Begin Again (Lyseid)

Recorded & produced at Six Feet Over studio by Sjur Lyseid. Additional recording by Nils Martin Larsen.

Mixed by Sjur Lyseid. Mastered by Espen Høydalsvik at Tinnitus Mastering.

 

Sjur Lyseid: Vocals, Guitars, keys, drums, bass, percussion, trumpet.

Nils Martin Larsen: Clarinet, saxophone, strings, 

backing vocals, keys, percussion.

Morten Kvam: Bass

A few tiny movements, and it begins. 

The needle drops, the record spins. 

Lately I've been giving in 

to these primitive machines. 

 

Back when I barely knew who you were, 

we were both precious and obscure. 

Sat together in a park. 

You tossed a coin out into the old pond and snarked 

at the young man and his courage, 

and the ghosts in every hotel room. 

They keep claiming they could begin again. 

 

Then you got up just to change the sides.

There, on the fourth chord came a lie.

Once I could tell them apart; 

a twist of fate or a change of heart. 

Blood on the tracks, it skips a beat. 

As he sings a solemn eulogy 

for the old man in the courtroom

and the stray dogs in the parking lot. 

They're all thinking they would begin again. 

 

We'll begin again.

 

With lies still stuck between our teeth

we'll taste the bitter irony 

of the stranger in a subway station 

unsure of her destination. 

Only knows she will begin again.





Foreverest (Lyseid)

 

Recorded & produced at Six Feet Over studio by Sjur Lyseid. Guitar, percussion & vibraphone recorded by Kenneth Ishak at Observatoriet.

Additional recording by Nils Martin Larsen. Mixed by Sjur Lyseid. Mastered by Espen Høydalsvik at Tinnitus Mastering.

 

Sjur Lyseid: Vocals, guitars, keys, drums, percussion, bass.

Nils Martin Larsen: Keys, backing vocals, percussion.

Eivind Almhjell: Guitar, Vibraphone, percussion, backing vocals.

Morten Myklebust: Backing vocals

Rudi Simmons: Backing vocals

Eivind Bøe: Shaker

 

A dry stone, no sound of water

I’m coming home through the wasteland

And I am searching for that memory

Among the trams and the dusty trees

 

There it is: My first memory

When you were young, as young as I am now

Were you humming on some melody

That you then planted deep in me?

 

Pigeons circling the mall

Forever rest the months you never called

Soon this fog will turn to night

But i’ll try to trust the stubborn daylight

 

With all their loss enunciated

They’re holding on to whatever they can

While I’m holding on to your memory

It’s somehow planted deep in me

 

All those words I could use

Forever rest the life you didn’t choose

And when all these towers fall

Forever rest your work in the drywall

 

Now I walk out into the night

Forever with your name next to mine

Oh, what do I do now, 

what will I do now?

 

Snowy crests, the trees are tall

Forever rest the paths your feet walked

And when all these towers fall

Forever rest your work in the drywall

Forever rest the shaking in your legs

Forever rest your bones in the muskeg 

Forever rest the stubborn daylight

Forever rest the fog in the dark night

Forever rest the words I could have used

Forever rest the life you didn’t choose

Forever rest the hoarfrost on the trees

Forever rest your memory in me 

 

 

No Reception (Lyseid)

 

Recorded & produced at Six Feet Over studio by Sjur Lyseid. Elizabeth’s vocals recorded in her basement in Moss.

Mixed by Øyvind Røsrud Gundersen. Mastered by Espen Høydalsvik at Tinnitus Mastering.

Sjur Lyseid: Vocals, Guitars, bass, keys, percussion

Elizabeth Morris: Vocals

Eirik Kirkemyr: Drums


All of a sudden it was overcast. Descending from the final mountain pass, 

I am only about a third into this year’s novel. And I only read when I travel.

We arrived, it's summer/somewhere in Norway. There's the fjord, there's the freeway. 

You lit another one, the world is your ashtray. And so did I. 

 

I rode in here in the backseat of some car, 

with the windows down, and the music loud, but we don’t really make a sound. 

