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3 years later.

Even though the number of sold records indicate that we should succumb to the industry of popcorn jingles, we nevertheless went into the studio again to record the follow-up to Evolve.

This time around the songs felt more mature, being allowed to live and breathe for a much longer time than our previous efforts.

With 6 songs written, we set out on our next journey - the recording of Monolith.

With Evolve being recorded in a professional studio with time and budget limits, we wanted time on our side for this recording.

Instead of spending big bucks on expensive studios, we decided to pull some strings and get some help from friends, family and acquaintances. We also combed second-hand on-line markets for great bargains. That way we got hold of every piece of equipment needed to get started.

Lars-Petter went to New York and brought back with him all the microphones needed for recording drums, guitars and vocals. New and at a third of the price from what we're used to here in Norway.

When operating on a shoe-string budget, in true DIY fashion, things tend to get a bit more complicated when compared to using professionals, but then again you learn a whole lot more - and most important - you get it done the way you'd want.

Through our friend and producer Steinar Engedahl Rossing, we got hold of an excellent place for recording drums. Jostein Reistad at "Det Norske Teatret" let us use one of the large rehearsal rooms with accompanying control room for a couple of weeks, to record all the drums. The room was exceptional and gave a lot to the end result.

Lars-Petter wanted big drum sound. Well - he got big drum sound.

When we finished at "Det Norske Teatret", the journey took us via Marytown to Elcatel on Furuset. Erik Eriksen was very accommodating and welcomed us with open arms when we asked him if it was possible to use his facilities to track and record guitars and vocals. Little did he know that we would operate on his grounds all summer and all autumn.

We are forever grateful for his hospitality, and without his shelter, working on Monolith would have been a tedious task.

We spent 6 months on Furuset, recording all the guitars, the bass guitar and the vocals.

The latter needed some real engineering skills. We had to construct a vocal booth for Lars, to suppress all noise and room reverb and to capture the richness. Lars, however, was not happy with being "locked up" in this booth all day - no lake view, no video screens, low ceiling and uncomfortable temperatures. Moaning and bitching - as primadonna vocalists tend to do. ;-)

The engineers in us, on the other hand, admired the awe inspiring construction skills.

With all tracking done and every fibre of music digitized, we dove deep into the mixing - head first, eager to finally hear what all these months of hard work ended up sounding like.

A monolith was born.

We spent a lot of time on weekends during the next 2 years, mixing and working on detailing the layers. With not much experience with this kind of work, it was a steep learning curve. Let's say we hit some dead-ends - we've had our share of backtracking, but we've learnt a lot along the way.

In March of 2013, we gave Strype Audio in Oslo a call and booked mastering.

During the summer of 2013 we spent a lot of time finishing the cover art, and in the late summer we signed a distribution contract with Indie Distribution in Norway.

Indie sent out promos in Norway, while we covered the rest of the world. Physical copies (CDs) were distributed in Norway and Europe. For people outside these territories, the physical album would be available to buy online through a huge variety of retailers.




The 29th of April 2006 we went to Subsonic Studios to record our first album.

Subsonic Studios was helmed by Lars Klokkerhaug. Having worked on releases by Khold, Red Harvest, Enslaved, Jesu and Darkthrone and on the road as Motorpsychos live technician he proved to be the man we were looking for.

Lars Klokkerhaug knew how to make one feel inspired and focused - despite the occasional börek and coffee sessions. His experience, together with his ability to create calm and relaxing recording sessions, was just what we were looking for.

As we had little to no experience recording in a studio and no experience with recording a full-length album, we only went with our initial gut feelings - that Lars could bring to life a dynamic and gritty production, enhancing the selected songs for our first release.

Though only 4 tracks were chosen for the record, the songs were epic and together spanned a playtime of approx. 50 minutes.

The recording and mixing/mastering process spanned almost a year, due to us only being able to do studio work on selected weekends.

The recording process was long and a little less coherent than we initially planned for. This along with a lengthy process of designing and producing the digipak, made for a summer release in 2007.

With help from Lars Klokkerhaug and Steinar Engedahl Rossing, we made our critically acclaimed début album Evolve.

Though the feedback for this underground release are few and far between, the reviews have one thing in common,- they are all exceptionally good.

Please support our band, and buy Evolve from one of these retailers:




CD Universe

Evolve is also available on:



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