Bjørn Nes: Unusual focus on arrangement details, and progressive melodic hooks…..
...... attention span is not necessarily a product of the ever growing access to stimuli. Moreover, there appears to be a shift in the day-to-day-priorities of the consumer, and I increasingly think the product is more at fault than its availability. There seems to be a consensus among industry professionals that the average listener is getting lazy, our attention-span shorter, and the only way to combat this is to further compartmentalize an art form that is alreadyso ridden with do’s and don’ts that it has becomes painstakingly obvious that it’s not really art anymore: Commerce first, art somewhere down the line. The main problem does not lie with rules or formula alone. Who am I to critique someone’s personal vision of their art and craft? To create a short and sweet popsong requires practice and skill many cannot attain in a lifetime, and that’s not and has never been the issue. The problem lies in its codependency on its format’s requirements: this weird symbiosis between formula and format that is increasingly giving way to a meaningless race for instant gratification by artists, labels, and curators, and will continue to limit and restrict how music is being consumed. The digital age should have been the antidote. Television’s a prime example (pun not intended) of a format that has increasingly demanded more from its audience as it has become more readily available through streaming. The ambition is higher than ever. Why shouldn’t music be allowed to do the same? The single as medium was originally just a product of the technical limitations of early phonograph records, not a prerequisite for how it must be today. It’s almost perplexing how those whocondition the ears of the average listener also condition the voice of the artist. Let songs be the songs they intended to be. Abacaus is out September 6, 2021 I have always invested myself in compositional ideas above all else. They are intentions for a musical design of absolute candor, and for me that defines creativity at its infancy. Certainly the process that will later unfold is never truly alike any one that came before, and though its result may be satisfactory or even great if one is truly lucky, it might equally render the entire idea obsolete. But ideas are comforting because they too aspire to be something more, something better. It has been quite number of years since I last dared to even think about the endless methods for realising any of these musical thoughts. Up to a certain point they seemed best left inside this brain I was given some twenty-eight odd years ago. If grocery shopping felt like slippery slope to certain death, I sure as hell was not going to release anything that might warrant me unwanted attention for some sappy-ass love song. But the thing is that after a while these ideas really eat you up alive if left unattended. You define yourself a songwriter but you’re not really providing the material necessary to convince yourself you’re truly who you think you are. At the same time you’re holding onto something that was originally created to take on a life of its own. Something that aspired to be, and even deserved to be, something more than a crude outline inside your own head. It was more about necessity than desire, and the result wasn’t even the important part. Interpretation and improvisation allow no final form. So it clearly wasn’t only the idea that needed to grow, it was also the man behind it. Go get em! Abacaus is out September 6. 2021 Most of the material that comprise Abacus was never intended to be recorded. It certainly wasn’t intended to be released. It wasn’t supposed to have a life on its own and it wasn’t supposed to take on a final form. I think most artists praise their latest work as their best. Someone standing on theoutside might not have seen the journey that lead up to that moment of creation, but the artist made both conscious and unconscious decisions that lead her or him to that moment in time where the art best represented him orher at that exact moment. Abacus, however, is a different story altogether. To me Abacus has come to represent a platform for growth. Amidst masks and socialdistancing I decided to rid myself of all fears, expectations, and the presumptions that I wasn’t good enough. So Abacus became a project of songs I didn’t truly love, but songs which nevertheless deserved to be useful, to blossom, and to be sung. It was project that allowed me to experiment with everythingfrom instrumentation to lyrical arrangement. The result is something I struggle to categorize, but something I know that I’m proud of. The album is about 55-minutes of music. It’s quirky, melodic, bluesy, arranged with total abandon, and guitar-driven for the most part: a musical cocktail of 70s power pop, blues rock, and baroque colored contemporary classical music. It’s a record that doesn’t strive to be defined but rather strives to reflect creative diversity, improvisation, and experimentation. I’ve got so many people to thank but I’ll get to that later. Sayonara, mothers! Abacus is out September 6. 