Press reviews of the CD "12 Bilder" by Eirik Lie

CD cover So far, the album has been reviewed in the following publications:

All Music Guide, USA
OffLine Indie Reviews, Ithaca, NY, USA
Transoniq Hacker, Portland, OR, USA
Wind and Wire, Minneapolis, MN, USA
New Age Voice, Atlanta, GA, USA
Alternate Music Press, MA, USA
E-dition, Netherlands
Gränslöst, Sweden
Ånd I Hanske, Bodø, Norway
Klassekampen, Oslo, Norway
Puls Furore, Oslo, Norway
Byavisa, Trondheim, Norway
Adresseavisen, Trondheim, Norway

All Music Guide

407 N. State St.
Big Rapids, Michigan 49307
Phone: 616 796-3437
Fax: 616 796 3060

12 Bilder (12 Images)
Artist Eirik Lie
Album Title 12 Bilder (12 Images)
Date of Release 1996 (approx.)
AMG Rating  (Best-of-Artist)
Genre Newage
Styles Avant-Garde, New Age Tone Poems
Time 65:50

"12 Bilder", which translates from Norwegian as "12 images," collects a dozen innovative tone poems that composer Eirik Lie has created for various museum installations, art exhibits, puppet plays, theatre productions, and films. The works (including a few "unused" pieces) date from between 1983 and 1996. As a bonus, the 12 panels of the liner notes offer colorful photographs or artwork from the productions. With keyboards, guitars, and sound effects, Lie brings out a visual sensibility that enlivens every piece with a musical space, a mood, and some action. The first piece, a Norse mythological trilogy called "Hugin and Munin," gets moving with a rowing cadence, marching, and signal horns. The middle section, "Labyrint," creates puzzling spaces with deep yawning echoes and dizzying sounds that whistle in different directions. The final section, "Balders Gravferd/Funeral Procession," offers a chorus of mourners, a single drum, and the easy splash of rowers. "112 Par Sko/111 Pairs of Shoes" commemorates the 112 victims of a landslide (a photo of the artistic installation is shown in the liner notes); for this piece, Lie used only an electric guitar with no overdubs to create a massive wall of sound, the swoosh of land, and the tiny squealings of the victims. Several pieces for puppet productions combine both the jerkiness and the grace of the movements of string puppets. The three-section "Ravner" jumps around comically in a windy rainstorm, squawking with mock authority. Lie's pieces are totally unique, with compelling melodies enriching the "just right" musical settings. Very enjoyable; 12 Bilder will entice you to repeated listenings.

Carol Wright, All Music Guide

AMG (All-Music Guide and All-Movie Guide) is an ongoing project to review and rate all music (whether in-print CDs or out-of-print on vinyl) and list (and rate) all feature movies and provide their credits and related information. Our goal is to achieve a concensus by expert music/film free-lance writers as to the best music and movies.
AMG represents the combined effort of over two hundred experienced music writers to point out the most important artists and their finest music. Most are well-known reviewers. Aside from producing scores of liner notes, they also write for magazines like Rolling Stone, Goldmine, Detail, Fanfare, Pulse, Request, Billboard, Music Express, Mix, Agent/Manager, Spin, Musician, CD-Review, Rock & Roll Disc, and many others.
Starting with extensive lists of musicians in their particular area of expertise, each writer picked the artists they felt should be included in the project. These lists were combined to create a master list for each genre of the most frequently selected artists. Master lists were then submitted to genre editors, further refined and commented upon, and given to at least one other editor for still more criticism, additions, and suggestions. The final result is in your hands, the top albums selected from a database of over 230,000 albums.

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Offline Indie Reviews

May, 1997
Reprinted by kind permission of Scott Noegel, vice president.

