{"id":36555,"date":"2019-04-05T00:00:00","date_gmt":"2019-04-04T23:00:00","guid":{"rendered":"https:\/\/www.grappa.no\/no\/albums\/ukategorisert\/bedehus-hawaii-2\/"},"modified":"2021-04-12T09:56:50","modified_gmt":"2021-04-12T08:56:50","slug":"bedehus-hawaii-2","status":"publish","type":"product","link":"https:\/\/grappa.no\/en\/albums\/hubro\/bedehus-hawaii-2\/","title":{"rendered":"Bedehus &#038; Hawaii"},"content":{"rendered":"<p><\/p>\n<p>Inspired and inspiring HUBRO debut<\/p>\n<p>On the guitarist and composer Trond Kallev\u00e5g\u2019s inspired and inspiring HUBRO debut, edgily ambient and cinematic atmospherics meet front-porch picking from a super-sensitive folk and jazz inspired ensemble given serious twang by the legendary Geir Sundst\u00f8l on slide and pedal steel. Perfectly formed ear-worm melodies are stretched and bent into new improvised shapes as electric and acoustic instruments weave decorously in and out of each other\u2019s orbits, accompanied by startling solo preludes or intersecting excerpts of experimental field recordings or found sound.<\/p>\n<p>Everything seems to fall quite naturally into place, sounding intimately poised and at home with itself. Here, West Norway somehow meets the south Pacific, and humble chapel traditions &#8211; of music and much else &#8211; rub up against what might be termed Polynesian gospel-swing. There are so many contrasts and concordances here &#8211; that the music carries an ever-present sense of tension and release, pushing each tune forward.<\/p>\n<p>A particular blend of instruments and instrumentalists is partly what makes \u2018Bedehusand Hawaii&#8217; so distinctive.The remaining ingredient is Trond Kallevag\u2019s interest in film soundtracks, and his use of sound as sound, which adds a further level of intellectual engagement to the project.<\/p>\n<p><!--more--><\/p>\n<p>Cinematic C&amp;N (Country &amp; Northern) goes Pacific as West Norway chapel grooves encounter Polynesian-influenced steel and slide featuring the amazing Geir Sundst\u00f8l on pedal steel.<\/p>\n<h4>Chapel traditions from west Norway meets Polynesian gospel-swing<\/h4>\n<p>Everything seems to fall quite naturally into place, sounding intimately poised and at home with itself. Whatever the musical references, and however long you might take to enumerate the album&#8217;s various strengths, and those of Trond Kallev\u00e5g as writer, player and producer &#8211; and \u2018Bedehus &amp; Hawaii is so good that you can continue doing this for quite a while &#8211; you might still question exactly what makes it so special. For deep in the core of the album\u2019s unusually compulsive appeal is a poetic sense of place and a very specific audio landscape. Here, as reflected in the title (a Bedehus is a local prayer-house or chapel), west Norway somehow meets the south Pacific, and humble chapel traditions &#8211; of music and much else &#8211; rub up against what might be termed Polynesian gospel-swing. There are so many contrasts and concordances here &#8211; between different geographical and musical climates, between north and south, sound and music, acoustic and electric, composition and improv, figure and ground, sacred and secular, sea and shore &#8211; that the music carries an ever-present sense of tension and release, pushing each tune forward as if it\u2019s dancing on the balls of its feet.<\/p>\n<h4>Magic touch by Geir Sundst\u00f8l on pedal steel guitar<\/h4>\n<p>A particular blend of instruments and instrumentalists is partly what makes \u2018Bedehus and Hawaii&#8217; so distinctive, with Trond Kallev\u00e5g choosing to use his familiar trio partners, Alexander Hoholm on double bass, and Ivar Myhrset Asheim on drums and percussion, alongside the virtuoso violinist Adrian L\u00f8seth Waade (Skadedyr). Adding Geir Sundst\u00f8l supplied the magic touch. \u201cPedal steel guitar is probably the most beautiful sounding instrument I know, and to have Norway&#8217;s most respected and in-demand guitarist playing on my album was surreal and amazing.\u201d<br \/>\nThe remaining ingredient, and perhaps the reason why the album goes so far beyond the normal confines of a superior \u2018picking\u2019 set of instrumentals &#8211; whether jazz, country, or whatever &#8211; is Trond Kallevag\u2019s interest in film soundtracks, and his use of sound as sound, which adds a further level of intellectual engagement to the project. \u201cI wanted the musicians to express themselves without feeling limited by the music, but I also wanted to tell stories and have a cinematic quality\u201d, he says. &#8220;That\u2019s also why I\u2019ve been mixing electronics and a little field recording into the music, in order to bring certain moods and pictures to the mind of the listener, but without overdoing it.\u201d<\/p>\n<h4>Concerts<\/h4>\n<p>April 10 Spor 5, Stavanger (N)<br \/>\nApril 11 Kulturkirken Sk\u00e5re, Haugesund (N)<br \/>\nApril 12 Lykling Bedehus, B\u00f8mlo (N)<br \/>\nApril 13 Vossajazz, Voss (N)<br \/>\nApril 14 Flor\u00f8 Samfunnshus, Flor\u00f8 (N)<br \/>\nAugust 14 Gr\u00f8nland Kirke, Oslo Jazzfestival, Oslo (N)<\/p>\n<p><\/p>\n<div class=\"ms-editor-squiggler\" style=\"color: initial; 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