Still — Open Your Eyes Video Simen Hallset // Lars Kristian Boquist

In Part One of my extensive interview with the tremendously talented and uber friendly Gold Celeste, the guys talked in detail about how they came together, their musical backgrounds and the myriad artists, bands, songwriters and genres that have inspired and helped shaped their sound.    Now in the second and final part of our chat-ski, GC move onto the recording side of things, back-chat moi, talk lurve, and debate culture …

Before we start, I need to do two things:-

First a quick personnel check:  Gold Celeste is Simen Hallset (lyrics/vocals/bass), Petter Haugen Andersen (percussion), and Eirik Fidjeland (vocals/synths/guitars – various /pedals/harp/cats).  Touring guitar player – Torstein Kvamme Holum, was also included in the interview line-up!

Secondly, let me remind you of, or, acquaint you with, the reason we’re here in the first place – music – with one of my favourite GC tracks, ‘Time of Your Life’ (this song is what the word “uplifting” was invented for)

Ready?  Coffee, cushion, all comfy?? …. Ok !

That’s a pretty eclectic range of influences you guys have name-checked.  Right, now that we’ve put the inspos to bed, let’s talk about your sound and the recording side of things in a little more depth.  But first up, how did you guys get signed by Riot Factory?

Not bucking the trend, lead ‘Celester’ Simen picks up the thread … “Really early on, we recorded one song that we put up on the internet. I think I knew Arne (Slomann Johannessen) from Riot Factory even before we started Angelica’s Elegy, because his brother, Conor Patrick, (of The Shooting Tsar Orchestra fame) was the guy who owned the studio we moved into right after we left the Folk High School. They’re from Trondheim (Well actually guys one of them was born in Ireland, but that’s another day’s interview!). Conor Patrick talked about creating a home label and then both he and Arne said “Why don’t we do the work for you? Let’s have a collaboration.” And that’s how it started.”

It’s been one synergetic collab for sure.  Let’s talk about the GC debut album, ‘The Glow’.  You said it took you two years to complete it. Why did it take so long?

[The previous iteration of GC, Angelica’s Elegy, also released an album through Riot Factory, karmically called ‘Gold Celeste’ – you can stream it here.]

” As an innocent bystander I would say that you, Simen and Eirik, spent I guess at least one year just writing a lot of songs, then making sketches, trying to get where you were going.” chips in Petter. “Just trying to find that sound. Also a lot of song writing was done in the studio; there’d be like one song, we’d record it, then make some changes, because it always changes until you get to that point where you’re satisfied with it.”

“Or you end up with something completely different as it’s sometimes just a hassle to pick up where you left off.” interjects Simen. “We had I guess at least 40 sketches recorded, you know, these 30 second bits and I think we made it kind of hard to continue …”

“You know you fall in love with those sketches.” muses the contemplative Eirik “You can never really recreate the energy and spontaneous feel.”

You know it’s funny you should say that. Did you ever hear of a British band called Talk Talk?

Unanimous – “Yeah/Yes/Yup”

Mark Hollis, the lead singer, always maintained that when he went into the studio and tried to play a sketch for the second time it had lost an energy it had the first time around, so when TT were making their later albums, everything was recorded off live takes.

Simen … “Yeah, we’ve been privileged to have been able record constantly in the studio. We’ve had the chance to record and make this perfect 30 second thing, and then, you know, (laughs) you can’t go on from there.”

“I think if you hear ‘The Glow’ with that in your mind, you might hear some instrumental parts that kind of come out of the blue” 

So what do you do with all these 30 second “things”?

“You know, that’s why we like a lot of hip-hop music as well, because you know they listen to thousands of records from which they find these small bits that are pure gold, and they’ll try to create something new out of them.” enthuses the unstoppable front-man. “At least the kind of people we like to listen to, they’ve found these nuggets that are just perfect, and perhaps we’ve kind of had that mentality as well.  Everything, every ten, fifteen seconds has to stand out on its own almost.  But, I think that might be an ideal that you can’t live up to all the time. Luckily, I think we’ve learned to relax a little.”