Calculated, eclectic, and darkly ambient, this debut CD on the Visuell Musikk label anthologizes the creative soundscapes of Trondheim's sampler savvy Eirik Lie. Despite that the cuts were composed at different periods (1983-1995) and for different visual contexts including theatre, performances, installations, and videos, the disk is coherent, informed, and moving. Reminiscent of Eno and Durutti Column, but with more of an edge. The more ominous sound textures like 112 Par Sko, Istapper, Siden Tidenes Morgen, Ravner, and Dystopia are my favorites, but all are unique dream time excursions. I find myself playing it again and again. Definitely a new staple in my collection.

Scott B. Noegel
Visiting Assistant Professor
Rice University
Department of Religious Studies, Biblical and Ancient Near Eastern Studies

OffLine is a national arts organization and public access cable show that culls works by independent artists and producers. The show's focus is art and its many diverse forms. OffLine's producer's encourage creative strategies to video and film and seriously consider all submissions. Categories typically include experimental/art, computer graphics/animation, music video, performance art, experimental documentary, and short narrative. OffLine airs in numerous cities around the country for more than six million viewers. Since the cable series is an ongoing project, the show has a different schedule in each city. Thus, one episode of OffLine could be in circulation for several years as new cities are added to the network. Since new cities continue to invite OffLine to air (see our What's New Section) the potential for constant national exposure is enormous.
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Transoniq Hacker

March, 1997 review in
Basement Tapes
Transoniq Hacker
1402 SW Upland Dr.
Portland, OR 97221

12 Bilder by Eirik Lie

Here is Art. Eirik Lie presents "12 Bilder" ("12 Images"), twelve tracks "originally written for theatre, installations, and other visual contexts", but which stand wonderfully on their own as "pure listening music" as Eirik hopes. And stand they do; these songs evoke melancholy and darkly whimsical images, practically summoning visual pictures. The CD insert includes twelve photos, helping to set the mood of lightly disturbing imagery. The entire project works excellently, leading the listener into a world of contemplation.
From the accompanying letter:
Eirik started as a guitar player in rock, blues, and jazz bands, but has lately moved quite a bit away from those styles as he mostly has worked with music for fringe theatre groups, both as a composer and musician, touring all over Europe (and a short trip to Canada, too). He's exploring new sonic possibilities of the Fender Stratocaster, but most of the music is done with synths and samplers. Most of the tunes have started their lives as sketches on the Ensoniq ESQ-1's onboard sequencer, later to be transferred to a computer-based sequencer for fine-editing. The keyboard player Frode Fjellheim participates as a musician and co-producer on some of the tracks, and the whole CD is a kind of basement production, recorded in their own project studios.
Some of my favorite tracks from "12 Bilder":
While I wish I could hear these musical pieces in their original theatrical contexts, they truly stand alone as wonderful ambient "mood" music. Much more focused and mildly disturbing than what I usually call "new age" music, this CD is rightfully categorized as "soundtrack" because of the constant just-below-the-surface implication that there is something else happening in a parallel universe with the music: acting, visual images, communication in a multi-sensory experience. Eirik obviously plumbs the depth of feeling, visualization and art with this excellently produced collection.

Steve Vincent

Steve Vincent produces demos and CDs at his homebased Portent Music, and can be reached via email on:
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Wind and Wire

January, 1998
Reprinted by kind permission of Bill Binkelman, editor
3010 Hennepin Avenue South, #84
Minneapolis, MN 55408

