Geir Sundstøl

#sundstoel

    Guitarist and instrument collector Geir Sundstøl appeared on over 260 albums as a session player and sideman before he released his solo debut “Furulund” in 2015. After 27 years as a professional musician he finally took the big step, and was rewarded with glowing reviews and a Norwegian Grammy (Spellemannspris) nomination.      Mojo  described Sundstøl’s debut album as “a soothing series of languid guitar soundscapes that blend Cooderesque western warmth with a twilight Norwegian chill.” The British magazine  HiFi+  highlighted “the great choice of sounds” and the Norwegian music writer Terje Mosnes referred to the “musicianship that doesn’t shout, but that wins the listener over through the subtle tonal diversity that gradually emerges, making each listen a new experience.”    Now, three years later, with the acclaimed «Langen Ro» (2016) under his belt, Sundstøl is following up his success with a new album, Brødløs.    Ambient goes country and David Bowie and Brian Eno share a tune with John Coltrane in slide guitar maestro Geir Sundstol’s astonishing cinematic travelogue. Tumbleweed blows across the widescreen desert vistas of a curiously Nordic western landscape; the melancholy-sounding scrape of a metal slide on bare steel wire is set to the same, slow, clip-clopping equestrian rhythms we hear in horse-drawn cultures from Texas to Outer Mongolia; what seem at first to be familiar musical textures drawn from ambient music, country rock or jazz are made strange through their juxtaposition with oddly clashing elements taken from totally different registers: Indian tabla drums with Mini-Moog, say, or the gated thwack and hiss of Eighties power-ballad drums next to an avant-garde electronic shimmer or Sneaky Pete-style pedal steel. It’s a fascinating place where ‘Paris, Texas’ might meet ‘Tubular Bells’, Ennio Morricone can rub shoulders with Brian Eno, and David Bowie really does run into John Coltrane. This is ‘Brødløs’, the third solo album by the Norwegian composer, guitarist and multi-instrumentalist Geir Sundstøl.

Guitarist and instrument collector Geir Sundstøl appeared on over 260 albums as a session player and sideman before he released his solo debut “Furulund” in 2015. After 27 years as a professional musician he finally took the big step, and was rewarded with glowing reviews and a Norwegian Grammy (Spellemannspris) nomination.

Mojo described Sundstøl’s debut album as “a soothing series of languid guitar soundscapes that blend Cooderesque western warmth with a twilight Norwegian chill.” The British magazine HiFi+ highlighted “the great choice of sounds” and the Norwegian music writer Terje Mosnes referred to the “musicianship that doesn’t shout, but that wins the listener over through the subtle tonal diversity that gradually emerges, making each listen a new experience.”

Now, three years later, with the acclaimed «Langen Ro» (2016) under his belt, Sundstøl is following up his success with a new album, Brødløs.

Ambient goes country and David Bowie and Brian Eno share a tune with John Coltrane in slide guitar maestro Geir Sundstol’s astonishing cinematic travelogue. Tumbleweed blows across the widescreen desert vistas of a curiously Nordic western landscape; the melancholy-sounding scrape of a metal slide on bare steel wire is set to the same, slow, clip-clopping equestrian rhythms we hear in horse-drawn cultures from Texas to Outer Mongolia; what seem at first to be familiar musical textures drawn from ambient music, country rock or jazz are made strange through their juxtaposition with oddly clashing elements taken from totally different registers: Indian tabla drums with Mini-Moog, say, or the gated thwack and hiss of Eighties power-ballad drums next to an avant-garde electronic shimmer or Sneaky Pete-style pedal steel. It’s a fascinating place where ‘Paris, Texas’ might meet ‘Tubular Bells’, Ennio Morricone can rub shoulders with Brian Eno, and David Bowie really does run into John Coltrane. This is ‘Brødløs’, the third solo album by the Norwegian composer, guitarist and multi-instrumentalist Geir Sundstøl.


Reviews “Brødløs”

«His best» Aftenposten (NO)

«A beguiling new album from this Nordic master of atmosphere.» Mike Flynn, Europe Jazz Network (UK).

