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Klubb Kanin 15 Year jam, Blæst, Trondheim, Norway October 2012

When agents from two or more subunits meet, there is a slight chance for a jam. That is an understatement. There has been a lot over the years - we can tell you that much.

agents >>> Nelson A218, Conlazo A145, Boe A22, Bjarne A16, Jonas A196, Michael A192, Kai A80, Marius A173, Per Ola A174, Magnus A175, Chris A140, Lars A38, Neil A94, Monica A87, Jørn A227, Tom A186, b9 A07, Johannes A213, Morten A187, Cathrine A32, John G A130, Kjell Ø A34, Gro A233, Roy A234, Juliano A235, Thomas A236 + occasional guests we didn't manage to conceptualise.

produce >>>
Artibua Hifi (SPLIT-CASS), Bandwidth (MP3 Album), Earwitness (MP3 Album), on KAleidoscopic compilations (CDR), on Free 16 Year Album (CDR/MP3 comp), on We Are Hell-Oh?! (CDR comp), on Free 10 Year Album (CDR/MP3 comp), rishaug bøe hegre marhaug (CDR/CASS)

live >>>
Blæst (Trondheim), Uffa (Trondheim), Decibel Festival (Buenos Aires), Café Mir (Oslo), AZ Conni (Dresden), Zoro (Leipzig), Avant Garden (Trondheim), M/S Stubnitz (Stockholm), Kunstnernes Hus (Oslo), Volapük (Oslo), Cafe Mir (Oslo), So What (Oslo)

"ARTIBUA HIFI" SPLIT CASSETTE (with or_/kaffi & såpe), 2013 >>> Session @ Artibua, Brugata, Oslo, Norway June 10, 2013 with Espen Ursin A294, Petter Flaten Eilertsen A219, Bjørn Hatterud A222, André Borgen A203 and Tore H. Boe A22. Recorded to cassette.

Vernissage jam, Mikrogalleri Nor, Hvaler, Norway July 2011

"BANDWIDTH" FREE WEB ALBUM >>> lecture from Cal Massó, or_/republika jam from Bankplassen and from Klubb Kanin. 3 ways to present the origamism... Released as free web album by TIBProd, 2008.

Klubb Kanin 10 Year jam, Sound OF Mu, Oslo, Norway August 2007

"EARWITNESS" FREE WEB ALBUM, 2007 >>> Summer session 2005: several hours were catched in or_/antarktika's studio, in a nicely blended session with new agent Jørn T Egseth A227 (murmel), Jonas A196 (or_/antarktika/ Hornorkesteret), NorNoise film-maker Tom A186 (or_/cinematika / Two Limited) and Boe A22. Released as web album by TECNONUCLEO, 2007

LIVE @ DECIBEL FESTIVAL IN BUENOS AIRES, 2004 >>> Agents from or_/southamerika, or_/synergika, or_/replika (new) and ex-or_/replika presented a long instant composition featuring 10-12 people, lead by the 72 year old Nelson A218 on keyboard, his 2nd concert ever (the first the same night). It is never too late...

LIVE KRAFTWERK COVERS IN DRESDEN & LEIPZIG, 2002 >>> or_/KA and or_/olympika was on their "Summernight In June" tour of Denmark and Germany with or_/tore and Kobi when these meetings took place, recreating Kraftwerk's "Trance Europe Express" from the or_/olympika set.

"rishaug bøe hegre marhaug" CASS/CDR, 2001 >>> where each artist is represented by three tracks each but nobody knows who made which. The first 25 copies were dubbed on cassette in a different order and mounted with the cdr on a ceramic tile. Reissued as free web album m/o/l/d white labels 01.

Klubb Kanin jam, Teaterhuset Avant Garden, Trondheim, Norway October 2001

M/S STUBNITZ IN STOCKHOLM, 1998 >>> or_/republika was present for the fourth time this year onboard the legendary cultureship. This time it had sat sail for The Cultural Capital Stockholm. Members of the origamism performed a set based on each person's solo-piece. Once again the steel and sweat atmosphere of M/S Stubnitz was filled with weird and wonderous sounds. This event was documented on dat and vhs. Including agents: Lars 'Lrz Brz' A38, Neil '9L' A94, Monica A87 and Benny 'B9' A07.

aka ZooperKool mkI, 1997 >>> "We are zooperkool....or at least our name is..."  was the opening words from the four piece unit suddenly appearing as a surprise at RadiOrakel's 15 year anniversary in Oslo 1997. RadiOrakel was the world´s first exclusively female run radio station, and good friends of or_/, several agents worked there. Zooperkool became a sort of weird cabarét of 'very serious art', all based on a long bird-soundscape, with various happenings lasting a couple of minutes each; Sveinar was scratching some metal, and Haibibi was interviewing him speaking backwards, Borger Trelegg did a notorious spanish guitar stunt, Kjell-Magne played a tape, Haibibi shouted out the refrain of "Aaayyiiii-aaayyiiii-aaahh will allllwayyys loooove yoouuu" through tons of delay and distortion, Sveinar tingled some loose screws. All happened with applause and laughter between each stunt, which was cool taking in count that most of the audience were complete strangers only there to drink'n'dance. It all ended up with the four singing a sort of cover song from Urd Barbarians album on Major Ego Produkt. Starring: Bjarne A16, Kai A80, Kjell Ø A34, Boe A22.

aka ZooperKool mkII, 1998 >>> The opening party for the or_/republika presentation at Kunstnernes Hus in Oslo 1998 demanded something special. What could be more proper than a second (and last) manifestation as ZooperKool. Chris A140, Bjarne A16, Boe A22.

Earwitness MP3 Album >>> 'Boe is the founding father of everything that is called 'Origami' with whatever extension: a floating group of musicians that work together. Boe himself is not always a member, but he is with the Origami All Stars. Still with his acoustic laptop, but also with Tom Hovinbole on violin, Jonas Qvale on samples and Jorn Egseth on synthesizer. They play seven pieces on their 'Earwitness' release and it's the least convincing of the three. The improvisations seem to lack any tension and at times the four seem to be searching for sounds, or go into playing their thing without noting any of the other players very much so no real interaction seem to occur.' - Frans DeWaard, Vital Weekly 604

'There are 7 tracks recorded in the studio. Unlike many improv albums it starts with a very quiet, restrained piece which emphasises silence. This changes as the album develops - there are some noisy passages. On the whole the violin seems to add sounds other than bowed strings: there are a couple of places where there is some, through the drones could be synths; the synth is largely identified through feedback and assorted noise and to be honest I can't say what the samples were. Overall the album is surprisingly restrained - while it gets noisy and full at times, it is largely a lighter brew of drones, hisses, acoustic laptop work, feedback and so on. Some tracks are particularly attractive - buzzing, feedback, harmonium like tones in 3; the active battling tumble of 6; hollow taps and some sawing on 7; the warmth that occurs in 3 after the loudness has decreased. However, I was left feeling that the wholes was less than the sum of the parts - the balance of the instruments is too weighted to the high end, harsher noises, and the tonal varietywhich underpins the other two pieces is missed. And as the Beethoven quartets surround me as I write this, perhaps the emotional depth offered by the double bass is what makes that album more appealing - and the violin could have supplied it here.' - Ampersand Etc.

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