“But it’s also nice to have that archive of ideas,” says an animated Petter “because when suddenly you’re in the studio and you’re jamming, you have a new thing and suddenly it’s like “Wow” –  this matches perfectly with that other thing and suddenly there’s the song you know, you can piece it together later, you just keep all the piece …”  “Yeah I think if you hear ‘The Glow’ with that in your mind, you might hear some instrumental parts that kind of come out of the blue”  throws in Simen, with more than just a passing hint of “I double dare you” in his voice …“but it’s the perfect kind of brain wash towards the next segment of the song, and I think that’s based on having this library in your head with these instrumental parts making transitions I think you can hear them and point them out if you listen for them in ‘The Glow’ album. ” (Now there’s a challenge folks – I should have asked for a free copy of the album for the first person to come up with three examples!!)

angDSC_0916

I decide it’s time to throw the spotlight on the bands multi-instrumental wizard, Eirik and flick an unexpected random question at him …  Eirik, can I ask why you sang on just one song on ‘The Glow’, and what was so special about that particular song – ‘Is This What You Could Not Do?’ – that you choose to do the vocal, as opposed to any of the others?

“I’ll sing four or five songs live tonight” he assures me before coming out with, “I don’t know, I guess I don’t like to record my voice” and off they go, bursting into a riot of laughter. Cheeky things! Huh! Right back at ya Eirik!!

So why did you do the vocal on that song then?   

He laughs a good humoured “I don’t know” at me before Torstein steps in, “For me it sounds like your (Eirik’s) voice fits better to that song, than what your (points to Simen) voice would do, or maybe that’s because I’m used to it now”.  They’re all getting in on the act now!  “But it’s also been a song that you’ve been singing live,” says an Petter enthusiastically. “It’s a song that you’ve been doing for a while and it just sounds right. I would love for Eirik to sing more, I think his voice is really cool.”  “Me too.” says Simen.  “Me three” says me.

Right – so we’re all on the same page then.  More vocals please Eirik (no disrespect to Simen whose vocal clarity is pretty astonishing and ability beyond question). 

I switch my attention back to the frontman.  So Simen, do you do all your own backing vocals or do you share backing vocal duties with Eirik?

“It depends on whether you mean live or on the record?” shoots Eirik, for once beating quickfire Siment to the draw “If you mean live,  I do a lot of backing vocals, but if you mean the record, well, I do some of the backing vocals but mainly it’s Simen.”

“Yeah” nods Simen.  “It’s efficient, and after spending a lot of hours recording my own voice alone making sketches, it’s a fluent process I guess, to some extent, and especially on ‘The Wonder of Love’.

Makes sense.  Is it difficult to be objective when you’re producing your own music? I ask.

“Should you be objective when you make music? I don’t know?” asks Simen looking at me intently (baulks as doesn’t know answer …moving swiftly on!)  How do you assess your own work? How do you know whether yeah, that’s good or that’s not good, should be better or could be better?

“I don’t know,” he continues amiably “I think, it’s kind of soul wrenching at times, but it’s something, you know, kind of sticks and feels right, and … I can make a sketch and send it to the guys, and love it myself, and then if I don’t get a reply within an hour, I think, oh jeez, what have I done? Is this total crap? You need some kind of confirmation from your band mates.”   Petter bounces in … “It’s easier being two or three than being just one person doing all the work, and I really think that the trick is not spending too much time with every iteration of a song or every part. If you’re banging your head against a wall just do something else, and forget about it and then you can go back to it with like fresh ears and try to pick out what is good or bad. It’s tiresome sometimes too. It just gets worse every time (you go back to it).”

“I think that we’re unique. We’ve been accustomed to having total control over every aspect up to the final result”

Do you feel that by playing all of the instruments yourselves it keeps the music true to the sound of Gold Celeste? Other musicians coming might give the sound a different feel, put a different spin on it?

“I think that we’re unique. We’ve been accustomed to having total control over every aspect up to the final result,” says an adamant Simen “I think a lot of music stems from introverted personalities you know, the ones that can sit down and try to come up with something personal and refreshing” Yeah but how does an introverted personality cope with being on stage? “I think we’re all balanced out as well, so we’re not you know anxious and socially alienated.

So there’s the feeling of being surrounded by a support network rather than that of standing there by yourself.

The “not the drummer, drummer”agrees … “Yeah but it’s also that the music we play isn’t that showy so we don’t have to like be this kind of I don’t know …” You mean you don’t have to do the big full lead man jumping around the place thing? “Yeah, we don’t need to be shouting .”  He’s cut off by Simen proudly announcing  to the amusement of the other that he’ll be jumping around later on that night (during their live show) “I can guarantee you I’ll be jumping around.”

