Today the band posted the following update: “Yes yes, good zoOOom meeting with prominent producer. TBC!😄#newbelcantoalbum #muminbusiness #MusiqueNonStop” In short they are indeed recording a new album and are working with a yet unnamed ‘prominent’ producer. You can see the Facebook update below.
Good news, as Bel Canto is one of those bands from which we have wanted to hear new work for years,
A new album that has taken years
In March 2007 Side-Line reported that Bel Canto would start work on a new album. This was based on an interview we had with all three original members in Oslo. But this first resurrection was aborted and Geir Jenssen left the band again. The only ‘new’ material would be released in 2009 on the double album package “Maskindans: Norsk synth 1980–1988” that was released on Hommage Records. It holds the previously unheard Bel Canto song, “Flowerbeds”, which dates from 1988.
Bel Canto was formed in 1985 in Tromsø by Geir Jenssen (synthesizer, programming), Nils Johansen (synthesizer, violin, bass guitar, guitar) and vocalist Anneli Drecker. The group was one of the first Norwegian bands to sign a record contract abroad, namely to the Belgian label Crammed Discs. The trio moved to Brussels in 1986 and had their debut album “White-Out Conditions” released by Crammed Discs the following year.
After a second album, “Birds of Passage” (1990), Jenssen left the band for a succesful solo career as Biosphere. The group had a commercial breakthrough with “Shimmering, Warm and Bright” in 1992 which held a lot of ethnic ingredients fluently mixed with their dark electropop sound.
A few more albums followed: “Magic Box” (1996), “Rush” (French release titled “Images”) (1998), and “Dorothy’s Victory” (2002). In between these albums both Nils Johansen and Anneli Drecker worked on solo material.
Since you’re here …
… we have a small favour to ask. More people are reading Side-Line Magazine than ever but advertising revenues across the media are falling fast. And unlike many news organisations, we haven’t put up a paywall – we want to keep our journalism as open as we can. So you can see why we need to ask for your help.
Side-Line’s independent journalism takes a lot of time, money and hard work to produce. But we do it because we want to push the artists we like and who are equally fighting to survive.
If everyone who reads our reporting, who likes it, helps fund it, our future would be much more secure. For as little as 5 US$, you can support Side-Line Magazine – and it only takes a minute. Thank you.
The donations are safely powered by Paypal.
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settingsACCEPT
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.