Norwegian Trio Orbits Talk Debut Album ‘Blood Red Sky’
The debut album, ‘Blood Red Sky,’ from Norwegian trio Orbits is a thrilling manifesto of collaboration, experimentation, and audacious musical exploration.
It’s not just jazz, nor purely electronica, but unpredictable journey that captures the very essence of music as a living, evolving conversation. The trio’s foundation was forged at the renowned Moldejazz festival with a commissioned piece called ‘Glass’. The instant chemistry between Natalie Sandtorv, Erlend Mokkelbost, and Lars Horntveth was a kinetic energy they have amplified for this full-length effort.
‘Blood Red Sky’ showcases remarkable stylistic range. Natalie’s voice leads the charge with striking versatility, weaving effortlessly through electronic textures and intricate jazz phrasing. Beneath this, Erlend and Lars construct expansive, often danceable soundscapes and intricate rhythms that balance improvisational freedom with rigorous control.
Crucially, the album’s sonic character is inseparable from its genesis. Orbits recorded in an abandoned gym hall in Halden. This history-rich, acoustic space became a fourth member of the band, lending a warm and dynamic sound that elevates the record beyond digital perfection.
Further enriching this tapestry are key alliances, with collaborations from Zach Tenorio and musicians from Fieh and Elephant9. The result is a confident opener that firmly plants Orbits on the map as one of the most exciting and inventive new acts to emerge from the Nordic scene.
“Genres are a very strange way to define music, and experimentation happens when you free yourself from these boundaries.”
The band came originally together for a commissioned piece called “Glass” for Moldejazz. What was it about that initial project that made you think, “Okay, this needs to be a full-on band”?
Erlend: A lot of things, but maybe first of all just the nature of the whole sound. A lot of the music is very written out, but there are also large pockets meant for experimentation and improvisation, where the different musicians can do their things and add to the sound. Also, the three of us all come from very collaborative backgrounds, and I think we all look for something communal, something that gives us a feeling of togetherness. Orbits is a band where everyone contributes, be it the three of us or the musicians involved in the studio and live.
You recorded ‘Blood Red Sky’ in an abandoned gym hall. What was the vibe like in there? Did the acoustics give you any unexpected surprises, good or bad?
Erlend: The studio is a legendary recording space, and we all grew up on records from this place. It’s located in the small city of Halden, and it’s a really well-equipped space with tons of great stuff. And of course the actual feeling of the room, with a high ceiling, old furniture, tons of amps and outboards, as well as the history in the walls, makes it a very welcoming place for musicians like us.
The album has a bit of everything, from sweet pop melodies to minimal D’Angelo-esque beats. That’s a huge range. Was there a specific mood or feeling you were trying to capture for the album as a whole, or was it more about letting each song go wherever it needed to?
Erlend: It’s a mix of everyone involved, and we come from everything from jazz to punk to R&B to improvisational backgrounds, so there’s a lot of things we can throw in the mix. But we also had a strong feeling as to what we wanted Orbits to be: adventurous, danceable, heartfelt, and exciting.
You’ve got some incredible collaborators on this album, including Zach Tenorio and members of Fieh and Elephant9. When you bring in other musicians, is it a case of giving them a lot of specific direction, or is it more like, “Here’s the track, now go do your thing”?
Erlend: What all these musicians have in common is that they “get it.” Some things we sketch out may have their qualities and errors, and they pick up on that and make it better. We’re truly blessed to be surrounded by this group of geniuses, and we feel that with a common feeling as to where the music is headed, everyone is on board and brings it to fruition.
The bio mentions a shared vision for “jazz experimentation, melody, and collaboration.” Can you break that down for us? What does “experimentation” mean to you?
Erlend: I can only speak for myself, but I feel that genres, for example, are a very strange way to define music, and experimentation happens when you free yourself from these boundaries. Of course, it’s not like we never speak in terms of genres in our daily lives, but when you make music, you yourself want to be exciting. You want to create as much of a free space as possible, be it sounds, form, or instrumentation. I feel the record reflects this well, and we’ll continue to discover new things that will be put into our music.