12 Bilder (12 Images) - Eirik Lie - Visuell Musikk VM9601 - 1996

12 tracks/67 minutes

Representing Eirik's work over the last decade and a half, these are compositions for theatre, installations and video. Music of magnificent soundscapes, detailed minutae and melancholy puppets.
Right from the opening bass note and trumpet fanfare of "Hugin and Mugin" there is a clarity in the arrangements and production which is a pleasure to hear.
I'd call his style minimalist in that at most there's no more than five sounds being used at any one time. But it's when Eirik creates just two or three sounds on guitar or ARP Axxe synth (usually with no overdubs), that you hear music you wouldn't like to meet on a moonless night. 'Dystopia', for instance, would not feel out of place on any Sombient 'Drone' compilation. A low, rotating hum hypnotises the listener as spine tingling sounds produced create an unnerving scene of a Utopia gone wrong. Contemporary music doesn't get much darker than this.
Other favourites include "Siden Tidenes Morgen..." once again using the ARP Axxe to paint a haunting picture of a wilderness; cold and empty, waiting for the breaking warmth of life. Or three plucked notes, slowly repeated, accompany the achingly sad thoughts of a "Lonesome Prince" as his melancholy swirls on the muted tone of a trumpet. And "Icicles" is breathtaking in it's simplicity evoking the sharpness of a cold winters day. Senses heightened, you hear the crackle of melting stalactites as a wash of chords carries your misty breath away. Quite beautiful.
Don't get me wrong this is not a morose album. The music is more thought provoking than depressing and there's a couple of surprises. 'Tananarivo? - Atacama!' features funk bass and jazz soloing keyboards reminiscent of mid-70s Weather Report. While the mellow jazz sound of 'Juni' reminds me of Thijs Van Leer's (ex Focus) more laid back solo work.
If you're looking for a good album to counter balance the more pop orientated releases of late then this is the one.

Rating: 8 out of 10 (or 4 out of 5)

Neil Leacy

Neil Leacy also voted Eirik Lie as "Best Independent Artist" for 1997.
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New Age Voice

February, 1997

New Age Voice
52 Executive Park South, Suite 5203
Atlanta, GA 30329
phone: (404) 636-9040

EIRIK LIE: 12 Bilder

Visuell Musikk

Eirik Lie compiles twelve tracks composed for various installations, performances, and puppet theatre productions into the appropriately titled "12 Bilder" (12 pictures). Although the album was by its nature not assembled with a single concept or even from a single time, the individual pieces fit well together and the album has the consistency that makes for enjoyable listening as well as the diversity required to maintain interest. Lie uses keyboards, samplers, synthesizers, and electric guitar to create dark-edged, often melancholy vignettes. Most of the compositions lack clear melody, but create atmospheres that convey a sense of private reflection, isolation, and loneliness. My recommended edits include "112 Par Sko", "Siden Tidenes Morgen", and "Dystopia", which are the darker, more expansive, drone-based pieces. I also find "Istapper" and "Ravner" particularly evocative. "12 Bilder" is distinctive and compelling, and if given sufficient radio exposure should find an enthusiastic audience.

Jeff Johansen

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Alternate Music Press

online Internet magazine
April, 1997
Reprinted by kind permission of Ben Kettlewell, editor.

Eirik Lie's debut release "12 Bilder" loosely translates in English to 12 pictures.This is an excellent album of 12 works composed for theater, performances, installations, and videos from 1983-1995. The primary instruments on the album are a variety of analog and digital synths, with electronic percussion, and guitars augmenting several theater pieces. The music varies from delicate ambient pieces reminiscent of Brian Eno's Ambient series, to more up tempo melodic pieces like "112 Par Sko" and "Dystopia" which feature Eirik on the Fender Stratocaster. Keyboard player Frode Fjellheim joins in on several tracks adding extra synth parts, and co-producing about half of the 12 tracks. This is richly textured picture music with impeccable use of atmosphere and melody. Eirik concentrates on orchestral timbres with very limited use of sequencing. He tends to lean towards longer compositions with the average cut between 4-8 minutes. Most pieces are gradually evolving compositions with elements of drama and tension to enhance the theatrical atmosphere of the album.
It is superb drifting music-wonderful evocative soundscapes using synths, percussion, and guitar to create wonderful aural images. It's a vast spacious aural panorama, featuring a great array of indescribable sounds; rich cosmic, shimmering tones, deep sonic drones and gentle melodic phrases. The effect is a spellbinding music, often evocative of the somber cosmic works of Erik Wollo, Michael Stearns or Vidna Obmana. Unique and fascinating, I highly recommend it.

