Havard Volden: Small Lives

Although the press release claims that Norwegian-born Havard Volden "takes center stage" with his guitar, Small Lives is carefully constructed around the fusion of his experimental guitar work with synthesizers, bass, drums and more—many of which are performed by Volden himself. This is no surprise, as beyond his guitar prowess, he skillfully leverages the capabilities of a modern studio to craft intricate, improvisational soundscapes.

Volden has cited guitarists such as Pat Metheny as key influences. He also draws inspiration from innovative studio pioneers like Joe Meeker, who in the 1960s was known for using the recording studio itself as an instrument. Meek employed echo machines, reverb, delay, and other effects—techniques that Volden and his collaborators also embrace. By the early 1970s, musician and producer Brian Eno further expanded on this approach, using ambient studio-created sounds to dramatic effect—yet another influence on Volden's work.

While Volden states that his music is rooted in improvisation, Small Lives never veers into the chaos of free jazz (an early influence of his). The five original pieces are composed by Volden, yet they evolve organically—free-flowing, patiently paced and never hurried.

The album opens with "Seedling," which sets the tone with deep, subterranean bass and a heavy percussive framework supporting Volden's electric guitar and synth sounds, co-created with Guoste Tamulynaite. "Soaring" follows, featuring guitar and synthesizer, lifting the listener into space on a bright, brisk swirl of sound. Influences are diverse, with nods to tracks like "Eight Miles High," The Byrds' 1966 psychedelic free-form rock-jazz voyage to the skies.

Side two of the vinyl edition offers three more original compositions. Although listed separately—"Small Lives," "Dog Happy," and "Oryzae"—they play as a seamless mini-suite. A bed of rich, molten percussion lies beneath Volden's shimmering guitar in the title track. The suite then transitions into "Dog Happy," which transports the listener into an otherworldly realm. The final segment, "Oryzae," begins with a purposeful march, gradually evolving toward its closing destination.

Small Lives rewards repeated listening. Subtle layers and sonic details reveal themselves more fully on the second and third plays. As an added bonus, the vinyl pressing is pristine and sonically exceptional, greatly enhancing the overall listening experience.

Comments