Geir Sundstøl

Prolific. This is a term that’s often used to describe musicians. Of course, this is often an exaggeration. Geir Sundstol is an exception to this rule. Geir Sundstol’s career started in 1988. He has appeared on more than 260 albums. These include the albums he recorded with Rovers and Morris. Geir Sundstol was a musician who worked as a hired gun. Geir Sundstol worked as a session player for most of his professional career. He’s not your average session musician. Most session musicians stick to one instrument. Geir Sundstol is different. He describes himself as a guitarist and self-taught multi-instrumentalist. Geir Sundstol is a guitarist, pedal steel, guitar, harmonica, banjo and dobro player. Geir Sundstol has many talents. This is one reason so many artists have called Geir Sundstol. This applies to all Norwegian music, not just the good and great. No. Geir Sundstol has traveled far and wide to record albums. He has been featured on albums by everyone, including A-ha, Lillebjorn Niilsen, D.D.E. Lynni Treekrem and Lars Martin Myhre. There are also albums by Bjarne Brondbo and Savoy, Jorun Bogeberg, Bjorn Eidsvags, Rita Eriksen, Nils Petter Molvaer, Blister, Savoy and Jorun Kvitnes. All of these artists are familiar with Geir Sundstol’s number. No wonder. He is one of the most versatile musicians working in music. Geir Sundstol is able to seamlessly switch between different musical genres, unlike some session musicians. Geir Sundstol is equally comfortable playing blues and country music, as well as pop, jazz, pop, rock, roots, and jazz. He’s often asked to join everyone, from deLillos and Di Derre to Hangnal to Jimmie Dale Gilmore who first met Geir in 1993. Jimmie Dale Gilmore first met Geir Sundstol at the 1993 Down On The Farm Festival. The pair soon began touring America together. Joel and Ethan Coen, both film directors, were there one night at one of the concerts. Fargo, their new film was in the works. They were still working on the characters and looking for inspiration. The Coen brothers saw Geir Sunderstol and were inspired to create Gaear Grimsrud (Peter Stormare’s character from Fargo in 1996). Geir Sundstol was already eight years old and had been touring the globe for eight years. Geir Sundstol still works hard 19 years later. He has toured the globe several times and worked on more than 260 albums. He still has one thing to do: release his debut album. Geir Sundstol will make this a reality on September 18th 2015 when it is released by Hubro Music. Furulund is an eagerly awaited album. It is Geir Sundstol’s long-awaited debut album. Furulund was recorded at Studio Intim, Geir Sundstol’s home studio. There are eight soundscapes recorded there. These soundscapes have been described as “atmospheric” and “evocative”. Furulund was entirely recorded in analogue. Some of his musical friends were however, part of Furulund’s recording crew. Bernhoft keyboardist David Wallumrod is also included in this group. Erland Dahlen and two other drummers are also present. Geir and he were both members of Morris’ group Nils Petter Molvaer. Michael Blair, the other drummer, has been with Lou Reed, Elvis Costello, and Tom Waits. They were joined by Geir Sundstol in his studio, Studio Intim. This collection includes many rare instruments that Geir Sundstol collected over the years. Many of these instruments are rare. These are not insurmountable obstacles to Geir Sundstol’s use of them on Furulund. It includes eight instrumental soundscapes by Geir Sunderstol. Furulund was finished by Bard Ingebrigtsen, Amper Tone Studio. It was then mixed by Helge Sen, Audio Virus Lab. Furulund was then ready for release. Furulund was a long-awaited release. Geir Sundstol began his career in 1988, 27 years ago. Geir Sundstol had already worked on over 260 albums, and toured the globe several times. Now, he was finally ready to release Furulund, his long-awaited debut album. Din Gamle Arak opens Furulund. A single, folk-tinted guitar plays. It’s joined by a shimmering, steel guitar. They are part of a subtle soundscape. A subtle, but still powerful, soundscape can be heard off in the distance. It is panned left and it threatens to unfold. It’s not a straight line. A cinematic sound emerges out of nowhere. The marxophone is accompanied by bells, drums and guitars. It sounds like Geir Sundstol has been playing the soundtrack to a Spaghetti Western. Furulund is something that must be listened to. The distant sounds stir. Gradually