Natalie: I totally agree with Erlend here. And for me, experimenting with my voice and with electronics was what got me into wanting to do music in the first place. I was never interested in being just a “singer” in the conformist way. It was first when I discovered vocalist Sidsel Endresen, the band Close Erase, and trumpet player Arve Henriksen—the list is long of other amazing Norwegian jazz musicians—that I got a sense of this intense creative drive. I think what we do in Orbits is very much focused on a high level of experimentation both in composing and live.
Your first two singles, ‘Synthetic Sweetness’ and ‘Falling Apart,’ feel pretty different from each other. Was there a deliberate choice to show a broader range from the get-go, or was that just how the songs came together?
Erlend: It’s pretty organic. For ‘Synthetic Sweetness,’ Natalie and I wanted something uptempo and spikey, so we sketched it out. Then Lars came into the mix with a bunch of ways to rearrange and spice it up, as he does. As for “Falling Apart,” I remember us all being a little emotional at that moment. So we decided to set aside another song and just started playing around with chords. I think the whole song was done that same day. It’s a very free-flowing and simple song that takes you on a warm ride.
‘Bad Mantras’ was your “darker, more experimental” EP. How did you decide to shift gears for ‘Blood Red Sky’? Was it a conscious move to open up the sound, or a natural evolution?
Erlend: All this music was written in the same period, but still these songs differ from each other. And these “darker” songs were just meant to be together, which also gives the album a more uplifting and lighter feel.
Natalie, your voice is a huge part of the band’s identity. How do you approach the vocal melodies and lyrics? Do they come to you during jam sessions, or is it more of a separate writing process?
Natalie: During the whole process of writing this album, we were together in the studio. I was usually back in the room, on a couch, recording voice notes for every new sound or part Erlend and Lars were making. So I was constantly improvising new melodies and lyrics, trying to find interesting stuff to go with it. I really wanted it to stick out rhythmically, and like on the song ‘Bad Mantras,’ I had fun imagining I was a singer in Jaga Jazzist because that initial idea was all Lars and, of course, sounded very Jaga when it first came to us. My favorite melody and text to write was “First Swim.” I feel like I succeeded in making something different, but still heartfelt. I like the different parts, not making a whole lot of sense, but with Lars’ and Erlend’s magic, it really feels like a piece. I let the moods and timbre guide me in where I place my voice, and I just want to make it sound cool and unexpected.
“The combination of the three of us, all of our references combined, but sewn together in the production, is the magic in Orbits.”
Given your diverse influences, how do you manage to create a sound that feels cohesive?
Natalie: I guess that’s the magic in Orbits. That combination of the three of us, all of our references combined, but sewn together in the production.
We also have a lot of music in common, both old-school and modern jazz. For instance, our band name is taken from a Miles Davis song.
But we hang out a lot, have dinner parties, and show each other a lot of different music, so we are in this nice synergy of checking out new stuff constantly. I just played Lars my first solo album the other day. It’s a noise record recorded by noise legend John Hegre. I don’t think he saw that one coming.
The album title is ‘Blood Red Sky’. Is there a story behind that name? Does it relate to a specific song on the album, or does it capture the overall feeling of the record?
Natalie: The initial name of the piece/project was ‘Glass’ when we wrote the commission, but when we finished recording everything and had sat with the music for a year or so, the title ‘Blood Red Sky’ was the most fitting. It explains an overall enigmatic, gloomy state of mind that is a red thread throughout the album.
What’s next for you?
Erlend: We are now well into the process of writing new material and have spent much of the summer inside our studio feeling very free as to where we can go next. We made a bunch of new stuff, where some things are very different from ‘Blood Red Sky’ and others have a kinship to it. Can’t wait to record all this new stuff, and soon.
Okay, last one. If you were ever touring near my town and stopped for a visit, what kind of records do you think we’d play?
Erlend: I suggest something by Hermeto Pascoal, a Brazilian music giant who just passed away. Wild catalogue.
Klemen Breznikar
Headline photo: Orbits (Credit: Anne Valeur)
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