‘Cause I'm still trying to pretend I'm tender. You claimed your hazy days have now ended. 

I said “it's all love”, and you rolled your eyes. So here's to new and better lies.

 

Guess I approached you under false pretenses. 

An amalgamation of several people answered: 

“Something tells me you have dropped your defenses, well so have I”. 

 

I pictured you riding shotgun in that car. 

It’s a sight to see, but the thing you need is far from where we are.

‘Cause I don’t want to pretend I’m tender, or chained to the last few things I remember. 

Here all is love, but those words weren’t mine. So here’s to hope and better lies. 

 

Danced to “I Love You, Fuck the Government”. Or was it the other way around? 

We spent another half an hour trying to answer that question. 

‘Cause out here there's no reception.

Got up, tripped over a tent. I smelled like single malt mosquito repellent.

Someone told me you had lost your senses. Well, so had I.

 

You ended up in the backseat of some car. 

It’s a sight to see, but it’s not with me. I’m only a passing star.

The fog was low, now it glows like ember. And there in the slow sunrise I remembered 

how love is all, and I still do. So my lies are old, but my hope is new. 




Drinking Song (Lyseid)

 

Recorded & produced at Six Feet Over studio by Sjur Lyseid. 

Mixed by Sjur Lyseid. Mastered by Espen Høydalsvik at Tinnitus Mastering.

Sjur Lyseid: Vocals, guitar, keys

Tonje Tafjord: Backing vocals & Flute

“We're a wave and this is a crescent”. 

That's how you describe the present. 

Of course I want to feel fluorescent.

Live only for tonight.

 

His obsession with being alone,

only he knows where it came from. 

Though I just wanted to go home, 

you pinned me down, I let them loose. 

 

But we're more than the drinks we choose.

We are bordering on too obsessive, oh,

looking for truth in the smallest decimals.

Like the pesky weather. Or that things will get better. 

You've read all my letters. 

And you always check them twice. 

Well, so do I. 

 

Between the pompous and the boring I dwell. 

While you keep exploring the center of the universe. 

I'll catch the last bus to the suburbs.

 

Are we more than the lives we choose? 

Are we something bigger and better? 

I think I'll spring for the latter. 

Your choose the former, and you'll get what you ordered. 

5% less water for the kid in the corner. 

There, I said it. Seconds to minutes, and I'll wait it out. 

I’ll wait.





Random Quotes from F. (Lyseid)

 

Recorded & produced at Six Feet Over studio by Sjur Lyseid. Additional recording by Nils Martin Larsen. Mixed by Sjur Lyseid.

Mastered by Espen Høydalsvik at Tinnitus Mastering.

 

Sjur Lyseid: Vocals, guitars, keys, bass, drums, lapsteel

Nils Martin Larsen: Strings

Morten Myklebust: Backing Vocals

 

I'm lost and afraid. I think I might change my name: Aimi. 

A clear construct, but still uneasy.

You're building an argument. While I'm trying to make sense of it all. 

Waiting for the final curtain call. 

It starts with an open ending. I'm still pretending this reads like a novel. 

Third world wars and helpless animals. 

 

I suppose this is love, when my soaked garden gloves give shelter to the june bugs and the spiders. 

Wish I told you to your face. Had a plan, but it got erased by a hand that tastes like polyester.

 

If we're building a monument to these past few years.

 It depends on your view. Mine half as cute as Einstein’s shoes. 

 

I broke, like the dawn. Placed my second foot on the lawn. Just to prove to you the grass is greener. 

While I can't prove God, only irony when you nod, and say “Sjur, didn't we know better”.

 

Like the roots that wait under the snow

Or a song for someone I don’t know






Writing About Music (Lyseid)

 

Recorded & produced at Six Feet Over studio by Sjur Lyseid. Additional recording by Nils Martin Larsen.

Mixed by Sjur Lyseid. Mastered by Espen Høydalsvik at Tinnitus Mastering.

 

Sjur Lyseid: Vocals, guitars, piano, guitars, bass, percussion.

