Album review: The Jazz Breakfast

«A fine example of unclassifiable Norwegian musical originality.»

Full review.

Album review: nordische-musik.de (German)

«Da möchte man nun ein nerdiges Gitarren-Gefrickel erwarten, das allenfalls ein paar andere Nerds am anderen Ende des Erdballs interessiert. Doch weit gefehlt: Stein Urheim hat ein hochinteressantes und gleichermaßen genießbares Album gemacht.»

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Album review: nitestylez.de

«[…] Together, the pairing creates a calm and peaceful atmosphere which is truly resembling the overall feel of the title providing village Stein Urheim describes in the albums liner notes, partly in a more scenic, […]»

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Album review: nowamuzyka.pl (Polish)

«Nie robiąc z tego muzycznego skansenu, na zasadzie pewnych analogii związanych z architekturą, czyli pomalowania i wymiany kilku starych elementów na nowe, lecz dokładnego zbadania tradycji i puszczenia jej na totalny żywioł…»

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Album review: Bergens Tidende (Norwegian)

«STEIN URHEIMS  dronete jazzblues er herlig kompromissløs. Den er underholdende, men aldri enkel. Den er vanskelig, men aldri avvisende. Den beveger, men blir aldri sentimental. Urheims strengelek bobler av oppfinnsomhet, undring og spilleglede.»

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Album review: Panorama.no (Norwegian)

«Med gitaren makter Urheim å spenne opp lerreter som gir meg lysbilder av egne naturopplevelser; de øyeblikkene man ikke følte på annet enn egen eksistens, det neste bekkehoppet og den glassklare luften.»

Full review.

Album review: Orkesterjournalen (Swedish)

«Det är en genreöverskridande och vacker skapelse som tar lyssnaren med på en drömsk resa som har stort djup och tanke bakom.»

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Album review: Folkemusikk.no (Norwegian)

«Et idérikt album med overskuddsmusikk som fungerer både som blues/folk og ambient.»

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Album review: Tiny Mix Tapes

«This record captures a state of mind, a sense of harmony with nature, a portrait of an isolated place, familiar in some ways but utterly alien too. I can’t overstate how pretty these songs are.»

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Album review: African paper (German)

«Aus den kreisenden, verwaschenden Soundscapes und den verwunchenen Traumsequenzen windet sich nicht nur Blues, sondern ab und an auch mal etwas heraus, das an ostasiatiche Folklore erinnert, aber so hybrid wie dieses Album ist, kann es sich auch ganz aus Zufall aus dem Zusammenwirken des Disparaten ergeben.»

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Album review: Music Map (Italian)

«La bellezza di “Strandebarm” sta nella sua capacità di rappresentare una sorta di viaggio mentale che porta un senso di armonia diffusa e generale, di miscelare voce e chitarra, flauto e armonica, chitarra e bozouki, banjo e mandolino, le percussioni e il tamburo turco.»

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Album review: Dereksmusicblog

«Straight away, the soundscape quivers and shivers, as synths join with stringed instruments on Strandebarm. They create a ruminative soundscape. »

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Album review: The Ear

«The best reason is that Strandebarm is full of uplifting tunes and compositions that just happen to be played on guitars, banjo, flute, slide tamboura, fretless bouzouki, mandolin, pocket cornet, Turkish tanbur and modular synth among other instruments.»

Full review.

Album review: Bird is the Worm New Jazz

«A Stein Urheim recording is like staring into the soul of a kaleidoscope or the dream imagery of the Aurora Borealis while it sleeps away the day.»

Full review.

Album review: The Best New Music You Missed In August, Chosen By The Quietus

«Psychedelic, texturally rich and great fun, Urheim has knocked it clean out of the park again.»

Read the full review here.

Album review: fRoots Album Choice

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Album review: Textura

«[…] That the recording is so accessible nevertheless comes as a bit of a surprise, considering Urheim’s eclectic sensibility and his avowed interest in everything from Norwegian folk music to the electronic sounds of early Kraftwerk and the blues of Lightning Hopkins.»

Read the full review here.

