconthisCDisaviolationofapplicablelaws.MadeinEU. ISRC:NO2NJ1894

LOS194-2

Dalia Faitelson P

owered B

y Life LosenRecordsLO

S199-2

AllcompositionsbyHåkonNorbyBjørgo

Sander Eriksen Nordahlguitar

Håkon Norby Bjørgodoublebass

Ivar Myrset Asheim drums

PAN

GPA

NG

KISSK

ISS PAN

GPA

NG

LosenRecordsLO

S194-2MisoThefirsttuneonthealbumalsohappenstobethefirsttuneIwrotewiththisbandinmind.Inthelastfewyearspriortowritingit,Ihadmostlycomposedmusicwithastrongemphasisonchordsandharmony-WayneShorter’smid-60’srecordsbeingakeysourceofinspiration.Agrowingdesiretowritetuneswithfreerstructuresandmoreemphasisonriffsandlines,coupledwithafondnessforJohnColtrane,AtomicandOrnetteColeman,aswellasArnoldSchönberg,resultedinthistune.Themelodyisbynomeansbasedonthelatter’sconceptoftwelve-toneserialism,butratherinspiredbytherichchromaticismofhisearlierworks.

Mexican StandoffMexicanStandoffhasadefinitiveEnnioMorriconeflavourtoit,stemmingfrommylongstandingaffectionforhisiconicfilmscores.Growingup,I'dwatchSergioLeone’sTheGood,TheBadandTheUglytirelessly,Morricone’smusicbeingamajorpartoftheappeal.ThefactthatthelasttenminutesofthefilmweremissingfrommyVHSdidlittletolessenmyappetite-thevisuals,theatmospheresandthemusicmademecomebackagainandagainanyway.

Casu MarzuCasuMarzubasicallyconsistsoftheangularopeningmelodyandthebigheavyriffneartheend,withanimprovisedsectioninbetween.Thissectionpresentsthetaskofconnectingthetwootherparts-gettingfromAtoB-eventhoughtheyhavequitedifferentcharacters.Tome,playingmusiclikethisprovidesaninterestingchallenge:itsetsupacompositionalgoalfortheimprovisation,providingframeworktostimulatetheimagination,yetallowingfreedomforspontaneity.Inthiscaseweplayaroundwithimpliedtonalcentres,creatingtensionandreleasewhilebuildingintensity.

The Bing BangInasense,thefirstandsecondhalvesofTheBingBangrepresenttwooftheprincipalcontrastingoppositesfeaturedonthisalbum.Thefirsthalfhasassertiveriffsandlong,chromaticlinessuggestingsequencesofdifferenttonalities.Thesecondhalfontheotherhandpivotsaroundspaceandtimbre,withrichtexturesanddynamiccascadesofsound.Bothsectionsfeaturecomposedaswellasimprovisedelements,butweapproachthemwithadifferentmindset.

OsimThisshortthrough-composedpieceisbyfarthesoftesttrackonthealbum,providingasombrecontrasttothemoreecstatictunes.Theinfluenceof20thcenturyclassicalmusicisquiterecognisable,buttomethetunestillfeelsverymuchcutfromthesameclothastherestofthetracks.Infact,theguitarpartisactuallybasedonthemelodyofMisoplayedbackwards,hencethetitle.Osim,beingthenewestsongontherecord,indicatesthedirectioninwhichthisbandisdeveloping;notnecessarilybecomingquieter,butrathermoredynamic.Thefuturewillseeusplayingbothsofterandharder,inadditiontoplayingbothstrictlynotatedthrough-composedpartsandopenlyimprovisedsections.

Chili Con CarneChiliConCarneopenswithaheavyriff,overwhichajaggedmelodyisthenplayed.Somesuddentwistsandturnsprovidevariationandloosenuptheregularityoftheform.Theimprovisedsectiononthistrackexemplifieshowwetendapproachopenimprovisationinthisband:notreally«norhythm»and«notonality»butrather«freerhythm»and«freetonality».

Nostalgia Isn’t What It Used To BeThistune-essentiallyasixminutecrescendo-featuresSander’ssoloingoveraseriesofmodulatingoddmetreriffs.There'sdefinitelyaretrovibegoingon,whichtheironictitle-notofmyinvention-references.SunRaandGong’searly70’salbumsprovidedtheinitialsparkofinspirationthatresultedinthistune.

AhabThefinaltuneonthealbumdrawsinspirationfromKenVandermark’smusic,aswellasthecharacterfromHermanMelville’snovelMobyDickafterwhomthistuneisnamed.There’snotangibleconnectionbetweenthetwo,buttheyfoundtheirwayintothesamecompositionnonetheless.

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