This session took place october 2006 in my studio Audiopol. Christian W was the only one left from the old GeneratorX, and I wanted to check out Ole Mortens electric bass capabilities. This recorded meeting was our first ever, a kind of an audition for a new branch on the GeneratorX family tree. I wanted to focus on "attacking" soundscapes, and

This session took place october 2006 in my studio Audiopol. Christian W was the only one left from the old GeneratorX, and I wanted to check out Ole Morten´s electric bass capabilities. This recorded meeting was our first ever, a kind of an audition for a new branch on the GeneratorX family tree. I wanted to focus on "attacking" soundscapes, and besides that the following rules apply:

We have a common start-tempo/pulse.

Each will rapidly try to develop a personal system that each individual adheres to throughout the take.

This personal system must somehow have its relationship to our existing "common" pulse maintained, while staying consistent with one´s own idea even if this precipitates "crashes" rhythmically, or in any other ordinary musical sense of the word.

The trio turned out to be a perfect match, almost....uuhh...OhMyGod-able.

The level of interplay on these takes continues to amuse and stun me even today, after many long periods trying to finish the editing and sound these last 5 years. ENJOY!!

IN the fall of 2010, after touring extensively around the world with my old friend Nils Petter Molvær for some 3 years, I finally found the time to dive a little deeper into an electronic version of my drumming. Utilizing a wavedrum, a computer and about 112 midi controllers, my goal was to create more harmonic content in both my sound and my

IN the fall of 2010, after touring extensively around the world with my old friend Nils Petter Molvær for some 3 years, I finally found the time to dive a little deeper into an electronic version of my drumming. Utilizing a wavedrum, a computer and about 112 midi controllers, my goal was to create more harmonic content in both my sound and my phrasing, and to create a constantly moving/dancing filter/stereofield. While practising this setup at home - I made stereo-recordings each and every day for 6 months, and in february 2011 found myself sitting on tens of hours of music. Not being able to further shrink my selections, I realized I needed help cutting the best stones from this vast quarry of material, and called my friends Jan Bang and Erik Honoré.

Originally I asked them to make rough cuts and selections from the stereo material fit for an album, but then I came across some money and we decided to make a properly "produced" album, meaning spending several weeks in Jan ́s studio to make selections, rearrange my recordings to new forms, overdub them, orchestrate them etc. This album is totally different from "ATTACK", not a drumset in sight, and definitely danceable if you keep your eye on the ball.