Review: Downbeat

Review: Bladet Folkemusikk

Review: THE NEW YORK CITY JAZZ RECORD

Review: Nordische Musik

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Review: Popupmusic

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Review: Paul Rigby (The Audiophile Man)

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Review: Jazznytt

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Review: Monsieur Délire

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Review: Tidningen Kulturen

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Review: musikreviews.de

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Review: All About Jazz

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Review: Raven Sings The Blues

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Review: Universum Noll

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Review: The Bird Is The Worm

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Review: Leipziger Volkszeitung

Review: Bad Alchemy

STEIN URHEIM, das ist doch mal ein Name. Auf, man kann das ja nicht oft genug in den Fels meiseln, auf Stein Urheim (HUBROCD2529) also spielt er Gitarren, Slide Tambura, Fretless Bouzouki, Mandoline, Banjo, dazu auch noch Flöten, Mundharmonika, die chine- sische Zither Gu Qin und noch mehr, Jørgen Træn mischt sich dazu mit Modularsynthe- sizer und Effekten. Der Musik sind der steinige Norden, der Wilde Westen und der Ferne Osten allesamt nicht groß genug, Urheim schwingt sich auf kosmolodischen Schwingen jenseits von Raum und Zeit. Indische Psychedelik mischt er mit Bluegrassweirdness, die Appalachen versetzt er nach Hawaii. Er arpeggiert mit hohem Fahey-Faktor, er klampft und wimmert, dass sich jeder norwegische Drogendealer fragen muss, was er wohl für eine besondere Quelle hat. Hypnotisiert beginnt man die Sandkörner zu zählen, die in Zeitlupe durchs Stundenglas schweben. Mit den Uhren schmelzen die rechten Winkel. Der ‘Beijing Blues’ ist weder blauer noch gelber als die übrigen Kurierfahrten nach ‘Kosmoloda’. Aber Urheim stompt dazu, als hätten er und John Lee Hooker eine (Ur)-Großmutter vom Gelben Fluss gehabt. Große Entfernungen (‘Great Distances’) schrumpfen auf den Durchmesser eines Schädels, die Sonne geht im Osten unter, und nimmt dabei Tropfenform an. Alles biegt sich, krümmt sich zu Dünensilhouetten. Aber es pulsiert auch, es groovt und swingt wie nur ein Langstreckentrip auf der kosmischen Seidenstraße swingt. Das alles kommt nicht von Ungefähr, der Mann aus Bergen ist schon auf Spiritual Non-believers von The Last Hurrah!! seinen weirden Neigungen gefolgt und ebenso mit seinem Album Kosmolodi (Hubro, 2012). Auf diesem Stein könnte der Feuervogel sein Ei ausbrüten.

Review: Sound and Image

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Review: RecommNeds

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According to Wikipedia, Stein Urheim is a “Norwegian jazz musician (guitar).” Listening to his new, self-titled, album, though, it’s clear that “jazz” doesn’t quite do the job to describe the music. Guitars of all types: slides and steel and more traditional, weave together to create slowly shifting sound collages. There are multiple influences buried within each instrumental piece: jazz sure, but blues and bluegrass; ambient and noise, Western and world. Compositions develop along the way, as new themes bubble up and then float away. This is patient, beautiful music. Enjoy!

Review: Laif (Poland)

Review:

It will not be a musical tale with the scenery set in the American wilderness. The album was recorded in Norway and what is more, at home of the famous violinist Ole Bull. It is said that this place has a fantastic acoustics, and you can hear it very well on the album. The music is definitely ruled by the acoustic guitar. The extraordinary imagination and skills of the Norwegian multi-instrumentalist allow him to enjoy (use) a variety of instruments from around the world. Urheim invited Jørgen Træen who plays the modular synthesizer. Great synth arrangements perfectly match with the acoustic guitar, and what is more you can feel the specific Norwegian humour and elements of jazz and blues. The Norwegian musician refers to the desert sounds of Africa, and thanks to the sounds of the Chinese Guqin instrument the listener is closer to Asia. The album “Stein Urheim” perfectly illustrates how the musician should refer to tradition in order to create a unique and modern work. (Łukasz Komła, Polish magazine “LAIF”)

Press: Wondering Sound

Press: Haugesund Avis (Norway)

Press: Eclipse (Germany)

Press: Textura (Canada)

Textura: Album of the Month. Read review here. And Spotlight Feature here.

Review: fRoots

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Review: The Quietus

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Review: Dagbladet

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Review: Bergensavisen

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Interview: Bergens Tidende

Review: Bergens Tidende

Review: Dagbladet

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Review: Side 2

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Review: Østlendingen

Review: VG

Review: Music Omh

Read full review here.

Review: Rock-A-Rolla

Review: thejazzbreakfast

Review: HI-FI+