|Heyerdahl||A Su Can Panther|
Heyerdahl — A Su Can Panther (23.03. 2016)Location: Oslo, Norway
Genre: Indie Pop, Indie Rock, Alternative
Album release: 23.03. 2016
Record Label: Sellout Music
01. Ashes 4:08
02. Desert boy 3:55
03. Acid Rain 3:38
04. Colossus 3:02
05. What it was 3:58
06. Kin 2:34
07. Wild life 4:05
08. Skjrgarden 5:07
↔ Kenneth Ishak,
↔ Tore Løchstøer Hauge,
↔ Knut Frøysnes,
↔ Robin Snasen Rengård.Review
Anmeldt av Ellen Lund
↔ Det siste drøye halvåret har Kenneth Ishak blant annet gitt ut album og spilt konserter med Universet, som er hans og forfatter og poet Bård Torgersens prosjekt, med et ønske om å lage et sted hvor lyd og litteratur møtes og settes i spill med hverandre. Jeg så dem spille på Big Dipper i desember i fjor, og så da de varmet opp for Saul Williams på Blå for noen uker siden, og jeg har ikke helt greid å komme over hvor bra det er.
↔ Det var derfor en veldig gledelig overraskelse at et av Ishaks andre interessante prosjekter, popgruppa Heyerdahl — med de andre dyktige musikerne Tore Løchstøer Hauge, Knut Frøysnes og Robin Snasen, og som Torgersen for øvrig også har gitt bidrag til tidligere — er klare med nytt album. A Su Can Panther har vært en godt bevart hemmelighet helt til det ble sluppet i dag. Det kommer også med nyheten om at bandet delvis har sluttet å være et band.
↔ Heyerdahl ga ut debutalbumet i 2013 og er i likhet med Universet umiddelbart tilgjengelig, men samtidig uforutsigbart og komplekst. Heyerdahl opererer riktig nok i et mye større musikalsk landskap og med mange flere elementer som fyller det.
↔ De fortsetter i lignende terreng som på forgjengeren, men det er mer pianodrevet og med færre store hooks og åpenbare hits, som av og til savnes, men som også sørger for en sterkere helhet. Radiohead er et åpenbart referansepunkt, men albumet dras i mange ulike retninger og føles både nostalgisk og moderne.
↔ A Su Can Panther starter med låten Ashes og et møte mellom det organiske og det elektroniske. Bassynthriff og piano driver låten fremover sammen med diverse varme padsynther og organiske trommer. I den andre låten møter trommene (vel å merke: ikke programmerte, men spilt som om de er programmerte) en kraftig effektjustert gitar som høres ut som den er spilt gjennom en kassettspiller og deretter kjørt i dobbelt tempo, og hele albumet er gjennomsyret med denne typen interessante sammensetninger og detaljer. En dyp koring som går igjen på flere av låtene fungerer godt og gir låtene et merkelig R&B~preg som også er et interessant element.
↔ Havet er forlatt til fordel for fjellet, og påskerennet og løperne går i mange ulike retninger, men med avtale om hvor de skal stoppe for Kvikk Lunsj og appelsin.
↔ Hett tips: Om du trenger musikk til bilturen opp til fjellet, musikk i ørene ned løypene eller et soundrack til bypåsken (eller noe helt annet) — ta med deg A Su Can Panther. ↔ http://gaffa.com/
Words: Andrew Hannah / 24 NOVEMBER 2016, 11:00 GMT
↔ Norwegian collective Heyerdahl release their second album “A Su Can Panther” 24th nov. Ahead of it, the band talk us through its creation.
↔ Alongside regular members Kenneth Ishak, Tore Løchstøer Hauge, Knut Frøysnes and Snasen, the album features contributions from Ryan McPhun of The Ruby Suns and Phosphorescent’s Dave Torch.
↔ While debut album Øen was a darker take on synth pop, “A Su Can Panther” brightens things up a little. While the contribution of producer Snasen keeps Heyerdahl on the gloomier side of euphoric, there’s more of a dream pop shimmer and a psychedelic, disco charm to many of the tracks.
↔ Below, you can about album in full while reading band members Ishak and Hauge’s track by track guide. Via link also listen.
