Empty House is released 19th February 2016 via Riot Factory.
This formidable foursome from Norway are ready to take the music world by storm. They are a storm of sorts – Snøskred is Norwegian for ‘avalanche’ and from first listen they are an unstoppable force. Following their debut ‘Whiteout’, their new self-produced album will be available on 19th February. Empty House marks the band’s shift in style from their shoegaze phase to more guitar heavy indie rock tracks.
The lovely lads took some time to speak to Overblown about finding their sound and sticking to their roots.
Listen to their new single and continue reading below.
Overblown: What were your inspirations for Empty House? How would you describe the sound of the album?
Snøskred: The inspiration for Empty House comes from all over the map. Afrobeat, 4/4 claps like they do in trap, glam rock guitar sounds, Morton Feldman-inspired piano chords, stories from various places and times. Most of all just being together with your friends in a room, trying out different ways of making music together.
The sound of Empty House is organic, warm, intimate, but also hopefully at times fun. We recorded basic tracks for it in the warmest week of 2014, so it will forever be tied to the lazy ecstasy that comes with sunshine in Trondheim.
O: What was the reasoning behind deciding to self-produce the album? How has working so closely together helped you to evolve as a band?
S: A desire to get to know ourself better as a band. Bringing in a fifth person didn’t make much sense at the time. Also: we cut a really good deal on it.
O: Your video for ‘Lexington Hotel’ takes things back to basics, with the use of silhouetting. Is anonymity a concept that interests you amongst the usual showboating in the music industry?
S: Maybe not so much anonymity, but rather all things iconic? A black shape against a white background seems to be more interesting than our faces.
This idea of the iconic will be very important for the next record.
O: Influences from all over can be heard in your music. Where is home to you?
S: With our ears wide open in front of our record collections.
O: What does the coming year hold for Snøskred? Do you plan to go on tour?
S: Yes, a tour of Norway in April, and whatever comes along after that. Also: there’s a new record to make!
O: What was behind the decision to change your name in Norwegian? Is it important to you to you to stick to your roots musically?
S: You can write that our name is Snøskred because Leonard C. stepped into an avalanche and it covered up his soul over brooding strings and a menacing nylon string guitar, and that’s not the kind of thing that you forget so easily once you’ve heard it.
It seems more important not to stick to any sort of roots, but rather take the morals and dogmas of our roots and apply them to new kinds of musical material.
O: Who do you consider to be your contemporaries in your genre?
S: Anyone and everyone trying to go deep with their music. We’re not too concerned with genres, but very concerned with the deep.
O: Is there anyone you’d love to collaborate with?
S: Yes. They’re plentiful, but all really famous and/or really dead. Kate Bush, Judee Sill, Lonnie Holley & Kath Bloom, because they touch our drummer’s soul with their music.
O: What are your aspirations as a band? Where do you see yourselves in ten years?
S: Hopefully we will be together in a not-too-large room in ten years time, grey hair hanging in front of our eyes, figuring out new ways of making music together. The thought of anyone wanting to participate in this through listening is absolutely thrilling.
O: Your sound has evolved a lot since ‘Whiteout’. Is there any musical territory you wouldn’t trespass?
S: I’m sure there’s lots of directions we wouldn’t be able to go in convincingly, but we definitely haven’t decided on that beforehand. Rather it seems imperative to be willing to try anything that seems to make sense at any given moment.
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