At this point, we go completely off topic – as you do – and end up talking about star signs!  The guys assure me that not less than THREE of them are Sagittarians, with Petter being the odd one out, him being a fishy Piscean.  Now this actually raises quite a debate guys cos according the the majority of astrology sites 22nd December is, erm, the first day in the sign of Capricorn!!  However, it’s on the “cusp” as they say, so if Mr F wants to be a Sagittarian bow slinger then we’ll have to allow him the privilege.

“We just make music and try to be honest with each other.”

How do you go about creating the songs? You’ve said that you do sketches etc. But how do you decide on the sound and how do you decide on the lyrics. How do you approach writing the lyrics and how do you approach creating the music – is it that you have a note in your head, a beat in your head, and which do you do first?

“I think that varies” responds Simen before Petter takes over.  “We do a lot of recording when we practice and when we’re jamming, just bits.  Simen for example, will pick something out of there and make a sketch based on the things we’ve played or else something completely fresh.”  The former agrees.  “We play a lot together, jam out, and then we perhaps individually process it and try to create something out of the idea and before it’s finished we try to review it together. That’s at least how ‘The Glow’ was created I think.” Back over the net to Petter “And when you’re mixing it yourself you’re not limited to what you’ve done,.  You can always go in and pick something out and put something new in there, if you feel that sounds better, if it suits. It’s called a process that starts at the beginning but the song isn’t finished until you know the lyrics are finished.” Deuce. “Yeah I think me (Simen) and Eirik also often work in parallel to each other.

Some songs on the album I’ve mainly written and some songs Eirik has mainly written and some parts Eirik has written and I’ve written and then we put them together but I don’t think we have this very conscious way of how we you know … I don’t think everything has to be 50% Eirik and 50% me or anything. If one of us has an idea or a part, I think it should be separate from us as persons, as a music piece hopefully.

We haven’t talked a lot about that aspect, we just make music and try to be honest with each other. I wouldn’t cry if Eirik hated something I made, or perhaps I would, but it would be a good cry, it would be an honest cry. A good cry, “thanks for being honest”.

Catching an unsuspecting Eirik completely unawares … Have you ever hated anything that he’s done then?  “No, no”  (Um, nothing to do with the fact that he’s sitting beside him then!) “Hate is a strong word though! Dislike is better” rounds off Simen good naturedly.

Moving from hate, to “infinitely loving”  says I, to be greeted by a burst of “Woo”

Hey, they’re your words not mine… “Haha – yeah – I know!” laughs lyricist Hallset.

Does human nature hold a fascination for you Simen?  “Yeah. The last couple of years have kind of had an air of disillusion, disenchantment perhaps, I don’t know. It’s more like society is created by people but not for people, if you understand what I mean. It’s created for all types of functions but the functions are not based on, I don’t know, on the kind of warm and comforting values that I feel would make people more generous and open. It’s very mechanical. And since we created this society that’s based on economics and profits I think it’s hard to see that as a rational way of thriving together.

American culture?  “Hmm … I don’t know.” he continues. “We’re so privileged, we’re from Norway. It’s easy for us to say “It’s all based on profits blah blah blah” when you see all these countries that are now finally in the stage where they can industrialise to the degree that they will reach our economic level to some extent. But we won’t allow them because of you know …Here we are interrupted by guys asking the band to move their ‘back-line’ up into the stage area – P & T go, leaving SH & E.  

Simen recommences … “We have fucked up the world and they have to take the consequences.  They (developing countries) can’t climb to our economic level and that kinda sucks for them. Now we’re trying to do all these efforts to reduce global warming and yeah, it’s a maelstrom of thoughts you know. And I try to make it as easily understood and open and yeah, it’s like Torstein said, it’s not condescending or it’s not that I want to teach people anything, I just want to say how … try to play on some thoughts perhaps that would resonate with people.”  After this we briefly discuss Susanne Sundfor’s involvement in the Oslo climate change rally, after which Simen muses … “I’d rather share ideas and thoughts than political views. I think you shouldn’t mess too much with politics in music but more try to …” Well said – I agree.

“I think it’s global culture. I think it’s the ramification of the globalism idea of free trade and world economics in general that has created this”

That’s what I was going to ask you … you seem to be very interested in society and history but less so in politics. Is history, what’s going on the world and what’s happening socio-economically more important to you to convey an opinion about in your lyrics than getting all Bono and making political speeches?

