The distinctive trio Huntsville continues to impress on their fourth album, Past Increasing,
Future Receding. This is clearly the group's most atmospheric and monumental release so far.
The excursion into an ever-darker landscape that began with the critically-acclaimed LP For
Flowers, Cars and Merry Wars (HUBRO 2505LP) continues here. Past Increasing, Future
Receding was recorded in Emanuel Vigeland's Mausoleum at Slemdal in Oslo, a dimlylit,
almost entirely dark barrel-vaulted room completely covered with frescos painted by
Emanuel Vigeland (1875-1948). The artist himself erected the building in 1926, with a view
to housing his sculptures and paintings there in the future. He later decided that the museum
would also serve as his burial chamber. All the windows were bricked up, and his ashes
were meant to rest in an urn above the door. Inspired by Italian influences, he named his
building Tomba Emmanuelle. The impression made by the dimly-lit frescos, portraying
hundreds of naked figures, is heightened by exceptional acoustic properties and a longlasting
echo. This unique room has gradually become a popular concert and recording
venue for artists such as Stian Westerhus, Susanne Sundfor, Diamanda Galas and
Nils Okland. Even the most tentative sound evokes an enormous acoustic response in the
Mausoleum. For the members of Huntsville, the overwhelming acoustics of the room became
a sort of fourth member of the band while they were recording this new album. The music
feels more hypnotic and visually evocative than on earlier albums, and demands the full
attention of the listener. The album was the result of three intense working days with sound
technician Thomas Hukkelberg. This time, too, the band mixed the album at Propeller
Studio together with Kare Chr Vestrheim (Motorpsycho, Jaga Jazzist).
TRACKLISTING
01. Presence in Absence (17:01)
02. The Flow of Sand (8:47)
03. In an Hourglass (8:42)