Hindsight Bias – track by track

DSC_0960Super-trio Bly de Blyant´s second album “Hingsight Bias” was released earlier this year to great critical acclaim. The LP version is unfortunately still not out after several delays, but we´ll keep you all posted. Here´s a track by track guide to the album from drummer Øyvind Skarbø:
The main structure here began as an attempt to create a tune that could have been an outtake from Joni Mitchell’s record Hejira. Rather than being given a distinct melody to work with, Hilmar has plenty of leeway. I heard him play with another band, where he had a long, melodic solo. With “Jiddu” I wanted to create a framework where we could hear that side of him. When we play live, Shahzad plays normal bass on this and Moog with his foot.
This song appeared more or less by itself while I was out walking in Lodz, Poland. The last part is an adaptation of an older song, “Tjukkesokka”, which had been tested out by two different bands, but never came into its own. Westkreuz is a district in Berlin.
One has heard of it happening, but this was the first time it ever happened to me: the bass line for “Laura” came to me in a dream. The guitar figure in the dream was identical to one I had seen on a YouTube clip of James Brown. Using a banjo was Shahzad’s idea. I bought a cassette that we used to record the song on, and then recorded it back to ProTools twice in order to get that great cassette sound.
This is a tune that has been running through my head for several years. The harmonium stood in the corridor outside of the studio. There was coincidentally a conference somewhere else in the Grieg Hall that day, which we can hear in the background. We can also hear a man walking by with a large bunch of keys hanging out of his pocket.
This tune was inspired by much of the metrically challenging music heard in New York. The melody itself was originally written “blind”, without double-checking with any melodic instruments, and then edited marginally afterwards. There are also elements of an old hip-hop beat here. Michael Jackson represents the melodic, danceable aspect of the music, while Jackson Pollock represents the abstract component.
This is an improvised piece. The basis here is a new drum machine Shahzad had got hold of: Teenage Engineering OP-1. This gives me associations to some of the very early jazz-rock bands in the late sixties and early seventies.
The point of departure for this tune is the drum track (and there are five of them). I think that the original idea arose after a concert with Batagraf. Hilmar and Shahzad then added their own voices before Kjetil Møster himself came and laid down a truly amazing solo.
This is the second improvised piece, admittedly featuring some well-chosen overdubs. Hilmar found a guitar-like instrument in the studio, decorated with snakeskin, and used it to record a few voices. I heard a piano figure in my head, and Hilmar took care of that, too. “The Eighteen Irascibles” is a good example of what we’re trying to do, namely to make what is entirely improvised sound as though it could have been composed.