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Dutch online magazine

January, 2004
Reprinted by kind permission

Eirik Lie: 12 Bilder

(Visuell Musikk, 1996)

"12 Bilder", de 1e release op dit kleine Noorse label, bevat een selectie aan muziek die deze Noorse musicus maakte voor theater, videos, installaties en voorstellingen, waarbij zowel eclectisch, soms aardig donkergetint soundscape-werk (waarbij Eno of zijn Noorse collega Erik Wollo als referentie boven komen) als de melodische kant aan bod komen. Lie maakt naast synths en sampler ook gebruik van o.a. piano en gemodificeerde e-gitaar. Niet van je stuk laten brengen door de euforische start van het openingsstuk "Hugin & Munin", het 2e deel is meer textures . De warme soundscape in het 2e deel van het etherische, sterk melancholische "Istapper" doet erg denken aan het werk van Daniel Lemmens. Andere tracks die er extra uitspringen: "112 par Sko", "Siden Tidenes Morgen" en het beeldende, donkergetinte "Dystopia", terwijl ook het meerdelige "Ravner" z,n fraaie momenten heeft. Als geheel biedt deze cd 67 min. niet al te gemakkelijke luistermuziek waarin verlatenheid en melancholie doorklinken en die je meerdere malen moet draaien om OEm te gaan waarderen. Geluidstechnisch staat de schijf als een huis.

Bert Strolenberg

English translation:

"12 Bilder" is the 1st release of this small Norwegian label, containing a selection of music of the Norwegian musician Erik Lie which he made for installations, theatre and videos. When you put on this record, you'll enter a strong eclectic, rather dark-shaped world of textures which at first made me think of Eno and Erik Wollo, but there's also a melodic side to it. Lie plays his synths, samplers, piano and modified e-guitar in a distinct, thorough way, which leads to beautiful textures like in the 2nd part of the first track. There are more warm soundscapes in track 2, which remembered me of the music of Daniel Lemmens. Other great tracks are "112 par Sko", "Siden Tidenes Morgen" and the cinematic, dark-textured but closing track "Dystopia", although the restless "Ravner" also has its moments. In all, this CD offers 67 minutes of music which must be heard several times before you will be able to experience the pure essence of melancholy and beauty within. Not to forget the overall soundquality, which deserves some thumbs up!

Bert Strolenberg

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magasin för samtida musik
(magazine for contemporary music)
Box 19
S-310 42 Haverdal

March, 1998
Reprinted by kind permission

Stämningsläget växlar

Eirik Lie - "12 Bilder" - Visuell Musikk VM9601

Om impulser från vitt skilda håll vittnar den mångsidige norske multiinstrumentalisten Eirik Lies "12 Bilder", som på detta fullmatade album har plockat samman en stor del av sina kompositioner för teater, performances, installationer och videos. Det uteslutande instrumentala materialet har tilkommit under perioden 1983-96.
Visst är detta suggestiv visuell musik, skapad med stämning och finess. Lie skyr knappast heller det dunkla, skuggorna. Flertalet bilder är relativt mörka, men det blir sällan svart. Samtidigt finns djup i motiven. Lyssnaren ställs inför en föränderlig process, en färd som tillika inbegriper ljusa melodiska (nästan söta) stråk.
Därutöver förekommer lustiga upptåg och humoristiska sekvenser - liksom varma folktoner och fängslande partier med ambient. Stämningsläget växlar alltså markant, spännvidden är oväntat rik. Så har Eirik Lie också erfarenhet från en mängd fält - och har genom åren spelat såväl rock som blues och jazz.
Av större betydelse i detta visuella sammanhang är givetvis ändå ekot från influenser som Brian Eno och Laurie Anderson, vid något tilfälle också från de likaså namngivna Satie och Bach!