” Yeah, for me personally, I think you can’t create change with the established institutions that we have today. I think you need to revise it all. They’re so flawed. Even the most ambitious big projects are funded and financed by people that I think have another agenda. I think it’s a consciousness change that has to happen to each person individually and by starting from the bottom and creating the change instead of trying to find these solutions that would fit for everyone that what I try to stimulate through my lyrics.”

Do you think that the world is obsessed with American culture?  Simen continues …

“I don’t think it’s American anymore, I think it’s global culture. I think it’s the ramification of the globalism idea of free trade and world economics in general that has created this … It is all pretty much based on the thoughts of the PR industry. Sigmund Freud’s nephew, Edward Bernays, used a lot of the psychology of human behaviour and psychotherapy thoughts to create the PR industry, the advertisements, and up until the 30’s or something, Western society started to reach a level where we had covered our needs and towards the world economy to grow further that was not enough anymore.

You had the automobile and that was kind of the primal stage of covering our needs and then for the economy to grow further you had to get the “wants” and that is the major part of the culture that you say is American culture. I don’t think it’s an American culture really, because I think when you talk about American culture you can go 200 years back and that’s what I feel is the real American culture.”

You mean the native Indians?

“Yeah, it’s all what they did back then and how things panned out is the culture. But at the same time the principles of the forming of their society and economics are based on individual freedom and I think that aspect was the front-runner for where we should go, but it kind of developed in another direction based on an economic and the “wants” you know. So now it’s all about creating jobs through something that’s not based on needs but on wants, and it has escalated to a level where we now … you know people have talked about this since its inception and it’s nothing new. It doesn’t surprise me that we have to face the consequences now you know,” he concludes.

So, Simen.  Do you think that humanity is capable of change?

“Yeah, I believe so.  But sad to say that for something positive to happen I think we have to be witness to shit hitting the fan and that’s what’s happening right now with the tensions.”

We continue this hugely interesting conversation in the same vein … this is one seriously well informed, articulate and intelligent guy (in fact, they all are!) … How detached is Norway from what’s happening in mainland Europe? Is Scandinavia in an enclosed “world of its own” and is it Sweden or Norway that has taken in a vast number of immigrants?

“No, we’ve felt this in Norway, absolutely.  And it is Sweden. The Swedes are the most immigration critical. Sweden you know wanted Norway’s policies for many years. Norway’s policy is pretty liberal but not near as liberal as the Swedish. They just allow people in without regarding the consequences and without listening to their own indigenous people. The people who live there. How do we implement this kind of social situation? There needs to be a dialogue and there was no dialogue. Everything has to be politically correct … “ he tails off ..

But that’s what’s happened to Germany now as well, I continue. They’ve taken in a huge number and now there is nowhere for them to go, nothing to do!

” I think the German decision wasn’t based on an altruistic idea of you know the Samaritan, I think it’s more based on … I don’t know, it’s like we try to compensate for our involvement in the military way of handling things and I can see in many ways that’s it’s just a continuous war zone. Now watching how the Swedes now are reacting by … Many European countries are reacting by turning to these right wing extremists. You know, it’s like they at the same time as they are hostile towards the government, the social democratic way of thinking, they are also hostile against the people in the desperate situation coming there, so it’s like they know they have to tackle those people for the government to understand how serious they are and that is a very, very dangerous … it’s like it’s exactly what was supposed to happen, do you understand what I mean.

We could see this coming from miles away that the tension would build up and these kind of horrible events that have happened, they will escalate the numbers, it’s just a matter of time, and I think that kinda sucks. So I think all those things building up hopefully will result in some kind of counter-culture spawning you know. It’s always the bad things build up and then they get seen for what they are and hopefully we’ll manage to grow something new out of the manure. That’s what I hope for. Unfortunately bad things will have to happen before good things happen, I guess. You just try to make the best of it and hope that it’s sooner rather than later. Not all doomy and gloomy. That’s why the lyrics have a positive “glow”, ” he finishes.

(At this point P & T return and Eirik leaves)

Picture
Artwork Benedikte Olsen

How do you view the Norwegian music industry and the Norwegian music scene?

Jumping right back into the fray, Petter offers, “I see it as pretty small but all including (inclusive) scene. It’s mainly nice people who just want to play music and a lot of great bands helping each other out.”  Simen interjects with “It’s pretty transparent, you can get a pretty good view of what’s going on, who’s playing in different bands. You meet people in the street. Oslo’s a small city, it has 700k inhabitants. So it’s pretty easy to get some kind of view. People collaborate and do things, but at the same time when it’s so small, it’s hard to be in this kind of niche.”  Here we go again – more verbal tennnis “There are a lot of people who play a lot of different kinds of music as well” explains Petter.  “People playing in hundreds of bands. I guess a lot of people who play music in Norway are “touring musicians” fluidly or seamlessly moving between bands!”  “To be a professional musician in Norway you need to be in many bands I think”, adds Simen. 

