IN THE COUNTRY
ii. I open the music, open the days. I don't know why I'm so pleased to hear those melodies, why they hurt so much, why they feel so right. They are concentrated, but also open. They are elaborate, but also deeply moving. Perhaps it's the rust scattering over the keys, perhaps it's the sun setting somewhere in the bass. Equally it's the sky unexpectedly popping up above neon and quarrels, above faces and rain. The music makes me want to get into the car, go out to the ocean, see the plum tree in blossom, stare at the cranes down in the harbour, lean against the city's shoulder.
iii. I stare at the pictures, I listen to the music. The sunshine is like it never was, in emails, in the photo-booth, in the room, the sun makes its usual passage, sets. Nothing is finite, however. We love, we travel alone, we talk, we lack words. It is this love that flares up so uncomplicatedly, my children, my wife, the songs, all this that grows inwards, all this that pierces me. The piano's springtime silver, the drummer who sets the foliage free, the bassist's December song. I am here, I think that love is the real work, love is what opens us. Love and music. Love and sounds.
iv. It's late, I study my fingers as they run over the keyboard, I notice how changed they have become. I finish, the music carries on.
-Frode Grytten, 2012
As Listen to Norway puts it: "There is something serene about the way In The Country's music motions through the record's pieces; like the air from room to room. And these rooms are indeed translucent, or open to one another: In The Country's focus is on incorporating and expressing disparate influences and expressions. -More important than technical virtuosity or spellbinding musical features is the effortless, tranquil sweeps that melts the pieces and refine the music into glass."
-Listen To Norway, 2011
[last updated: 31.10.15 ]