Hanne Hukkelberg
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Salt Of The Earth Salt Of The Earth
Blood From A Stone is the third album by Norwegian artist Hanne Hukkelberg. In part inspired by her past as a member of various rock and metal bands (especially their live incarnations) and in part by her 80’s dominated collection of indie/rock albums, Hanne acknowledges that the likes of Sonic Youth, Cocteau Twins, Pixies, Einstüerzende Neubauten and P.J. Harvey have all exerted an influence over her new songs, while one can also detect traces of Siouxsie & The Banshees at their most oblique and many other new wave/post punk outfits.
However, although it is immediately apparent that this is a more ‘rock’ album than Hanne’s previous releases (Little Things [2005] and Rykestrasse 68 [2007]), the results are still undeniably leftfield leaning. The bulk of her vocals are first takes and her lyrics more direct and less introverted than on previous albums. Musically, the songs continue her penchant for combining traditional and unusual instrumentation to form a soundscape unique to her; for a self-confessed ‘rock’ album, Blood From A Stone still manages to include field recordings of flagpoles, train doors, seagulls, clogs, rocks, kitchen utensils, freezers, stoves and a school desk. And no regular drum kit. In line with the pervading approach towards the recording process, all instruments were tuned by ear, with digital tuners banned from the studio.
Although Blood From A Stone was recorded in Hanne’s regular studio in Oslo, the songs themselves were written during a seven month spell living in a tiny coastal village on the Norwegian island of Senja, 300 kilometres north of the Polar Circle. This both compares to and starkly contrasts with a similar period of time spent ensconced in Berlin while writing her previous album. Hanne explains:
“In the north of Norway it is way more quiet. It has been interesting to experience composing in both a busy city and in a quiet village. I noticed it affected me in very different ways. I felt a need for composing more quiet songs in the noisy city, and more noisy music in the quiet village.”
Repeated listens to Blood From A Stone reveal an album of depth and many treasures. Among its highlights, the metal inspired Salt Of The Earth begins with gentle verses featuring a church organ and a softly coo-ing vocal harmony, before lurching into an epic chorus that sports crashing piano chords and metal percussion galore and that carries with it an ominous sense of foreboding. The title track is built around a robust, repetitive bass and metal percussion rhythm with an uplifting, melodic chorus and added vocal whoops and hollers aplenty, while Bandy Riddles swiftly develops into a frenetic acoustic indie-rock strummer.albeit an indie-rock strummer without a drumkit, although it does incorporate bicycle spokes, clogs and a vaseline box into the mix. In contrast, the closing Bygd Til By gradually unfolds in a sedate and stately manner, building to a musical climax that maintains a controlled grandeur throughout. It is the only song on the album with lyrics in Hanne’s native Norwegian.
Blood From A Stone is produced by Hanne’s long-term collaborator Kåre Vestrheim and co-produced by Hanne. Several of her regular musicians appear on the album, including Henning Sandsdalen, Lena Nymark, Erland Dahlen and Kåre Vestrheim, while other contributors are Bent Sæther (of Motorpsycho) Ivar Grydeland (Huntsville), Martin Langlie (Gåte, Valkyrien Allstars), Mark Jowett (head of Hanne’s international label, Nettwerk), and the unusual rhythm section Hurra Torpedo (on freezers and stoves). Hanne herself plays bass, guitar, drums, percussion, piano and various bric-a-brac.
Hanne started singing and playing instruments in her home town of Kongsberg, Norway at the age of 3 and later played in various jazz, pop and rock groups as well as a doom metal band. A graduate of the Norwegian Academy of Music, she has gained a reputation as a powerful live performer.
Her 2005 solo debut album Little Things was comprised of songs written as a teenager and during her student years. Musically wide-ranging, it was notable for its imaginative use of found sounds and eclectic array of instrumentation. Her elfin but idiosyncratic persona coupled with a lazily seductive voice drew comparisons with everyone from Joanna Newsom and Björk to Stina Nordenstam and Billie Holliday, while press reviews were overwhelmingly positive:
“Little Things demands to be heard and cherished for its audacious beauty 5/5”
SUNDAY TIMES
“Enchanting debut... equal parts Stina Nordenstam and Nina Simone. Fans of CocoRosie take note 4/5”
UNCUT
“Very clever and very pretty - moments of real loveliness"
THE WORD
“Makes you think of Björk's little sister, stoned and let loose in the Early Learning Centre”
NME
“The best instrument of all is Hanne’s voice... a Northern light shining bright 4/5”
THE SUN
Her sophomore release Rykestrasse 68 was a less whimsical affair, with a moodier, more widescreen production. While it shared its predecessor’s wide-eyed wonderment, Hanne’s experimentation reached a new level of maturity, the album being awash with inventive flourishes such as rhythm tracks constructed from the clacking of typewriters, kitchen utensils, a cat purring or the spinning of a bicycle wheel. Vibes, glockenspiel and theremin were melded with wheezing brass and sonorous strings to give the album a wonderfully creaky ambience akin to Emiliana Torrini, Múm and even Tom Waits. It again received a barrage of favourable press:
“A seductive song suite based around six months in Berlin, all wound around inventive, meandering detailed arrangements and Hukkelberg’s delicately powerful voice, midway between Cat Power and Radka Toneff 4/5”
UNCUT
“All the carefully recorded clicks, ticks and sprongs enhance Hukkelberg’s enchanted sound world. And as for her beautifully judged vocals, ignore those comparisons to Joanna Newsom or Björk. ‘Rykestrasse 68’ puts Hukkelberg way ahead of both 4/5”
GUARDIAN
"Hukkelberg’s music has toughened up a little since her debut, ‘Little Things’, but lost none of its intimate beauty 4/5 POP CD OF THE WEEK”
SUNDAY TIMES
“Found sounds, typewriters, vintage instruments, yodels, scats and proper songs leap across genres like a pianist trying to keep up wth a Keystone Kops movie. Unusually everything creates the illusion of making pop sense. Weirdly thrilling 4/5”
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