Showing posts with label Morten Harket. Show all posts
Showing posts with label Morten Harket. Show all posts

Wednesday, September 21, 2022

The Summers of Our Youth

Stephen O'Brien ponders on his own formative friendships as he watches the members of a-ha deal with their own in their new film, True North.

A new album from legendary Norwegian pop band a-ha is always an event in my book – but even more so when that new album is accompanied by a film.

 

So it was that my girlfriend and I went to Showcase Cinemas in Liverpool on Thursday 15 September 2022 to watch a-ha: True North.



Named after the band’s forthcoming album, True North showcases a-ha performing 10 of the album’s 10 tracks live, backed by additional musicians and the Arctic Philharmonic. These performances are interspersed with scenes from the lives of the people who live in the Arctic, forming a narrative across the film’s 72 minute running time.

 

We are also treated to some stunning footage of the beautiful Arctic – mountains, ocean and land – which makes the majestic swoop and heft of the music resonate on a deeper level.

 

In between the tracks, we are treated to short segments where the three members of a-ha – Morten Market, Magne Furuholmen and Paul Waaktaar-Savoy – separately talk about their approaches to the new songs and also on how a-ha operates as a unit; let’s not forget, Morten, Magne and Paul have what could be charitably described as a very complicated friendship.

 

These segments – and what they suggested about the nature of friendship – really resonated with me that night as I arrived at Showcase Cinemas after many, many years of absence, and I was immediately reminded of two important friendships of my own, both played out at this cinema over 30 years before.

 

In the late 1980s and early 1990s, I hung out a lot with two particular friends, John & Jim. We were – and still are – really pop culture buffs; music, TV and film. So when Showcase Cinemas opened in Liverpool in 1988, it was a big deal for us. It was the first American-style multi-screen complex in the city. The building was huge and the car park was massive. The screens were big, and the popcorn was even bigger.

 

Over a 3 year period, John, Jim & I would go to “the Showcase" most Thursday nights. We saw some great films – Back to the Future II & III, Bill & Ted’s Excellent Adventure, Die Hard – and some not so great – Moon 44, anyone?

 

In many ways, the film didn’t matter. It was always a privilege to spend time with John & Jim. They were both bright, funny and interesting. John was a force of nature, his unerring self-confidence equally matched by his compassion, and his charisma was unmatched. He also remains the funniest person I have ever known, and I am lucky enough to know a lot of funny people. Jim was easy-going but bursting with ideas and creativity, with a knack of disarming people with his effortless charm. He was also a people magnet, and everyone wanted to be his friend within 30 seconds of meeting him.

 

There is a saying that you are the average of the 5 people you spend the most time with. I was blessed, in my teenage years, to have John & Jim as 2 of those 5. Their intelligence, their wit and their kindness has had a long-lasting influence on me. To be even 1% of who they are is a real privilege.

 

As is often the case with friendships in our formative years, I don’t really see John or Jim these days. You know how it is – life gets in the way and takes each of us in different directions – but being reminded of those friendships at that cinema on that night brings me back to the three members of a-ha and the bond that still holds them together.

 

Morten, Magne & Paul formed their friendship – and their musical partnership – in their formative years. Following their first wave of success, the relationship between the three has become strained – to the point where they periodically split and say a-ha is over forever. Yet they still find a way back.

 

The optimist in me thinks – and hopes – it’s not just the money that brings them back together. And I also like to think it’s also not just about the creative lure of a-ha either. They may often reach the point where they can’t bear to be in the same room at the same time, but that friendship – or at least the memory imprint of their early friendship – still endures. Let’s face it, the only people who know what it’s like to have been in this world-famous band and can understand all that comes with it are Morten, Magne and Paul. Whether that friendship has been superseded by mutual understanding, who knows? But there must be something there, some emotional glue, that holds them together. And I think that comes across in this film and its music.

 

a-ha have never been a band to display their friendship (unless you count the video to Touchy!). They have always cut an aloof, slightly-distant-from-each-other image. Some of this could be representative of the natural temperament of the Scandinavians, rather than simply a long-held dislike of each other.

 

That said, given their previous 2015 album Cast In Steel was largely written and recorded separately by three separate factions, it is a joy to see the three of them together performing this new material (as opposed to touring the back catalogue). This looks like a rejuvenated a-ha; that might not last much beyond the 72 minutes of this film, but I’ll take it!

 

Magne has written and produced 6 of the 12 tracks, with Paul writing and producing the other 6. It does seem like the three have made a real attempt to come together as a three-piece, and the material (as well as the film) seems much more cohesive as a result.

 

Much of the album takes us down slower, more contemplative roads, with the impressive I’m In starting proceedings. The listener has to patiently wait for some more upbeat tracks, but when these – Bluest of Blue & Make Me Understand – kick in towards the end of the film, they are a welcome treat. Elsewhere, songs like Between the Halo and the HornTrue North are achingly beautiful, both melodically and lyrically. Much of a-ha’s material has the ability to bring various emotions to the surface, and this is amplified by the wonderful backing of the Arctic Philharmonic; I sat in that cinema, with its huge screen and surround sound, and I truly felt the music, rather than just hearing it. My girlfriend, who likes a-ha but is not a huge fan like me, loved the film and the music – and she singled out the orchestral arrangements as making the music all the more beautiful and moving.



So I left the screen a very happy man. Not just because of the wonderful music and visuals I had just experienced, but also because it was good to be reminded of the power of friendship and the impact those friendships can have on the rest of your life. It’s funny to note that I had just watched three friends who sometimes can’t bear each other yet are still in each other’s lives, yet I hardly see two fondly-remembered friends who I never fell out with. 


