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I started composing "Come" around 2002-3. The song has many perspectives and represent many moments in my life, especially musically.
It came (pun intended) around a time when I wrote a great deal of string arrangements, mixed with electronic instruments.
This is one example where I didn't build on the first draft. ..And kind of regret it.

When you have something you think is great, its all about the feel of the song, arrangement, and mix of the right sounds. 
It was mostly recorded on portable equipment, even though we had a studio. I wanted to be spontaneous when working on it. 
With come, I recorded and arranged it in different keys and tempos. In the end I almost forgot which key it was originally. I tried several string sections and so on.

On top of it all, we had been playing it on shows,  the live-version was evolving into an electro-funk thing  (in a higher key and faster tempo), so we became quite used to that power. Parts of the live version was then added to the recording. 

The key elements for the song was something like this:
Melody should have a psalm, lamenting  kind of approach but with more closeness (and freak out in range).
The guitar should have that 60's funky, warm tone and feel to it, (chopped up to brake the realism). 
The strings should be dramatic but uplifting , (it should also have frantic elements, such as the pizzicato and crush tones). 
The electronic beats should be groovy (but in a way that didn't overshadow the simple nature of the melody). 
The synth-bass followed the beats. (before being replaced by electric bass at the end) 

I learned then, that the portable equipment at the time was not good enough for capturing the sounds we were looking for. 
I tried several guitars, amps, microphones, but ended up sampling the guitar from an earlier studio recording and pitch (slow) it down to get the sound I was after, (geeky stuff) and it worked.

The  sample libraries for the string section was too thin on their own (and we have many to choose from). Those with the right sounds for the song didn't have enough articulations and so on. 
So after transposing rearranging many times in order to get it right. It was augmented with real strings (bass, cello and violin) .
I'm never satisfied with anything! And the reason for almost regretting my decision on "Come" was that it took me crazy amounts of time to get the result I wanted. But thats part of the process.  

And that is why I wanted to give you another perspective for this song just so it doesn't seem that everything goes smooth and fast over here. It really doesn't. 

Musicians with me on the session(s):

Audun Havåg: electric bass, bowed upright bass
Bjørn Tore Kronen Taranger: Acoustic Drums

Audun Havåg, during a recording session.    Tuning his bass, trying to compensate for his poor pitch and technique..      (...just kidding!!      couldn't resist!:D ;P:)     

Audun Havåg, during a recording session. 

Tuning his bass, trying to compensate for his poor pitch and technique..

 (...just kidding!!    couldn't resist!:D ;P:) 





I wanted to shed a little bit of light on the future plans for this project. 

It may seem little, but the statements I make on these matters is pretty big to me, and I have to commit to them for five years, so I'm in a bit hesitant to release too much information before I'm 100% sure that I can deliver. 

The big news for today is that, over the course of this project, I will release 15 albums! 

So, that means that the music here will be available on albums and will be  part of a bigger statement.
All these albums will also belong together as a whole. As one body of work

This has been the plan all the way, but it's a big thing to produce. And I don't think it's ever been done before. It will be huge! 


Now over to Lori.

Lori was created along with the song "Backworlds" and served as a second movement in a way.
The song doesnt take itself too seriously, and has an easygoing vibe. 

It was recorded live (as usual) with Audun Havåg and Geir Arne Ose in a matter of minutes.
Though the composition took me a couple of years (believe it or not) to conclude. 

The song comes from a time when I was playing quite serious music and rehearsed almost every day with my fellow musicians. So it was a breath of fresh air within the repertoire.

For me it's always been about creativity, so a vital part of working with music all day, is to have music that represents all kinds of moods you'd normally experience. 

You get affected  by the songs you play, so to keep it real, I need these different emotions going, to prevent me from getting disillusioned.

It was a light moment and a fun song to play. 


On the session with me (again):

Audun Havåg: Bass Guitar

Geir Arne Ose: Acoustic Drums