Gert-Ove Fridlund

English translation:

The mood is changing

Impulses from a wide selection of sources are evident on the versatile Norwegian multi-instrumentalist Eirik Lie's "12 Bilder". On this full-fledged album he has picked a number of his compositions for theatre, performances, installations, and videos. This entirely instrumental material was created during the period 1983-1996
This sure is suggestive visual music, created with mood and finesse. Lie doesn't avoid the sombre, the shadows. Most of the images are relatively dark, but seldom black. At the same time there is depth in the motifs. The listener is faced with a changing process, a journey also comprising bright melodic (almost sweet) areas.
In addition there are cheerful parades and humorous sections - as well as warm folk tunes and enthralling pieces of ambient. The mood is significantly changing, the variation is surprisingly rich. Eirik Lie has experience from a lot of fields, and through the years he has played rock as well as blues and jazz.
Of greater importance in this visual context is of course the echo of influences from Brian Eno and Laurie Anderson, and, by some occasions, also from Satie and Bach!

Gert-Ove Fridlund

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Ånd I Hanske

February, 1998

Bilder for et indre øye

"12 Bilder" har musiker Eirik Lie kalt sin nye CD. Det er 12 lydbilder Lie i sin tid har skapt til å henge sammen med installasjoner og dukketeaterforestillinger.
Lie må vel sies å være noe av en ekspert på dukketeatermusikk. Han har i mange år arbeidet nært med Tatjana Zaitzow i Petrusjka Teater, og de fleste musikkstykkene på CD'en er skapt for dette teatrets forestillinger. Nå arbeider Lie med Teater Visuell og Anki Udo, men musikk fra dette teatret er ikke med på CD'en.
Det er et vågestykke å la musikk som er skapt for teater stå helt alene. Musikken har i utgangspunktet vært en integrert del av teaterkunstverket og kunnet støtte seg til et visuelt uttrykk, til et verbalt uttrykk, til en rytme som ikke er dens egen, men som i det ene øyeblikket spiller mot musikken, i det andre øyeblikket med. Teatermusikken helt alene må nødvendigvis vurderes som et nytt kunstverk i forhold til dens opprinnelige sammenheng. Slik er det også med Eirik Lies musikk. På CD'en finnes kutt fra Petrusjka-forestillinger som "Ravno", "Grand Aperitif", "Ert", "Dukkemakerens Drøm". Det er musikk jeg har opplevd som lett tilgjengelig når jeg så forestillingene. Alene blir den krevende og tenderer genre-messig mot det man kaller "ny musikk". Dette er ikke bakgrunnsmusikk, den skal ikke settes på spilleren mens man er opptatt med andre ting. Jeg må sette meg ned og lytte, ta tiden musikken krever. Da slår det meg hvilken romfølelse Eirik Lies musikk skaper, når jeg tenker tilbake på forestillingene aner det meg at svært mye av romopplevelsen kan tilskrives hans musikk. Jeg må gå tilbake og høre igjen for å oppleve hva som skjer i rommene, der finnes handlinger, bilder, stemninger, noen ganger ligner de dem jeg husker fra teatret, andre ganger blir de mine egne.
Noe av musikken er skrevet for installasjoner. Jeg finner det jevnt over vanskeligere å trenge inn i den. Her er det ikke så mye rom å oppleve i, det er mer en vegg, noen ganger en vegg med bilder, andre ganger består veggen bare av lyd jeg ikke klarer å trenge gjennom.
Som det fremgår er undertegnede ikke musikkanmelder, jeg kan bare vurdere lytteropplevelsen, og det er godt å lytte til denne CD'en. Den både krever og tåler å lyttes til mange ganger. I tillegg inviterer den til refleksjoner over hva teatermusikk er i seg selv, over hva den tilfører teaterkunstverket, og over hva teatret blir når det ribbes for musikken.

