Lint assembles field recordings, fragments of song, textures, loops, lo-fi electronics into dusty but always-sunlit collages. The album, composed, recorded and produced by Myhre and mastered by Lasse Marhaug, is a diary and scrapbook in sound, a window into the artist’s world, at once extraordinarily intimate and open, unapologetic, inclusive.
The sound material of which this album is made, has been collected in the years between 2011 and 2016. I try to use my sound recorder in the same way I use a camera - capturing moments, not necessarily important moments, but allowing them to grow in the archive.
I think photographing and recording sound is quite similar in this aspect… With photography, the moment changes quite a lot over time, the photo being one version of it, the moment becoming something of its own. With a recording, however, I find that the nostalgia can be even more physical. The sound can completely throw me back into a past moment, like a smell. I would record small sketches for songs as well as my friends talking, bird calls, a bike ride, and from there I would compose with all of these.
Full ATTN:Magazine interview here.
Wake The Deaf say:
“Jenny Berger Myhre is an experimental folk artist from Norway who utilises her interest in other artforms to push the boundaries and explore complex themes more fully and intuitively. Aside from being a photographer, Myhre also records the audio of her surroundings, finding sound can evoke an even more physical reaction…Lint focuses on how memories can interact and change with the passing of time, and how nostalgic thinking about the previous events ironically reshapes our memories and thus the past as we understand it. While such unsteady footing could be overwhelming and unpleasant in some hands, Myhre creates songs that find peace with the idea, learning to find beauty and wonder in the shifting of perspective and what we once thought of as ‘truth’.”
Jez Riley French for Treasure Hiding says:
“It’s important to re-set from time to time. To keep hold of experience and insight but to keep fresh, keep that elemental sense of exploration and simple enjoyment…These are field recordings and, in my opinion I really do hear in them that difference between an artist who uses them as a fashionable effect or to fain authenticity, and one that simply enjoys finding music in sound - and sound within music…There are sketches of songs, field recordings of urban life and domestic activity. The sound of cassettes and vinyl. There’s an open aspect to it, and an individual world listened in on. I am hearing a collection of times in someone’s days and that they matter to said artist is communicated to the listener.”