Nils Martin Larsen: Drums, clarinets, saxophones, strings, backing vocals, keys.

Morten Myklebust: Backing vocals, guitars

 

I'm not the Fred Astaire of words. I just dance about architecture: 

The home we built to calm your nerves, plus your desk job in the public sector. 

I fill four columns weekly, a sharper pen for my softer heart. 

A judgement passes easily, I dissect them into smaller parts when

 

there's a plane, no address, no terrain. 

And I’ll point it out. 

They would run, had a plan, got a gun.

And i’d point it out

with my cold, dead hands.

Cause I'm half empty

 

From ABC to XTC, I pulled them out and rearranged. 

With a nod to High Fidelity, how I once could hear the full range. 

The piercing highs, the rumbling lows. 

All the details in between personas and characters. 

They would all relate to me.

 

Here’s a hill, here’s a rock, show your skills. 

And I'll point it out.

Rinse, repeat. Glue your drums on the beat.

And I’ll point it out

with my cold dead hands.

 

New clouds overhead, as we watched the rose parade. 

“There's a rumoured possibility of rain" is what you said to me, 

Then you sighed.

 

‘Cause I'm half empty. You're half empty. 

We’re filled with reason and regrets and irony. 

You help yourself, though I need your help.

I understand it, I’d just rather be anywhere else. 





Dystopian Sci-fi (Lyseid)

Recorded & produced at Six Feet Over studio by Sjur Lyseid. Additional recording by Nils Martin Larsen.

Mixed by Sjur Lyseid. Mastered by Espen Høydalsvik at Tinnitus Mastering.

Sjur Lyseid: Vocals, piano, guitars, percussion

Jørgen Nordby: Drums

Morten Kvam. bass

Nils Martin Larsen: Strings

Eivind Almhjell: Guitars

Morten Myklebust: Backing vocals

 

Now the length of the summer day feeds a darker blue 

I watch the Metropolis set in a silver hue 

I know nothing is bottomless 

I’m leaning into a wall

Another snowy winter waits 

at the end of a fall

 

I would patiently tap the keys, 

while you would quietly sing

Water filled the reservoirs every spring

Before the bees began to flee 

Before you said you were leaving me

How you would have my sympathy

if it wasn’t me

 

I've been down the road before, ca 1984

Your sister said we could teleport 

to a new world

 

Then we passed the high water mark 

of what they thought I could sell 

They called it literature

at the bottom of a well

Before what was once canals had turned yellow and pale 

We watched the Adriatic sea from an abandoned hotel

 

Before the cities of shelter tents

Before the right wing governments

Before I just wasn’t making sense

And someone told you to call

Before a name on a tiny screen

was how you'd remember me 

Not for my nuance or empathy

for the new world

 

Dystopian sci-fi released me from the life I thought I had in front of me 

Maybe this is an apology: I want to know how to live. I want to know how to love

I gaze up at the night sky, thinking everything must go!!! 

I’m here in a cul-de-sac. Are you coming back? 

Dystopian sci-fi for everything I lack

Well, it is what it is, I guess; the new world

 

The world was old and cowardly 

Had Phillip K and fresh batteries 

in my flashlight and suddenly: 

A new world

 

 

 

 

Six Feet Over (Lyseid)

 

Recorded & produced at Six Feet Over studio by Sjur Lyseid. 

Mixed by Sjur Lyseid. Mastered by Espen Høydalsvik at Tinnitus Mastering.

 

Sjur Lyseid: Vocals, piano, electric guitar guitars, lapsteel

Jørgen Nordby: Drums

Morten Kvam. bass, acoustic guitar, backing vocals

Nils Martin Larsen: backing vocals

Eivind Almhjell: Acoustic guitar, backing vocals.

Morten Myklebust: Acoustic guitar, backing vocals.

Tonje Tafjord: Backing vocals

 

When I cleaned out this place, I found a small leather pouch under layers of dust behind the living room couch. 

With things I’d forgotten I actually own. And a note with your name from when we were still unknows.