↔ Kenneth Ishak: “Ashes” was one of the main songs on the record that in some ways inspired us to make the whole thing. It had a ton of horns on it, very Quincy Jones type horns, but they were just in the way of the song~ so we ended up cutting them out. Anyway ~ our whole thing, the basis of the band or collective ~ what have you, is based upon these characters we found…Or they found us rather when we recorded our first album Øen in a windswept lighthouse at the most western point off the Norwegian coast. On the first album they set out to flee their lives, or their minds even~ to go someplace else physically but also spiritually. On A Su Can Panther we find them having settled into new lives. These songs are journals, both from the characters point of view and from the outside. Ashes’ character is someone who has chosen to live in a time that is in the past. His day to day life is filled with a great connection with nature. His closest friend, lover and partner has passed away, and being in solitude and living a completely different life than before the loss gives him a clarity of mind that in many ways enables him to still be with that person.
↔ Ishak: This song was an accident. I had just bought a mint Roland Space Echo 301 online and had it delivered to my house, so I fooled around with it at home to see if it worked and I was recording for some reason. That became the main guitar riff for this song. My friend Ryan (McPhun of The Ruby Suns) heard it and said I should turn it into a song~ so I did. Jay Thornton of Brighton’s Man Ray Sky wrote some of the words with me and sang a lot at the end. Lyrically it’s about one of the characters day to day life and how he looks at loneliness to be a dream~ just pure bliss.
↔ Ishak: One of our favourites and actually the most straightforward song on the album.The recording was pretty sparse — did a lot of stuff, but once I put all the drums through an overdriven fender super reverb it didn’t really need much but the drums, vocals and some piano. This song continues the story from “Enkebukten”(from the first album) where we meet a boy who has lost his father to the sea. In “Acid Rain” this boy has become an adult, we get a good glimpse into his life≈ and his longing for his father whom he dreams is living somewhere not to be found.
↔ Tore Løchstøer Hauge: I think this track bridges the gap between our two albums. I took my mess of a song to Kenneth who wrote the part with him answering. He has an extreme ability to adapt to and understand my music. To me this is the song that’s closest to what we did on our first album Øen, an album that was more fueled with my songwriting, in contrary to this one, which is Kenneth’s beautiful vision. The lyrics revolves around me moving around a lot when I was a kid. I recently went back to the old house where I lived in Brussels. It made me think a a lot about what my life could have been like had I grown up in that street. I believe the longing for different possibilities and the sadness of not being able to go back is relatable to the the world we created on our records, and to which all the tracks are tied into somehow.
What It Was
↔ Ishak: This was in many different shapes before we setteled on this recording. At one point it was just piano and a really really fast korg drum machine with a mic in a room. I liked it but wanted to make something similar that would be just as direct and simple. Faye sings on this one too — she came up with the catchy chorusy “for what is was, for what it was”. It was such a pleasure to be in the same room as her while she was singing. Lyrically its kinda cryptic but i think it is a state of mind of one of our characters. “There used to be a rain of white noise falling infront of my eyes” is one of the lines suggesting that that noise is gone now≈ in the new life. I guess this one has the same character as Ashes.
↔ Hauge: Tim Wheeler made a solo record as a tribute to his father dying of alzheimer. I got really into that album. Obsessing over a track called “Vigil”. It’s basically about family. Kin is a powerful word, and to me it’s a center for our lyrical universe. For what the music goes — it’s just a simpel pop song. I like that.
↔ Ishak: This was just a pretty crazy demo on my Korg ms 20 iPad ap. It sounded like Joy Division but with cheesy synth sounds. For fun I added the erretic drums in my studio — playing loud and inspired by Talking Heads. I liked it, even if it felt almost shameful. So I added the semi jazzy piano and it kept getting crazier. The end when the drums keep going, was there from the beginning, hoping we’d find more stuff for the end or make a transition into a new song. I made up the lyrics wile singing along to the song. There is one sentence in the second verse i cannot make out because I am singing two things at the same time. Anyways, seems to be about a person who has started killing to survive in his/her new life. Pretty grotesqe!
↔ Ishak: I had the riff for a long time — and wanted it to be a mix of very traditional scandinavian nylon strung coastal music mixed with early ‘80s Jacko. We recorded alot of this album outside by the ocean in a canyon outside of Oslo. We would blast beats, instruments and record the ambience or reverberation. There is alot of that on this song. “Blood sister future” is the lyric in the chorus and I think it explains what the title — A Su Can Panther — is. It is a hope, in a being, a creature that is panther≈like, on and of the island of Su Can. All the crazy characters live on the island where they worship the blood sister in the dreamed shape of a panther. ↔ https://www.thelineofbestfit.com/
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|Heyerdahl||A Su Can Panther|
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