2021. Bjørn Nes: Uvanlig focus på arrangementer, og på progressive melodisk hooks..... En bonus med å være musikkjournalist er at jeg kommer over så mange artister som ikke nødvendigvis er så kjente, men som til grader leverer virkelig god og fascinerende musikk. Bjørn Nes er i den kategorien! Nes er aktuell med albumet Abacus som han både har skrevet og produsert selv, og på minimalt budsjett. Med seg på laget har han både gamle og nye venner: fra tidligere band-kompiser til avgangselever på Norges Musikkhøgskole. Nes sier: Den 6. September 2021slipper jeg plata Abacus både fysisk og digitalt. Abacus består 55 intense, fine, rare, forvirrende, gjenkjennelige, raske, og seige minutter med musikk. En slags cocktail av 70-talls power pop, bluesbasert rock, og barokk farget samtidsmusikk. En plate som ikke sliter med å definere hva den er, men en plate som gjenspeiler det kreative mangfold hver låtskriver har, men kanskje ikke tør å vise: fra den musikalsk såre og lineære historien i “Hotel Royale” til den røffe “If I Die In a Combat Zone (…),” eller “Guitar Quintet in F-Major,” spor som re-evaluerer form gjennom et slags gjenoppfunnet strykeorkester. Bjørn Nes (f. 1993, Arendal) er ifølge de som kjenner ham Norges mest obskure gitarist og låtskriver. Han har aldri fryktet klisjeer, ei vært redd for å bryte regler, og i mot-som-med-vind har hans. Fender Stratocaster hengt trygt over hans venstre skulder. Hans nye album Abacus er også hans første som artist på egne ben. Abacus er en moden blanding av 70-talls power-pop og bluesbasert rock, men bærer preg av elementer som fusion jazz, reggae, og en liten dose flamenco. Plata er både skrevet og produsert av Bjørn Nes , og inneholder også hans første utgivelse av klassisk musikk. Låten Kyss Meg I Ræven, Han var i flere år en ivrig deltaker på musikkscenen på sørlandet. Han spilte tidligere i rocke-bandet Valerie (som blant annet spilte på Hove Festivalen 2014 og ga ut 2 plater), Manchester-bandet Union City Blue, og med Mama Sadio under et lengre opphold i Senegal i 2016. Han er også tidligere mottaker av Arendal Kommunes Talent Arendal stipend som komponist og tekstforfatter, og vinner av Rytmisk Fabrikks (Arendal) talent konkurranse. Den amerikanske plate-produsenten Beau Hill (Alice Cooper, Winger, Ratt m.f) har tidligere uttalt seg at Bjørn har “excellent material, an unusual focus on arrangement details, and progressive melodic hooks (…),” og bedre enn det kan nok ikke Bjørns musikk karakteriseres. Han er fan av det han kaller progressive melodier og arrangement som overrasker lytteren. Musikken er melodisk i bunn, sår til tider, men røff rundt kantene: kanskje noe man vil forvente fra en med bakgrunn som rockegitarist. Abacus består av 55 intense, fine, rare, forvirrende, gjenkjennelige, raske, og seige minutter med musikk. En cocktail av 70-talls power-pop, blues-basert rock, og barokk-farget samtidsmusikk. En plate som ikke sliter med å definere hva den er, men en plate som gjenspeiler det kreative mangfold hver låtskriver har, men kanskje ikke tørr å vise: fra den musikalsk såre og lineære historien i “Hotel Royale” til den allegoriske og røffe “If I Die In a Combat Zone (…)”. Albumets intermezzo om du vil er en egenkomponert gitar-kvintett i 4 satser. Guitar Quintet in F-Major er spor som re-evaluerer form gjennom et slags gjenoppfunnet strykeorkester. Et eksperiment med mål om å gjøre en elektrisk-gitar til en del av en helhet; en integral del av det harmoniske maskineriet, og to steg vekk fra den a-typiske gitar-kvintetten med klassisk gitar i forsetet. Plata er mastret av Don Bartley, kanskje Australias mest produktive mastering ingeniør (Metallica, Nick Cave, INXS, ABBA og Beatles re-issues osv), og trykket av Diger Distro i Oslo.



8/25/2021
 




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