I am what I am or pretended to be. Threw the bathwater out with accuracy. 

Now I paint my maps from memory with an aerosol can. Let the rough edges proclaim I am a better man. 

Maybe I am, I’ve been doing what I can, but you know how it’s easy to stray from a plan. 

 

They’re making gravestones in the basement while I rule in the control room. Keeping warm in my sheep’s clothing 

while you're out howling at the moon.

 

When you had first stumbled upon me and my lies, you had a halo of sadness and twinkling eyes. I forgot that this place has revolving doors.

I held on to your bag as you hit the dancefloor. My outlook may need further explanation. See, my first love, she got married in the Appalachians.

That might sound pretentious, but actually it’s true. Unlike most of these things I’ve been telling you: I’m bitter and blue, there’s no beauty or truth.

And where timelessness comes to an end, there’s solitude.

 

They're making gravestones in the basement, while I'm cutting down on my metaphors.

Grazing on the green grass between us, while you're out dining with the carnivores. 

 

Oh wait, my apprentice. I still have stories to tell. Like when we went to the crossroads, but had nothing to sell. 

So if you wake up at night, thinking everything must change, just means there's something still pounding 

behind the bars of your ribcage.

 

They’re making gravestones in the basement while I rule in the control room.

Keeping warm in my sheep’s clothing while you're out howling at the moon.







Accidents & Time (Lyseid)

 

Recorded & produced at Six Feet Over studio by Sjur Lyseid. 

Mixed by Sjur Lyseid. Mastered by Espen Høydalsvik at Tinnitus Mastering.

 

Sjur Lyseid: Vocals, Guitars, keys, percussion

Morten Myklebust: Guitar

Eirik Kirkemyr: Drums

Rudi Simmons: Bass

Nils Martin Larsen: Clarinets

In this northern town we are getting old, 

united by our love for John K. Samson and our disdain for the cold.

It’s how you replied, clear avoidance, crooked lines. 

When all I need is straighter answers, overtures and hope,

you said

 

“I believe in accidents and time. Promises, conversation and wine”. 

Yet the marks on your skin pull me into the dark.

 

The continents drifted further apart. 

We were Mid-Atlantic swimming, divided islands, states of the art.  

You were always bent on finding something else than this. 

Oslo’s awkward kinesis is always easy to dismiss.

 

While I believe in accidents and time. Broken trust and condescending lines. 

Yet the light on your skin pulls me into the night

 

Where the black matter eats every line

and I tie them to knots.

There, when daylight descends without rhyme

I was trying to disconnect the dots.

And I was right on time.

 

I've got words that could make you  spin. And a box I put them in. 

But we are right on time.




The Buildings, Then the Trees (Lyseid, Almhjell, Bøe, Rauan)

 

Sjur Lyseid: Vocals, guitar, piano

Tonje Tafjord: Backing vocals

 

I touched ground and let my brain make its demands 

Sometimes you know they aren't true

Beneath the neon signs I saw shadows holding hands

Blinked twice, then reviewed

 

Here on the south side of the park 

there are tourist traps and dive bars

We know, we've walked these streets before

Without knowing what we're looking for

In this city that you've claimed as yours

Just to dull our senses to the core

 

But forgive them and please pretend

That you don't share my growing sentiment

that all of this soon ends

And forgive me if you can still breath

Though there's this itching in your throat 

that you can't shake or even try to put at ease

 

Now there's a tug-o-war

straining on your vocal chords

And only spite is slipping out

But forgive those foul and bitter nouns

Forgive the verbs you can't pronounce

Forgive the buildings, then the trees

 

And forgive me

I can still breath

Though there's this rattling in my spine

that I can't shake or put at ease

And forgive them

They're still your friends

Send those memories into orbit

Let's watch while they burn as they descend

 

'Cause by this time last year

everything will seem younger

And you will be on to me the way I'm onto you

By this time last year

Every beat will feel stronger

And you will make peace

With the buildings,

then the trees

© 2020 TheLHoA