«Geir Sundstøl gives sight to the blind» DN (NO)

«Sundstøl pulls it off. This is a meticulous, delicately crafted set
of tunes that give off a low-key, angelic sonic shimmer» Jazzwise (UK)

«Half a man, half a guitar» VG - terningkast 6 (NO)

«Lord Of Strings...What a pleasure» Dagsavisen (NO)

«Geir Sundstøl succeed to record yet another album not to be missed» Rockerilla (SP)

« It is perfect rain music, but today the sun shines (well mostly) and again the music proofs to be perfect.» Vital Weekly (UK)


«Recomended» NITESTYLEZ.DE

«Another masterpiece» Rock Obrobje (PL)

Reviews “Brødløs” Norwegian Media

«Halvt menneske, halvt gitar. En av Norges fremste musikere maner fram et landskap det frister å gå seg vill i.» - VG
VG
«Geir Sundstøl får blinde til å se» -Dagbladet
To read some complete reviews from Norwegian media click on the buttons to the right of the one you would like to read (all are written in Norwegian).

Reviews "Langen Ro"

«Divine, desert-blues instrumentals from Norway.» - 8/10 Uncut (UK)

«Stunning» Jazzwise (UK)

«Quietly triumphant» - Textura (CA)

«Indispensable» - Jazz News (FR)

«Symphonic space blues» - Electronic Sound (UK)

«Ein kleines Meisterwerk» - Musikreviews (DE)

«Seriously captivating» - Bird is the Worm (USA)

Reviews "Langen ro" Norwegian media

To read some complete reviews from Norwegian media click on the buttons to the right of the one you would like to read (all are written in Norwegian).
«Norges gitar-guru i svevet» - Dagbladet
«Dette er det vakreste, og kanskje det blåeste, jeg har hørt til nå i år.» -The Wilhelmsens
«Vakkert, visuelt og stemningsfullt» - www.erikvalebrokk.no

Reviews  "Furulund"

Norse guitarist Sundstøl has played on nearly 300 records since the late ´80s but this is his first solo LP, a soothing series of languid guitar soundscapes that blend Cooderesque western warmth with a twilight Norwegian chill.
— Mojo, Andrew Male 3/4 (UK)
Furulund is one of the best debut albums of 2015. The best way to describe the music on Furulund is cinematic. That describes the musical journey that is Furulund. It features eight soundscapes that last thirty-five magical minutes. Geir Sundstøl takes the listener on a cerebral and cinematic journey on Furulund, his long-awaited debut album which is sure to be one of the albums of 2015.
— Derek´s Music Blog (UK)
Hubro has a knack for persuading professional backing musicians to make their own albums. Geir Sundstøl is a classic example; the multi-instrumentalist has played on 260 records in the last 27 years. But Furulund is his debut solo album. Sundstøl´s first love is clearly the acoustic guitar (and various therof), not least beacuse his home studio houses a collection of rare instruments, many of which can be heard on the opening track. These include banj, lap steel, and sitar, which are combined beautifully. Keyboard player David Wallumrød, and drummers Erland Dahlen and Michael Blair (who has performed with Tom Waits, Elvis Costello, and Lou Reed) join Sundstøl here. Their textures, plus with the layers of shimmering, glissando notes from the strings, make for a rich and relaxing listen. The tunes on Furulund are linear affairs that dazzle thanks to the great choice of sounds, and the breadth of tonal sublety is a prime attraction. There´s great musicianship here, too, but theyt are mature enough in their own skills not to turn this into an album of showmanship. It´s almost as if Hubro chose the atypically monochrome cover art to avoid the “book by its cover” listener and find more discerning ears.
— HiFi+ 9/10 (UK)
Strengevirtuos Geir Sundstøl har vært en viktig skikkelse innenfor norsk musikkliv i flere tiår, og har ornamentert utgivelsene og konsertene til en meget lang rekke artister, også kjendiser som Sissel Kyrkjebø og Odd Nordstoga. Men han tenker også sitt, noe som er åpenbart på det aldeles strålende soloalbumet “Furulund”, der country, world music og noe dypt personlig åpenbarer seg. Sundstøl samler på alle mulige gitartyper, og bruker en haug av dem på den varmt stemningsfulle og svært assosiasjonsfremmende instrumentalplaten. Forestill deg den filmaktige atmosfæren hos Ry Cooder og Bill Frisell, koblet med noe nærmest sakralt, og i tillegg med et umiskjennelig islett av østnorsk hillbilly. Kanskje ikke uten grunn av Coen-brødrene etter sigende fant opp en av figurene i “Fargo” inspirert av ham, etter å ha sett ham spille. Med musikk som dette kan høsten trygt komme.
— Dagens Næringsliv (N)