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


Sun High: Shadow Small

Sun High: Shadow Small

Even though I’m releasing a new song every fortnight, they‘re usually composed with several years between them (and quite often decades).

As with many known bands and artists that’s been around for many decades (also unknown artists), one usually goes through phases, as with life in general.

After dense productions, one might be inclined to do something minimalistic.

One record can have the agenda of “capturing raw live energy” while the next one could be attempting to have “no foot in reality at all”.

«Sun High: Shadow Small» (and the rest of the «Cameron» compilation) was recorded at a time where songs like “I Am A Snake” was frequented performed. And it was natural to aim for something different, in the creative space between shows.

With me on the recording:

Audun Havåg: Bass Guitar

Geir Arne Ose: Acoustic Drums


Sign Reader


Sign Reader

Sign Reader is the second part of a larger work called “Cameron”

The song has been through extreme changes over the years, and is probably the song that has changed the most (of the songs in the “Cameron” collection).

And many of them have been changed a lot.

Originally it was full of arpeggios (notes) and syncopation (odd rhythms). And it had an entirely different statement and mood.

It had choral soundscapes along with African, and Latin parts.

Now there’s not much left of that, replaced by simple guitar chords and voice.

And I really don’t know how, why or when. Actually I just realized it now, while trying to write something about it, in this blog.

But, I guess there are no final versions of anything in this universe anyway..

With me on the recording:

Audun Havåg: Bass Guitar

Geir Arne Ose: Acoustic Drums



Control Looser


Control Looser

Control Looser is the first song in a larger piece called “Cameron”.

Originally this work was composed with strings, horns and piano (in mind). But at the time; the reality of recording an entire orchestra was technologically, practically and economically; impossible.

Instead, I recorded the whole piece live, in one take, (together with Geir Arne Ose and Audun Havåg).

These days, studio production are quite different! After working with orchestral arrangements on a daily basis for years now, I still find this recording to be more interesting as it is (compared to the denser, and polyphonic orchestrated version).

There is something about playing tones intended for a specific instrument, with an entirely different one. It can make it more original and interesting.

So, what once was a technical and financial limitation, now contributes to making these songs more “exotic”.

I also went for a more grounded and old-school kind of approach, with minimal audio processing, and few instruments

On the session with me:

Audun Havåg: Bass

Geir Arne Ose: Drums



I Am A Snake


I Am A Snake

This release is based on a live performance with my band Woo. I composed “I Am A Snake” specifically with live shows in mind, which I often do.

However, most of the song, and it’s ideas was made without instruments (meaning in my head), in form of daydreaming, and a bit of wishful thinking.

I more often than not, compose without instruments. It’s more liberating that way.

It’s less stressful to think about work, than actually doing it. And I believe many songs would not have been made, if I would need to tackle all physical production and arranging aspects at the same time.

Also, you need the right person to play a song. Someone who understands it, and so many of my songs was rendered unplayable, without the right people in the group.

At the time, when daydreaming, I wrote ideas down on small post-it notes. I have thousands of these, along with a bunch of small yellow notebooks.

Musicians with me on the recording:

Audun Havåg: Bass guitar

Geir Arne Ose: Drums