Say simply and modestly, that his music would fall under the “alternative” category. It is a vague term, to compose and sing as Eivind Aarset. The artist is today one of the most famous Norwegian guitarists. The sound of electric guitar is considered also one of the most original contemporary jazz scenes.
The music meeting with Hendrix was the revealing moment that which has approached the young – 12 years at that time – Eivind, by this instrument. Then the artist discovered the classic rock, listening to Deep Purple, Floyd and Santana, then the fusion with the Mahavishnu, Return to Forever and Miles Davis.
He played ‘upset’ rock with a band until he felt that no longer needs all that kind of energy and release. His first album – Electronique Noire – was hailed by the critics, New York Times considering it “one of the best jazz albums of the post-electric Miles.”
Eivind Aarset’s music is classified, in fact, with all sorts of sophisticated expressions: not jazz, electric jazz or drum’n ‘bass fusion. Electronique Noire was published in 1998 and has as guests on two other northern appreciated and famous artists, Nils Peter Molvaer and Bugga Wesseltoft.
Electronique Noire conquered me and shocked me when I first listening it. If when I listen to, for example, 666, Aphrodyte band’s Child album, I feel that such music could not be born than in the dazzling sun, hot, hallucinating and dramatic Mediterranean, Electronique Noire could be conceived only in the northern landscape.
This is a powerful music, strange, cold but exciting, unpredictable and mysterious. Nothing comes clear, though, from another world. It is light but has power and expressiveness that it does not matter. Electronique Noire is an atmosphere album, just not as comfortable not as musicality or feeling. Sound is electronic-funky-jazzy and rock songs are full of ups and downs, dynamic and dizzying changes of attitude.