Anne Helgesen

English translation:

Pictures for an inner eye

Lie, it has to be said, is quite an expert on puppet theatre music. He worked for many years closely with Tatjana Zaitzow in "Petrusjka Teater" [a reputable Norwegian puppet theatre fringe group], and several of the pieces on this CD was made for productions by this theatre. Now Lie works with Anki Udo in "Teater Visuell" [a new, promising Swedish/Norwegian puppet fringe group], but music for this group is not represented on this CD
It is quite a venture to let music originally created for theatre stand on its own. The music has been an integrated part of the artwork, and has been able to rely on a visual or verbal expression, and to a rythmn not being its own, but one moment playing against the music, the next moment with it. The music on its own must necessarily be judged as a new piece of art, not connected to its original context. This is the case with the music of Eirik Lie. On this CD is music from the Petrusjka productions "Ravno", "Grand Aperitif", "Ert", and "Dukkemakerens Drøm". This is music I considered easily accessible when I saw the productions on stage. By itself it is more demanding, leaning more towards so-called "contemporary" music. This is not background music, you can't play it while doing other things. I have to sit down and listen, and take the time the music demands. Then it strikes me how much feeling of space Eirik Lie's music creates. Thinking back to the theatre productions I realize that most of this feeling of space must be attributed to his music. I have to go back and listen again to experience what is going on in these rooms. There are acts, images, moods, some times they resemble the ones I remember from the theatre, some times they become my own.
Some of this music was written for installations. Generally, I find it harder to get into these pieces. Here it is not so much of a room to discover, it is more of a wall. Some times a wall with pictures, some times just a wall of sound I can't penetrate.
As you can understand, I am not a music journalist, I can only evaluate the listening experience, and it's a pleasure listening to this CD. It both requires and bears repeated listenings. In addition, it invites to reflections about what theatre music really is, what it contributes to the art of theatre, and what the theatre would be if deprived of the music.

Anne Helgesen

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Oslo, Norway

October 5th, 1996

E.L. portrait

Rommets kjemi

Dette er verdens kortaste stykke om ambient musikk

Eirik Lie fortener all merksemda åleine

Hadde stykket vore langt, derimot, skulle det stått mykje om pionerane Tangerine Dream, og den omfattande nyutgivelsen av platene deira. ...(klipp)... Main ...(klipp)... Brian Eno ...(klipp)...


Det skulle stått like mykje om vår tids stilskaparar, slike som Bill Laswell's Divination ...(klipp)... Pete Namlook ...(klipp)... Oval ...(klipp)... Starfish Pool ...(klipp)... Loop Guru ...(klipp)... Michael Nyman ...(klipp)... Pierre Favre ...(klipp)...


...(klipp)... In memoriam/Gilles Deleuze ...(klipp)... The Orb ...(klipp)... Origami Arctica ...(klipp)... Biosphere ...(klipp)...

Eirik Lie

Slik vart det altså ikkje. For før det lange stykket om ambient musikk vart skrive, fekk eg høyre Eirik Lie sin utgivelse 12 Bilder, og eg forstod at denne musikaren fortener all merksemda åleine. Korkje stilistisk eller marknadsteknisk oppfører han seg med særleg stor autoritet. Men han har noe stort der inne, noe uavhengig tid som er "ambient" varig. Vi høyrer 12 utdrag frå ein karriere som illustrasjon- film- video- installasjon- og samtidskomponist. Dei fleste bilda har til felles en higen mot det ambiente, mot det levande statiske, men dei er sprikande i bruk av virkemiddel.
Mange tema hadde fortent sitt eige album, eigne rom for fredlege illusjonar som her er stabla for tett oppå kvarandre. Men så har vi Dystopia og 112 Par Sko, to spor som gir meg anna å tenke på. For første gang kjennest det meiningsfullt å bruke klisjeen "the magnethic north". For her lyder Eirik Lie sitt gitarspel som eit elektronisk lyre-spel av ein gjenoppstanden Terje Rypdal, viss denne istadenfor å repetere hadde meditert i fem år, og deretter tatt eit nytt grep om verden. Ein "Biosphere-suite", som istadenfor å lengte seg endelaust ut i ullen ingenting, lengtar heim igjen for å formulere noe om det eigendommelige. Når musikken til Eirik Lie når dette magiske vendepunktet liknar den ingen, og angår alle.

