I was interviewed by Jæger recently, speaking about early influences and the making of “Primær” and “Elementær”.
Espen T. Hangård’s greying beard; the indented lines that cross his forehead; and his voice, spoken with the measured gravitas that only life-experience can bring, suggests he might be a veteran of his craft, but he’s not. Even though he’s been working in music for the best part of his life, he only made his debut as an electronic music artist in 2018. Releasing two LP’s in quick succession in Primær and Elementær, accompanied by a string of live performances around Norway, Espen went from relative obscurity to the darling of the DIY electronic music scene over the course of the last year. His razor-sharp productions, which lie somewhere between the electronic pop formations of Kraftwerk and the Braindance excursions of Aphex Twin, was an instant hit across the Electro community.
Read the full interview over at jaeger.no!
After making his debut in the world of Electro last year with the stunning Primær, Espen T. Hangård is back with another LP, Elementær. The sophomore LP, released less than three months on from his first, suggests Hangård’s furore into electronic music is more than a fleeting fancy as he marks his intentions with another eight cuts of bristling energy. Elementær was captured during the same recording sessions as Primær between 2009 and 2012, and features Hangård in the a creative frenzy, coaxing beatific arrangements from lifeless machines.
Skipping Electro beats and lysergic bass movements, bounce through phrases in the spirit of Kraftwerk with a hint of Aphex Twin through expansive textured layers. Like Primær, Elementær harks back to the origins of the genre, where innocent melodies and song structures lifted from popular forms of music coalesce in that creative cauldron that not only birthed the earliest Electro and therefore Techno, but also Hip Hop. Short, effective pieces with a stocky determinism, make punchy entries, before moving on to the next track.
Simplicity is at the core of Hangård’s work with a no-frills approach to Electro and breakbeats. Building the foundation of his music on the rudimentary constructs of Electro where Roland X0X machines engage in a musical dialogue with each other, Espen T. Hangård is not breaking any new ground for the genre, but in his fundamental approach, he manages to capture something perfect and pure. Hangård’s expressive melodic nature, negates any designs on the dance floor for music where function will yet again follow form to engage with its listeners at a instinctive level.
Shimmering pads and multi-layered textures, temper the fast-paced rhythm sections of tracks like “Atlas Reconfiguration” and “Trampoline” with a kind of wistful serenity clouding the productions. Alongside Primær, Elementær establishes Espen T Hangård’s sonic signature as an electronic music artist, offering a view from the side with regards to Electro and broken beat music as he proffers his interpretation of the origins of this music.
The music video for Mirages features the legendary skateboarder Thomas Svendsen cruising through rural parts of Tønsberg and Horten, surrounded by heavy mirages and yellow, dried out fields. Shot in July last year, during the ten week heatwave that broke all records over the summer of 2018, the video documents phenomena that are very unusual for these latitudes.
I’m very happy to kick the new year off with the announcement of my second LP Elementær, which will be out digitally and on vinyl February 8th. Pre-order is up on Bandcamp.
Label: Galleberg Forlag
Distribution: Diger Distro
Formats: 12" vinyl LP, streaming and download
Launch date: February 8th 2019
Only three months after the release of the solo debut Primær, Oslo based producer Espen T. Hangård presents his second LP Elementær. Bristling with funky, playful and braindance influenced electro, Elementær is a companion release to the 2018 debut. While Primær leaned towards tougher and more stringent stylings, Elementær takes on a melodic and layered approach, with lush pads, acidic bass lines and trippy beats flowing through each of the eight tracks. The two albums were recorded in the same sessions between 2009 and 2012, mainly as live performances in the studio using the same hardware based setups, and they were both mixed and mastered in 2018.