ÅRABROTS‘s 9th full-length album Norwegian Gothic sees the band collaborate with Lars Horntveth (Jaga Jazzist), cellist Jo Quail, Tomas Järmyr (Motorpsycho), Anders Møller (Turbonegro, Ulver) and Massimo Pupillo (Zu). A stellar production by Jaime Gomez Arellano (Black Eyed Peas, Paradise Lost, Hexvessel, Oranssi Pazusu) makes this the quintessential ÅRABROT record, as guitarist and vocalist Kjetil Nernes confirms:
“Norwegian Gothic is the culmination of everything Årabrot has done musically the past 10 years. It is not only the climax of the band so far, but also a good indication of what to come. It is basically an amalgamation of all of our influences here in the church where we live. Musically it is inspired by all the albums of our record collection and thematically by the books we have in our shelves. More specifically it is our special brand of rock’n’roll music mixed with fin-de-siecle decadence, surrealism and even a pinch of old German philosophy to boot.”
While the 20 years history of the band is a story of change and correlation, it would be too simple to break this creative duality down to the stereotypical dichotomy of the yin and the yang… and if one attempted to do so, it would turn out to be quite difficult to determine which of these forces would be represented by which individual.
A chubby child from a christian family, growing up in a small Swedish village and years spent in a Missionary school in Japan made Karin desperate to break away from narrow thinking. And she used her only advantages to do so; her unique voice and personality. By the age 15 she had moved away from home to find her place in music. After studying at Stockholm Music Conservatory, a Norwegian poet took her to Norway where she started her pop career, this was followed by a move to London to write songs, and working as a model.
After five albums, a few Grammys, writing a Eurovision entry for Norway and hits for other artists and performances with Lana Del Rey and David Bowie, Karin returned to the village of her youth and bought the church where she first sang in front of an audience as a child. The church is where they rehearse and record, surrounded by pianos, organs and hundreds of old bibles that the church left behind when the congregation stopped. The clerical environment has proven to be an excellent creative tapestry for a band whose lyrical focus orbits around sex, death and defiance.