English translation:

I'm still working on it. Some excerpts:

[pic caption: Eirik Lie deserves all the attention alone]

The Chemistry of Space

This is the world's shortest writing about ambient music

If this writing had been a long one, however, there would have been a lot about the pioneers Tangerine Dream, and the extensive reissues of their records. ...(snip)... Main ...(snip)... Brian Eno ...(snip)...


A lot were to be written about the innovators of out time, like Bill Laswell's Divination ...(snip)... Pete Namlook ...(snip)... Oval ...(snip)... Starfish Pool ...(snip)... Loop Guru ...(snip)... Michael Nyman ...(snip)... Pierre Favre ...(snip)...

The New Testament

...(snip)... In memoriam/Gilles Deleuze ...(snip)... The Orb ...(snip)... Origami Arctica ...(snip)... Biosphere ...(snip)...

Eirik Lie

It didn't turn out that way. Before the long piece on ambient music was written, I heard Eirik Lie's release 12 Bilder, and I realized this musician deserves all the attention alone. Neither stylistical nor marketing-wise he behaves with any great authority. But he has something big inside, something time-independent being "ambient" permanent. We hear 12 excerpts from a carreer as illustrational-, film-, video-, installastion-, and contemporary composer. Most of the images share a common yearning towards the ambient, towards the live static, but they are diverse in their means.
Many of the themes had deserved their own albums, their own rooms for peaceful illusions, which is too close to each other here. But then we have Dystopia and 112 Par Sko, two tracks giving me other thoughts. For the first time it feels appropriate to use the phrase "Magnethic North". Here, Eirik Lie's guitar playing sounds like electronic lyre-playing by a revived Terje Rypdal, if Rypdal instead of repeating himself had meditated for five years, and then taken a new grip of the world. A "Biosphere-suite", that instead of yearning endlessly into a vague nothing, are seeking to articulate something about the peculiar. When Eirik Lie's music reaches this magical turning point, it compares to nothing else, and concerns everybody.

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Puls Furore

Oslo, Norway

nr. 28, 1996

Eirik Lie: "12 Bilder" (Visuell Musikk)

Eirik Lie så seg vel lei av å bli refusert av de store selskapene her i landet, og dannet derfor sitt eget plateselskap, som han nå har brukt til å gi ut "12 Bilder".

Denne 12-spors CDen fanger en god del forskjellig instrumentalmusikk fra diverse installasjoner, teaterforestillinger og performances Lie har vært med på å lydlegge. Lie selv nevner Eno, Bach, Hank Marvin, Erik Satie og Laurie Anderson som inspirasjonskilder, og ved nærmere lytting hører jeg til og med snev av tyskere som Tangerine Dream, Klaus Schulze og Can der inne et sted. M.a.o. - en god blanding av flytende, dog litt konkrete, lydlandskaper og nydelige, sarte instrumentale stemninger. Men man finner også mer håndfaste melodier her.

Definitivt en for både følelsene og intellektet en kald vinterkveld, med føttene trukket godt opp under teppet og en varm kopp kakao foran peisen. Dessuten er det bedre for samvittigheten å vite at man støtter Eirik Lie personlig fremfor Norske Gram.

Per Christian Frankplads
(Puls Furore 199628)

English translation:

Eirik Lie was probably tired of being turned down by the big record companies in Norway, so he started his own label to publish "12 Bilder".