How can that be successful when you’re dividing your time and effort between various projects rather than putting all effort into one?

“Well” he continues “There are so few arenas in Norway so you can just play these larger shows and people will come. And they kind of tour two months with this band and two months with that band and they get the job done.”  Having returned to the fold, Torstein chips in, “I guess the question is if you want to be a National success or International success. If you want to be more of an International success there will be a lot more focus on the one thing.”

“I think we could never grow in Norway before we came here” says Simen decidedly. “We needed to expand our territories and our … because in a big city like London, there are more but bigger sub-cultures, and I think in Norway the sub-cultures are too small for them to grow naturally so we need to kind of expand and if you want to make the kind of music we make.”

So is that the plan is? Are you going to try do more gigs and promote yourselves abroad?

Petter concurs … “Yeah, I think we have to. If we want to get somewhere we have to spread our wings.” with Simen continuing “It’ll be full of challenges though. You can’t expect to be an unknown band and get money for playing, so it costs a lot.”

Have you considered trying to work out reciprocal arrangements with other bands so that that you could take advantage of their following and they of yours? Is that something you’ve thought about?

“We made some friends when we were in Berlin with this LA based band called, Mild High Club,” says Torstein warming to the theme, “and that was like something we discussed and they would love to bring us over to the West Coast of the States and we thought they would be great in Oslo as well.”  “You have to establish these kinds of connections if it’s going to work out, ” continues Simen “and that’s what we’re trying to do now by travelling around and trying to talk to people.”

Great, so did you get to meet many people while you were here (in London)?

Eirik answers “Yeah, we met a friend of mine called Anna Lena, she’s got a project called, EERA. We went to see her play live  and it was great.”  (Check her out here.)   “She’s a great songwriter,” he continues, She introduced us to some of her friends and some musicians and other bands. But today, we’re just tourists,” he tails off with an infectious laugh.

“We’ve invited a lot of contacts to our shows and tried to establish some kind of collaboration with people that perhaps could help us book some shows in England and help us with promotion. Hopefully this album is the start of a good relationship with the UK and the UK scene,” rounds off frontman Simen.

Picture
Photo Benedikte Olsen

“He’s very calm, you know, always real”

I change tack again and zone in on the least talkative of the four … (though methinks he is not always so quiet!)

Eirik, how difficult is it for you to simultaneously work & tour in two bands; to simultaneously create two different styles of music, which although they are not radically different, are different nonetheless?  (Eirik is also a member of the group, Dråpe)

“I’d say it’s not difficult, it feels quite natural. In Gold Celeste I make music with Simen and Petter and then in Dråpe I make sounds with Ketil.  It’s just a different group, different people.”   How do you disassociate yourself from the Dråpe methodologies when you’re creating and playing with Gold Celeste?   “To be honest, it’s not something I have given a lot of thought to, mainly because it just happens naturally”

“Me and Ketil are different persons,” laughs Simen while Eirik continues “I’ve known Ketil (Myrhe, lead singer and lyricists in Dråpe) for ten years and we’ve always made music together. We’ve written a lot of songs in that time.”  “Two different bubbles,” throws in Torstein.

So you can just switch off and move from one bubble to the other?  “Yes, it’s not a problem.”

Simen offers his viewpoint … “I think it’s perhaps that Eirik …

Turns and starts talking to him directly (I’ll just read a magazine shall I?)

“I don’t know if you have the same role in both bands – but I think it’s just you as a person.  It all works out because you don’t go all crazy and weird.”

“He’s very calm, you know, always real, ” ah, he’s back with me!  “He’s a good person, he’s a stable kind of guy you know.”

By way of enlightenment, Eirik concludes “The songwriting in Dråpe is more based on hooks, and the songwriting in Gold Celeste is more beats based. Both bands are searching for moods but I haven’t really thought about it too much beyond that.”

So, the answer to happy co-existence, is don’t over analyse, just “be”.

We are nearing the end of our time together so I decide to throw out some random and unrelated questions …

Is it important to have a sense of humour?