And as I walked out of the cinema, I thought back to the three young friends who would have been walking in 30-odd years earlier to watch the first of many films in that shiny new cinema. And part of me envied them. What great times they have ahead. What great friends they were.

Sunday, September 30, 2018

REVIEW: Still Life - Peter Kvint

It is the end of September 2018 as I write this, and I am here to tell you about the album of the year.


Still Life is the debut album from Swedish songwriter and producer Peter Kvint. Kvint has had a long career behind the scenes, working with acts like Andreas Johnson, Britney Spears and Morten Harket. Having enjoyed Kvint's work on Harket's contributions to a-ha's last studio album Cast In Steel, I was moved to check out his solo material. And I'm so glad I did.

Still Life, for me at least, is the album of the year. And yes, I know there are still a few months left of 2018, but this album has impacted me so much that I'm sure if anything will top it.

The album has had a long gestation period; Kvint himself suggests he had no real intention to become a performer, but he found himself with a number of songs he'd written and performed for special occasions - songs so personal to him that he couldn't see anyone else but him fronting them.

Still Life is well named, with its title having a double meaning; still life in that it is a snapshot in time, a portrait of the life of a man reaching middle age, but also still life in the sense that we're still here and we still have to live, whether life is good or bad, or a combination of both.

Opening track (and lead single) Seasons In You is a gorgeous, melodic tribute to Kvint's wife (he wrote and performed it for her 50th birthday), where Kvint tracks their relationship and his feelings for his wife against the four seasons. It also sets the sonic template for the album; largely driven by acoustic guitar but peppered with electric guitar and electronics, the sound of the album is reflective and organic.

Sea of Heart is possibly the key departure from this sound; it's almost like a-ha doing Bobby Darin, but its dreamy texture and wall of 1950s Americana backing vocals impresses.

Perspective is a punchy journey into Kvint trying to understand the man he is now at this stage of life, as compared to the person he always assumed he was, with these thoughts culminating in an impressive instrumental break.

The next two tracks are possibly the album's highpoints. Willow Tree is a superb ballad, with a melody that is worthy of Lennon & McCartney; Kvint contemplates his marriage in which he and his wife have, like the tree in the title, bent to life's demands, but have not been broken by it. The lines of the chorus - "I'm picking up the pieces of you / You're picking up the pieces of me" - are moving, especially with Kvint's delivery, and the extended choral coda which brings the song to its conclusion is beautiful.

Opening with some noodling synths, The Chaos Theory has a melancholic melody which gets you right in the heart; I can't listen to this track without getting a tear in my eye and a lump in my throat. Kvint expresses the view that modern life is hard, but we need to stay strong and keep the big picture in mind. The emotion of the chorus - "Butterflies will flap their wings again / Hurricanes will rock your world, my friend / Count your love and multiply" - makes this song an instant classic.

Sculpture discusses how we are shaped by life and the people around us, and how that shaping never ends, with Kvint again taking stock of his life. Kvint adds some lovely brass/woodwind to this track, which gives it a real jazzy feel.

Turn My World Around Again is a restrained yet emotional paean to a close friend of Kvint's who sadly passed away; it was this track, which Kvint performed at the funeral, which instigated the whole album. This plaintive piece expresses the pain of losing a loved one, with Kvint's lyrics - "Shine a light on my friend / Lead his way until the end / Bring him home / Turn my world around again" - bringing tears to my eyes when I think of those who have passed on.

Battleships is a further departure, with its beefier production moving away from the intimacy that permeates most of the album and towards a radio hit. It is possibly one of the most immediate tracks on the album, with its lyrics seeing Kvint in fighting mode; the more contemplative Kvint gives way to a man determined to stand his ground instead of retreating.

Life Is Complicated brings Kvint back to the album's recurring theme, about how life can be a struggle at times but that doen't mean that one should avoid living it to the full -- a message reinforced by the track's laidback guitars and percussion. Some lovely backing vocals and a winning chorus make this track the dark horse of the album.

The Puzzle opens with an amazing extended instrumental intro, a lovely mix of woodwind, strings and guitars, before we get to the brilliant opening lyric - "There's a hole right inside of you / Where the people see right through you". This epic piece - all 7 minutes and 31 seconds of it - has Kvint address the listener directly; we're all incomplete in some way, there's something about us all which isn't quite right, and we spend much of our life trying to understand it.

Many artists probably would have ended the album on the anthemic The Puzzle, but Kvint ends -- as he began -- with a low-key tribute to his family, this time to his children, on Singing Every Song For You. Kvint talks about his children starting to making their own way in life but reminds them that everything he does is for them and that he's always there for them, even when he's not at the their side. It's a gorgeous track, and is absolutely the right way to close such a personal album as this.

This album has really stuck with me; the lyrics have made me think, and the melodies have made me feel. I'm a few years younger than Kvint, but I can really relate to the themes he has tackled on this brilliant album.

After a few days of listening to the album on Spotify, I knew I had to actually own the album (and support Kvint more directly) so I stumped up to get the CD shipped from Sweden. But if you don't want to do that, then it is available on Spotify and also available from the usual downloads sites such as iTunes. I'd urge you to give it a try; it might not be to everyone's taste, but this album is such a heartfelt and poignant piece of work that it deserves to be better known.

Kvint himself has been so inspired by the process that he has started work on a follow up, and I am really looking forward to hear what he comes up with. Until then, I will continue to spend some more time with Still Life. Which, may I remind you, is the album of the year.