This 12-track CD captures a lot of different instrumental music from installations, theatre, and performances to which Lie has contributed the soundtrack. Lie himself mentions Eno, Bach, Hank Marvin, Erik Satie, and Laurie Anderson as sources of inspiration, and by closer listening I also hear a dash of Germans like Tangerine Dream, Klaus Schulze, and Can. In other words: A nice mixture of floating, yet concrete soundscapes, and beautiful, tender instrumental moods. However, you will also find more straightforward melodies here.

Definitely a CD for both your emotions and your intellect on a cold winter night, with your feet under the blanket, and a hot cup of chocolate in front of the fireplace.
Furthermore, it is better for your conscience to know that you are supporting Eirik Lie personally, rather than Norske Gram [Norwegian label with a rather commercial profile].

Per Christian Frankplads

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Trondheim, Norway

June 26th, 1996

Eirik Lie: "12 Bilder" (Visuell Musikk)

Trondheimsmusikeren Eirik Lie har spilt inn CD hjemme (med noe hjelp fra Frode Fjellheim) og gir den nå ut på egen label. Gitaristen Lie har puslet med mange slags musikkstiler, spilt i mange slags band, før han de siste årene har laget musikk til en rekke teaterstykker. "12 Bilder" er musikk opprinnelig skrevet for teater, installasjoner o.l. Avgjort spennende musikalske mosaikker som lever sitt eget liv. Glem å putte dette i musikalske båser. Da er det lettere å betegne det som musikk som gir rom for spennende fantasiutflukter hos lytteren. Det er luftig, drømmende og ganske besnærende.

Egil Hofsli

English translation:

The Trondheim-based musician Eirik Lie has recorded a CD in his home studio (with a little help from Frode Fjellheim), and is now releasing it on his own label. The guitar player Eirik Lie has been into a lot of musical styles before he during the later years has written music for a number of theatre productions. "12 Bilder" is music originally written for theatre, installations, etc. Definitely thrilling musical mosaics living their own lives. Forget about putting this into a particular style. It is easier to describe it as music making room for fantasy journeys for the listener. It is airy, dreamlike, and rather enthralling.

Egil Hofsli

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Trondheim, Norway

September 9th, 1996

Eirik Lie: "12 Bilder" (Visuell Musikk)

Musikken på Eirik Lies plate "12 Bilder" består av et dusin komposisjoner som har det til felles at de har sin opprinnelse som illustrasjoner for enten dukketeater, installasjonskunst, performance-forestillinger eller video. Med andre ord har de hatt noe å støtte seg til. Står de støtt alene også?
Iblant fungerer Lies og Frode Fjellheims synther og gitarer utmerket, og for den som elsker meditasjonsmusikk er det mye å glede seg over her. Ofte skriker disse lydkulissene etter nettopp noe å være kulisse for. Likevel er det blant disse 12 lydbildene enkeltbilder som står solid på egne bein. For eksempel er "Tananarivo? - Atacama!" et praktfullt stykke poesi dirrende i suggererende groove, mens "Ensom Sjømann Med Trekkspill" tar matros-klisjeen på kornet. Alt i alt et vakkert knippe mollstemte stemninger.

Fartein Horgar

English translation:

The music on Eirik Lie's album "12 Bilder" consists of a dozen compositions sharing their origin as illustrations for puppet theatre, installations, performance art, or video. In other words, they have had something to lean on. Then, do they also stand firmly on their own?
Some times the synths and guitars of Eirik Lie and Frode Fjellheim carry through excellently, and if you love meditation music there are a lot to enjoy here. Often, these aural stage backdrops are screaming for just something for which to be the backdrop. Yet, there are pieces among these 12 soundscapes standing solidly on their own feet. For instance, "Tananarivo? - Atacama!" is a magnificent piece of poetry throbbing in a hypnotic groove, while "Ensom Sjømann Med Trekkspill" characterizes the "sailor-cliché".
All in all a beautiful collection of minor-key moods.

Fartein Horgar

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Last updated: Jan 25, 2000