Einar Jullum

From the heartworn highway of Harriet Wild:

These are blues for halcyon days, sky-blues and sea-blues that rent apart a grey status quo, revealing and revelling in melodic twangs and prairie noodling not dissimilar to Arthur Russell’s folksier offerings. Jullum’s guitar meanders, pulsates and jitters along a heartworn highway, filtered through feathered drumlines, 12-bar blues sewn to husky Norwegian annunciations. Pastoral pop contemporaries notwithstanding, Jullum is countrified without being Kentucky-fried. - Weird Canada

From the heartworn highway of Harriet Wild:

These are blues for halcyon days, sky-blues and sea-blues that rent apart a grey status quo, revealing and revelling in melodic twangs and prairie noodling not dissimilar to Arthur Russell’s folksier offerings. Jullum’s guitar meanders, pulsates and jitters along a heartworn highway, filtered through feathered drumlines, 12-bar blues sewn to husky Norwegian annunciations. Pastoral pop contemporaries notwithstanding, Jullum is countrified without being Kentucky-fried. - Weird Canada

In Canada, we readily welcome all cultures to come and make their home in Canada. This is seen in music all the time, usually heard in the sounds of a song’s main melody. Enter Einar Jullum, who’s now based in Montreal but lived most of his life in Oslo, Norway.

I’m no expert on what Norweigan music sounds like, but Jullum retains his country’s language on Hjerteknuser- og andre blues, which translates to Heartbreaker- and other blues. That he’s singing in a language few Canadians will understand isn’t a problem, as it’s hard not to lose oneself in the rich, textured music Jullum creates.

As the last word in the title might suggest, the foundation of the album is in blues-rock. Nowhere is it more apparent than in two particular songs. One is “Ublu blues” (possibly the most fun phrase to say ever), with its very bluesy bit of guitar. Album closer “La meg se dere danse” (which Google Translate says means roughly “Let me see you dance”) takes an even more badass blues riff and later adds in a sweet saxophone solo.

But Hjerteknuser is so much more than that. “Hjerteknuser-blues” shows that Jullum’s also packing a mini-orchestra. The song features some great chirping of flute by Hannah Rahimi and Jullum adds some spacey keys to add even more oomph.

“Alltid ensom, alltid trist” (roughly: “Always alone, always sad”) is a song that focuses even more on the electronics and is certainly an interesting musical flavour to encounter later in the album. There are also three musical interludes of sorts, and these help to show off further Jullum’s little orchestra.

This is a truly special album in its otherworldliness and smooth precision. Hjerteknuser- og andre blues is available from Bandcamp. - Grayowl Point

In Canada, we readily welcome all cultures to come and make their home in Canada. This is seen in music all the time, usually heard in the sounds of a song’s main melody. Enter Einar Jullum, who’s now based in Montreal but lived most of his life in Oslo, Norway.

I’m no expert on what Norweigan music sounds like, but Jullum retains his country’s language on Hjerteknuser- og andre blues, which translates to Heartbreaker- and other blues. That he’s singing in a language few Canadians will understand isn’t a problem, as it’s hard not to lose oneself in the rich, textured music Jullum creates.

As the last word in the title might suggest, the foundation of the album is in blues-rock. Nowhere is it more apparent than in two particular songs. One is “Ublu blues” (possibly the most fun phrase to say ever), with its very bluesy bit of guitar. Album closer “La meg se dere danse” (which Google Translate says means roughly “Let me see you dance”) takes an even more badass blues riff and later adds in a sweet saxophone solo.

But Hjerteknuser is so much more than that. “Hjerteknuser-blues” shows that Jullum’s also packing a mini-orchestra. The song features some great chirping of flute by Hannah Rahimi and Jullum adds some spacey keys to add even more oomph.

“Alltid ensom, alltid trist” (roughly: “Always alone, always sad”) is a song that focuses even more on the electronics and is certainly an interesting musical flavour to encounter later in the album. There are also three musical interludes of sorts, and these help to show off further Jullum’s little orchestra.

This is a truly special album in its otherworldliness and smooth precision. Hjerteknuser- og andre blues is available from Bandcamp. - Grayowl Point

And now something different: Norwegian Space Blues by Einar Jullum withHeartbreaker - and other blues. A great album which sets a high standard with just the opener. A cinematic track, backed by easy-going drums, a fluffy wind section in vein of Philipp Glass' arpeggios in Koyaanisqatsi, signals from outer-space and above all the quirky sound of norwegian lyrics.

It's a brave move to release this outside of Norway, because beside Sigur Ros with their licence to sing in gibberish and the collective of Finlandia-Freak-Folk-Fairies it may be hard to find listeners in the english speaking world who are willing to listen to lyrics other than the one that contain love, pain, heart, night, yeahyeahyeah.

But Christian Richer of Kinnta Records in Canada believes in great music and in fact he is playing great music by himself (as The Haiduks featured some weeks ago), so that's why the record cover looks- and the music sounds familiar (to you, if you follow this blog).

Einar Jullum contributed to The Haiduks album and Christian produced Einar's album in return and the result is wonderful sunny music with references to country, blues and garage pop, candied with psychedelic sugar. And since he sings in Norwegian we don't understand the lyrics about broken hearts and feeling alone and bored. So pretend it's a summer record and Oslo in the Summertime is nice, believe me. And so is this record. - Dying For Bad Music

And now something different: Norwegian Space Blues by Einar Jullum withHeartbreaker - and other blues. A great album which sets a high standard with just the opener. A cinematic track, backed by easy-going drums, a fluffy wind section in vein of Philipp Glass' arpeggios in Koyaanisqatsi, signals from outer-space and above all the quirky sound of norwegian lyrics.

It's a brave move to release this outside of Norway, because beside Sigur Ros with their licence to sing in gibberish and the collective of Finlandia-Freak-Folk-Fairies it may be hard to find listeners in the english speaking world who are willing to listen to lyrics other than the one that contain love, pain, heart, night, yeahyeahyeah.

But Christian Richer of Kinnta Records in Canada believes in great music and in fact he is playing great music by himself (as The Haiduks featured some weeks ago), so that's why the record cover looks- and the music sounds familiar (to you, if you follow this blog).

Einar Jullum contributed to The Haiduks album and Christian produced Einar's album in return and the result is wonderful sunny music with references to country, blues and garage pop, candied with psychedelic sugar. And since he sings in Norwegian we don't understand the lyrics about broken hearts and feeling alone and bored. So pretend it's a summer record and Oslo in the Summertime is nice, believe me. And so is this record. - Dying For Bad Music