Happy new year!
Really good reviews for Simple Pieces & Paper Cut-Outs this fall/winter, lots of radio play,
and last month it even made it to Textura´s top 3 general-list!
Here´s what they wrote:
“03. Stein Urheim: Simple Pieces & Paper Cut-Outs (Hubro)
Experiencing Stein Urheim’s unadorned guitar artistry is a treat all by itself, but Hubro has outdone itself in supplementing the vinyl release with a forty-page score and tablature. Presented in glorious detail, the booklet enables aspiring musos to play the tunes with the record or for non-guitarists to follow along and gain an enhanced appreciation for his fingerpicking. The thirteen tunes are short, but they’re packed with detail and inspiring touches that speak to Urheim’s command of his instrument, for this recording a hand-made acoustic built after a model of the Selmer jazz guitars from the ‘30s”
Here´s what Dusted Magazine wrote:
“John Fahey barely made it into the 21 st century, but his influence looms as large as ever. Stein Urheim, a guitarist from Bergen, Norway, is merely the latest to commit his confrontation with Fahey’s legacy to wax. He tips his hat to The Yellow Princess and other recordings of that vintage in this album’s accompanying book of tablature, but even if he hadn’t put it down in writing, you could hear it in his playing. Urhein is no rooky. He’s been recording with various bands since around 2004, working with singers and playing jazz, but this is the first time he’s anything quite like this. Urheim seems to be drawn to Fahey’s most virtuosic and lyrical work, and he has the chops to back it up, but also the performative confidence to let the music develop in its own time rather than chase after it. One has to put a bit of yourself into the music if you want to transcend the “sounds like Fahey” blanket that covers so many American Primitive guitar LPs. Urheim gets this, and he doesn’t take the easy way out by, say, applying his bluesy, acoustic picking to rustic themes or folkloric sources. Nor does he go for Fahey-esque textual obfuscation or faux-mythologizing. Instead he incorporates some samba gestures into the tunes, keeps them pithy and presses them on vinyl (by no means an assured thing on Hubro, which usually markets music via CDs and the internet). The album title proclaims this music’s simplicity, but Urheim’s is not simplistic so much as clear.”
The album made it to “The Best of Bandcamp” for September:
“Guitarist Stein Urheim’s kaleidoscopic display of harmonics is about as riveting a work of art as anything else you may encounter. On his solo projects, like his excellent 2014 self-titled release and the equally lovely 2016 release Strandebarm, he employs an electric array of instruments, including the slide tamboura, fretless bouzouki, Turkish tanbur, mandolin, and others. His newest recording is held in stark contrast in its complexity, and that speaks to the heart of the commission that drove it. A solo acoustic guitar with no overdubs is an open window into the soul of a Stein Urheim melody. It is meant to reflect an element of communal living, represented by both the intimacy of the music. In that same spirit: music charts accompany the limited-edition LP version of the recording, so that others might play along.”
Also really positive reviews from magazines and papers like Rockerilla, Rock Obrobje, Vårt Land, Westzeit, Radioaktiv, Silence & Sound, The New Noise, Trust, Bad Alchemy, Hörerlebnis and Nowa Musyka. – Thank you!