“Yeah. In ‘The Glow’ I think you need to have some kind of self-ironic and humourous kind of naïve but provocative way of singing. Have you heard the ‘Can of Worms’ song? It’s an ironic kind of song in a way. We created this kind of creepy but soft, mellow song. I don’t know. I don’t know how we are perceived humour wise … We don’t want to be in this SERIOUS band. We WANT to be taken SERIOUSLY”  Simen does his best Terry Pratchett DEATH character booming voice.

I think you’re hilarious! I don’t think you’re hilarious as in stupidly funny, but I think you’re hilarious in your approach which is kind of subtly mocking sometimes and quite sarcastic and sardonic. But it’s all covered over by this lovely music. If you didn’t pay attention to the lyrics you wouldn’t actually get the bite that’s in there.

“Yeah, I like that. I think that’s perhaps one of the most important things for me lyrically is to nurture the contrasting elements. If the song is … it can be a very good … it can have a very nice affect when the lyrics and music contrast with each other, than perhaps they both make more sense,” he says with a smile.

If you could change one thing in the world, what would it be?

“I think I put it in words half an hour ago perhaps,” muses Simen “if you could make society more made for human beings rather than by human beings all the time. Do you feel your surroundings reflect how you feel inside? I think we could make architecture and society and things reflect more the introverted values rather than everything being external all the time. Everything is so external and I think we should perhaps stop for a second and perceive ourselves as one people.”

Are you optimists?

“Optimists? Yeah” replies Eirik  “Yeah, agrees Simen.  “There is nothing worse than pessimistic, whiny music. It really, really takes all the energy out of you. It makes you feel awkward, makes you want to leave. You really, really want to leave”.

What’s next for Gold Celeste? Was ‘The Wonder of Love’ the start of the next phase of your music, will it be on the next album or is it a stand-alone work that’s not going to fit anywhere? 

We recorded ‘The Wonder of Love’ in October” Eirik tells me, when I ask him when it was recorded.  “I think we make some songs that you know are reminiscent of that part of us and hopefully we’ll make some music that goes in another direction and together they make us fresh and interesting, enthuses Simen.  “We don’t want to make another ‘The Glow’ but I think however far we would want to go in another direction it wouldn’t be far-fetched you know. It would be Gold Celeste.”

So it would be building on what you’ve already done?  “Yeah I think so,” he continues “we’ve spent so much time making music that some would perceive as narrow but we try to find a centre in the music rather than spread out too much, we try to find this core and then just add to the core all the time.”

So what are the plans for 2016, are you going to do more gigging and touring, and is there another album in the pipeline?

“We hope to play a lot of gigs and some festivals; we’ve some dates booked, and are working on more” Eirik explains.

And finishing as we started, the final words go to that most verbose of lead men, Simen Hallset …

“I think after the end Winter and into the Spring, if we get things our way and work hard and try to nurture the connections we’ve made and record some other new songs and videos, and try to keep the momentum up from the album, hopefully things will pan out and things are happening rapidly … it’s so rapid, everything goes so fast, you don’t necessarily have to build slowly anymore you can come with this one song and it might explode, or you can come with this mini-album and someone picks it up, and then people follow and then you manage to get into the last segment of festival bookings that happen you know March, April perhaps. You know if we work hard we hope to reap some reward,” he beams a radiant smile at me … “After the release we haven’t exploded and travelled all over the world, but we have slowly tried to build some connections, and hopefully 2016 will be the year when things start to blossom.”

And so say all of us! 

And that my friends is the end of conversation with Gold Celeste.  I hope you found the interviews (both parts) as interesting, animated, humourous and informative as I did.  A huge fan of both the guys and their music, here’s hoping, as Simen said ,that 2016 will see them reap the fruit of their labours and gain a strong foothold in the wider music markets, helping them gain the recognition their music so richly deserves. 

My sincere thanks to Eirik, Petter, Thorstein and Simen for their time, patience, humour, cordiality, honesty, words and last but certainly not least, their absolutely gorgeous music for which I can’t thank them enough! X

As before, I am leaving you with the gorgeous video for The Wonder of Love, filmed by Benedikte Olsen, and a spotify playlist of all the tracks featured in this half of the interview.

Gold Celeste will play Bergen Sat 13th, check it out, and, Trondheim 20th February – details here. 

Like and follow their Facebook page to keep up to date with further gig/music news.

***An abridged version of the full text of Gold Celeste Uncovered P2 was published in The Monitors on 5th February 2016.

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