the arrangement grows. A piano plays. The piano is joined by a guitar and drums with a country flavor. Percussion plays in the background. The music becomes moody, melancholy, and thoughtful by this point. The music is a wash of emotion that washes over the listener. Soon they are absorbed in the pensive beauty. The introduction to Punsj is sparse and expansive, just like the previous tracks. It seems deliberate. It is hard to believe that the arrangement could be going in a certain direction. One guitar playing with a country influence plays. Soon, an assortment of sound effects and percussion are added. They add a lot of energy to the arrangement. It makes sense to them. They are always there when it is needed, whether they be percussion, guitars, weeping pedal steel, or bells that chime. Geir Sundstol and his alternative orchestra create a dark, dreamy soundscape. It sounds like it belongs in a Wim Wenders film, such as Paris Texas. Englehviin is filled with bells and a pedal steel that weeps. The wind blows, and a guitarist plays. The bells and pedal steel are joined by plink plonk percussion. Drums and sci-fi sound are also a good option. Drums add drama. The most atmospheric and powerful sound is the pedal steel. This cinematic soundscape will tug at your heartstrings. Svi is controlled by a keyboard. It’s moody, broody and subtle despite its simple sound. It’s especially good when you add shimmering guitars or an organ. These add to the moody, mesmerizing sound. It is country-influenced. The Eastern percussion is later added. Once it has appeared, it disappears only to reappearance later. The arrangement is cut by a piercing guitar and a bass. A weeping pedal steel joins them, as well as percussion. They create a dreamy, fuzzy, and lysergic soundscape. Ry Cooder. As Kamelsnurr unfolds, I think of Ry Cooder. Geir is all that’s left. The music fades into the distance. This is until he’s joined with another guitar or drum. Its purpose seems to be to add drama. It succeeds at this. It’s especially effective when the marxophone or percussion are involved. They create a cinematic soundscape. The only thing the listener has to do is use their imagination and direct the film that follows the moody, dramatic, and wistful Kamelsnurr. Sheriffen av Rotterdam is surrounded by distant music. They shimmer and glisten, and they seem spacey. Geir again combines his guitar and rumbling drums. Drums sound like distant thunder and shimmer as guitar riffs shimmer and shake. Geir’s banjo gives the track a sense of urgency. It’s beautiful, atmospheric, and mellow. Dagens don’t close Furulund. It is a mixture of influences including Ry Cooder and the Cocteau Twins as well as Buddhist music. This is due to the bells that ring. There is a distinct country influence later. Geir’s slide guitarist is the reason. This minimalist, moody soundscape is its main focus. It sounds like it belongs on a 21st Century Spaghetti Western, just as Din Gamle Arak did for Furulund. This seems like a fitting way for Geir Sundstol to end his long-awaited debut album Furulund. Furulund was recorded and released by Geir Sundstol after a long wait. It was well worth the wait. Furulund, a debut album featuring eight instrumental soundscapes, is stunning. Geir Sundstol plays the majority of the instruments. This is not including the drums or keyboards. These parts are also played by some of his musical friends. These musicians are part of one of the most important debut albums of 2015. Furulund’s music is beautiful, broody and cinematic. It’s also melancholy, moody, melancholy, melancholy, and dreamy. The music can take the listener on an emotional journey. The only thing the listener has to do is use their imagination. Geir Sundstol provides the music. The music sometimes sounds like it belongs on a Spaghetti Western soundtrack. Punsj is another track that sounds like it belongs on a Wim Wenders soundtrack. The Cocteau Twins and Brian Eno are also influences. Ambient, Americana and blues are just a few of the influences. Hubro Music will release Furulund on 18 September 2015, and each of these influences is part of its sound and success. Furulund is one the most successful debut albums of 2015. Cinematic is the best way to describe Furulund’s music. Furulund is a musical journey. It contains eight soundscapes lasting thirty-five minutes. Geir Sundstol 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. from

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