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Veslefrekk: Veslefrekk

John Kelman By

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Of course, what was possible for Veslefrekk was still not entirely known, as just four years later the group, augmented with Helge Sten and renamed Supersilent, would release 188 minutes of extraordinary improvisational extravagance with the equally bold move of a three-CD debut, 1-3 (Rune Grammofon, 1998). It was a critically acclaimed album that quickly set the group's modus operandi: the same relative anonymity as early Pink Floyd; titling all subsequent albums with nothing more than sequential numbering; and track titles that were similarly numbered sequentially and, consequently, evoked no preconceptions as to what the music would be.

It was all part of a methodology that would continue to evolve over the next 16 years, though Vespestad would ultimately leave Supersilent in 1998, being just too much in-demand and needing to make cuts somewhere. Henriksen has, with the exception of Supersilent and a handful of other projects largely built around the Punkt Festival axis, cut back as well; but in his case with an eye on focusing more exclusively on his own career. Storløkken, on the other hand, seems to have gone the other route, and is seen or heard popping up, it would seem, just about everywhere.

But in late 1993, these three graduates of the renowned Trondheim Musikkonservatorium convened at the city's Innspilt i Nidaros Studio to record Veslefrekk: a harbinger of many more very, very good things to come and, therefore, an album absolutely rife for Rediscovery.

So, what are your thoughts? Do you know this record, and if so, how do you feel about it?


[Note: You can read the genesis of this Rediscovery column here.]

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