SLAVE To The Beat

Ulver’s Kristoffer Rygg explains how he got sucked into Carpenter Brut’s neo-noir underworld

HOW DID YOU MEET CARPENTER BRUT AND GET INVOLVED WITH HIS MUSIC?

“Our initial contact was Neuropa Records, who released Trilogy on LP. They told me that Carpenter Brut was into our stuff and keen to play, and sent me the three first EPS. I was blown away! So fucking good. I ended up recording Cheerleader Effect [on Leather Teeth] before meeting him, which happened when he played in Oslo. I was standing in the audience hearing myself from the PA! What a great way to do a gig, I thought. Then we all partied… Our last meeting was under similar circumstances. We shared the stage at Roskilde 2019, with Robert Plant lurking about. It was Ulver’s last gig before the pandemic paralysed the world.”

WHAT IS IT ABOUT CARPENTER BRUT THAT APPEALS TO YOU?

“It’s like nostalgia on testosterone. He’s just unbelievably good at what he does – it’s impossible not to nod along when those beats kick in! On a more personal note, we’re the same age, grew up with the same movies, same music, same – broken – dreams. It’s often a right laugh when Saturday evening comes and the old Youtube clips tick in from him. There’s a good balance between reverence and humour going on in his universe, mixed with those unmistakably dark and bloody synth stabs! That’s what I dig, and I’m obviously not alone.”

WHAT DID YOU BRING TO THE SONG GOOD NIGHT, GOODBYE?

“Well, my voice… and words! A sort of mix between Alfred Hitchcock and [1984 William Gibson novel] Neuromancer. Tore [Ylwizaker, Ulver] played the piano, and Sander [Ole Alexander Halstensgård, Ulver] provided samples. Leather Terror ups the leather and spike-factor, although Good Night, Goodbye is more mellow.”

WHAT CAN YOU TELL US ABOUT THE FUTURE OF BRET HALFORD?

“He’ll transform… Transcend!”