The Feeling Stronger Than Hate

The Feeling Stronger Than Hate

“The Feeling Stronger Than Hate” is one of the songs that was supposed to be released on the album “The Creature With One Trillion Eyes”. The album was even printed, but never released.

There were many reasons for this. One of them was that I wasn’t satisfied with the cover-art printing job, the mastering, the print material, glue in the sleeve, even the compact disk itself looked underwhelming. Makes me sound like an idiot, but really, this is nothing new in the music business, quite common actually.

After a few rounds with the manufacturers, and a couple of reprints, the album was put on hold. And after a while I had moved on and laid new plans, started on a new album, and new songs.

This song is one of a few in this project that has a guitar lead thats not recorded through a real amplifier. But through a cheap analog amp simulator called a VOX plug. It was purchased for a few bucks at the now legendary West LA Music Store.

But bullshit aside, the composition is part of a huge branch in my artistic life, those of you that has followed this project, have probably understood this by now, and can draw lines straight through me and my entire life. Life is like a tree, with roots, even  longer than the branches. 




Zephyrs is one of the earlier songs in this 5-year-long album.

I wrote most of it when I was 12-13 years old. I’d already wasted several years producing piles of cassette tapes with tracks, and I considered this song as a side project. A simple, mild, but playful tune.

At the time (obviously), I was heavily into to folk music.

Everything from Norwegian, British, American to Russian.

Eastern and western, northern and southern, old and new, rural and urban.

Still are.

A version of the song was performed with my band “Woo” between 1994 and 1996.


Life Was

Life Was

“Life was once a road,

then hope lied.”

I wrote this song in my late teens. At the time I was very ambitious, and also a victim of thinking too much. I still am.

A blessing and a curse, that I would not have been without. But having just a fraction of this trait would be great, and do me very good.

I mostly remember rehearsing the song with my band “Woo”,

We intended to perform it live (of course), but that never happened. We split up soon after.

But it’s exciting to witness these old ghosts, come alive again, here in the studio.

Though it’s been a reoccurring experience for some time now.

All of this is soon coming to an end.

As were now in the last year of this project!

After that I will only think forward.

Or maybe just be present in the moment.

Maybe not think at all

And I’ll smile

And laugh

All the way to the Spotify bank..


Set In Bone

Set In Bone

I started on “Set In Bone” around the same time that I composed “I Went” and “River”.

That doesn’t say much really.

Nothing, when I think about it.

As so many songs are composed at the same time (“Haunted”, “Needle Take Me Home” plus many more, comes to mind).

Describing the timeline of the art is like describing the timeline of an explosion.

It’s almost like I’m working in parallel worlds, with different timelines and directions. In music, and in general.

It feels like the memory of my life comes from alternate realities, where very different events form their own subjective timelines, though they might have happened exactly at the same time.

Also, closely knitted events that even form a simple storyline, might in reality have happened far far apart, both in time and space.


all the best for all your realities.

I’ll stop to bore them now.


I'm Still Here

I'm Still Here

«I’m Still Here» is an experimental song that we used to jam on, in a different time and in a different world.

The floating intro (and ending) is from another song (actually), called “Spawn”

“Spawn”, composed some years after, was the overture to what was supposed to be my first solo album, “Evolver”.

“Evolver” was a collection (of electro-pop-rock songs) spiced with extraterrestrial themes that weaved in and out between the songs, forming a parallel statement, almost a parallel record.

After a while, the concept became so full with songs, that it could easily have been 3 different albums. And so, when I released the first EP promoting the upcoming album, it contained the last 5 songs that I had worked on, and that was that.

So much for grand visions. We needed to play concerts and promote, dabbling around in the studio wasn’t going to help us with that.


Out Of Sand

Out Of Sand

“Out Of Sand” was originally meant to be the opening song to an album I worked on some, years ago. The released version differs somewhat from the original idea, and is also more ambient. (There’s even more to it than that, but I can’t talk about it just yet).

Actually there's several things I can’t talk about before the project is done.

Since this is a “five year long album” these songs are produced exclusively for this context, and some songs goes through quite drastic changes, both in arrangements and production, to complement this album concept, as a whole.

I usually have 3-4 versions of the songs anyway though, which will not be released.

Anyway, the fourth year is now over, and many milestones have been reached this year. One of them is the fact that I’m now starting on the very last year in the project. The final year.

The work load has been absolutely crazy, and I’m not sure it’s been worth it, to be honest. I’ts too early to tell. But I’m finally starting to imagine light at the end of the tunnel.

Exciting times…!

On that note I want to give a special warm thank you to these incredible people and artists:

Jetter Green

Martin Whatson

Maciek Jasik

Astrid McGarrighan

Rom Villaseran

Torje Sæbø

Stephanie Tuckwell

Magnar Moen

Blake Lewis

Magne Sandnes

Stephanie Tuckwell

Stane Jagodič

Chris Trueman

Line Hvoslef

Jeong Hur

Silje Heggren

Gerhard Stoltz

Tone Saastad

Els Geelen

Eigil Forberg

Rikke Ryge Petersen

Lotte H. Ustrup

Eirik Holmoyvik

Tim Ekberg

Tom Kosmo

Rikke Darling

Susanna Kajermo Törner

Petter L Nøstdal

Christian Bøen

Marius Martinussen

Henrik Skóra

Simone Hooymans

Håvard Legreid

Vilde Salhus Røed

Vegard Vindenes


Arne Bakke

Robert Høyem

Aurora Cornelia

All the best for the new year to everyone!!


Geir Satre




“Alinear” was one of the key songs that eventually helped form the concept behind the work “Cameron”.

Unlike the released versions of the songs «Control Looser» «Sign Reader» and «Sun High: Shadow Small» (all from “Cameron”) this version has a totally different direction, and very little in common with the above mentioned songs

Though “Alinear” was composed as an independent song at first (like the other songs mentioned), together in “Cameron”, they were weaved together along with different themes and sequences.

But also “streamlined” and “unpolished” (in a way).

“Alinear” was later brought out of this context again, and rearranged and recorded again (about a year after the “Cameron” recording).

And on that note (and the fact that it’s approaching the holiday season), I’m going to present a bonus release today!

I’m going release the whole “Cameron” work right now! From start to finish!

With unreleased & released parts all in one long track! (which also contains a completely different version of “Alinear”as well).

I hope you enjoy it!

With me on the session:

Audun Havåg: Bass guitar

Geir Arne Ose: Drums