The Midgardsblot festival, held at Borrehaugene (old viking grave mounds), outside the city of Horten, Norway, is mostly known for hosting acts within the metal genre in addition to some folk and viking inspired music.

This year, the festival first caught our attention with the announcement of Bel Canto as one of the headliners, followed by Gåte, Seigmen, Karin Park, Ledfoot, and others—definitely worth reporting on for Side-Line Magazine. And who knows, we might even discover some new bands. We headed there in mid-August to check it out!

(By our Norwegian correspondent, Jan Ronald Stange. Photos by Einar Låker and Jan Ronald Stange. Additional Dwaal photos by Jon Julius Sandal @ helvetesindrekretser and Birgit Fostervold @ knipselyst)

Side-Line’s chief editor, Bernard Van Isacker, was supposed to join me for the festival, but couldn’t make it due to a family emergency. His replacement, Einar Låker, brought his cameras and joined me instead. Since we had to attend meetings and handle some work during the day, we skipped the tenting area and set up base at a nearby campsite in a mobile home borrowed from my parents (thanks, Sigrid and Carl Edvard!).

After settling in, it was time to head to the festival grounds, which required a short hike through historic Viking graves. We collected our passes and entered the blót, an ancient Norwegian/Norse sacrificial feast.

The first act we saw was Kalandra, a UK/Norwegian band blending Celtic and Norse folk with modern arrangements. They’ve been around for over a decade, gaining recognition with their cover of Wardruna’s “Helvegen”. Since then, they’ve released several albums and composed scores for TV shows and video games.

After Kalandra, we explored the rest of the area, visiting the trade section Kaupanger, the Viking tent area Folkvangr, and the indoor stage Gildehallen (the “Feast Hall”). It was a sight to see people fully embracing the chance to step back in time.

We wrapped up the first day by watching the Swedish Viking rockers Amon Amarth, who had their fans completely enthralled—even getting hundreds to sit down and row in the middle of a song! 😊

Thursday was a rainy day, so boots and jackets were a must. We caught a bit of the Norwegian thrash band Inculter and the Polish death metal band Vader before heading inside Gildehallen for something entirely different: Trio Oro, a Norwegian world-folk fusion group featuring flutes, guitars, and percussion. They delivered a diverse set with tunes from Irish, Bulgarian, Norwegian, and other traditions. It was original and unexpectedly entertaining!

One of the main attractions, Gåte, had to cancel due to a band member’s illness and was quickly replaced by Hindarfjäll & Peter Franzen, a Swedish project that uses modern instruments to recreate the ancient sounds and atmospheres of Scandinavian/Nordic folk music.

Next, we escaped the rain by heading back into Gildehallen, catching the last few songs from local thrash band Mortal Fear—three teenagers with the drummer’s father on vocals. It was very entertaining!

The day ended with thrash metal titans Testament from California, USA, closing out the main stage at Heiheim.

Day 3 was special, with two bands from my hometown, Tønsberg, performing. Seigmen headlined the Helheim stage, while newcomers Fabbrica 82 were about to play their first-ever show in Gildehallen. We spent an hour there beforehand, chatting with the band members, Knut Ove Hansen and Lars Anders Berg, before their soundcheck and concert.

S-L: How did you come up with the band name?

Knut Ove Hansen: We started high school in 1982, and we chose Fabbrica because we wanted a name that could be associated with new wave. We went with the Italian version because “factory” was already overused in English, and I have a personal connection to Italy.

S-L: What were your first attempts at releasing music?

KOH: One of my early bands made our first demo tape at the local radio station in Tønsberg in 1985—it was actually the first synth-related demo recorded in Tønsberg! We played three gigs the following year as the band Some Bizzare, named after the famous compilation album where Depeche Mode, among others, had their first track on vinyl. We also had a third member, Bjørn Arnesen, who now lives in Peru. Lars reached out to me several times, in 2020 and again in 2023, asking if we should give it another try. I was hesitant at first, but then we made “Darkness,” and we were back at it.

Lars Anders Berg: Over the years, I’ve composed hundreds of songs, and I always wanted someone to sing to my tunes. After years of talking about it, we finally made it happen. It’s been a lot of fun, and we’ve quickly released several singles!

S-L: Any album in the making?

KOH: Yes, it’s what we’re working on. We also got another gig in October in Tønsberg. This is not where we thought we would be just six months after our first release – feels quite surreal! All because of the word of mouth in Tønsberg’s small “synth underground”, and it also spread to Oslo where we’ve gotten good feedback.

S-L: What’s your inspiration?

Lars Anders Berg: I listen to a lot of music, not just old synth, but many electronic genres. So, the process of creating themes, melodies, and tweaking knobs is an inspiration in itself.

As the hall filled with people, we noticed at least a dozen audience members already wearing fan T-shirts, and the band was thrilled after their first show.

As we left Gildehallen, we caught a few songs from Nytt Land on the Valhalla stage—a Siberian shamanic act that blends the vocal traditions of Northern Europe with traditional Siberian throat singing. It was a stark contrast after a synth gig and truly highlighted the diversity of the festival!

The last show we attended on Thursday was Seigmen at the Helheim stage. It was a fantastic performance, featuring a new song with guest Espen Winther from the medieval/folk band Eldrim, playing his harp. It was magical—a gig that later received well-deserved praise in reviews!

The last day of the festival started off relaxed, with a stroll around, soaking in the sights and atmosphere under the sun. Then Ledfoot (Tim Scott McConnell) took the Valhalla stage. This goth-blues phenomenon was someone I’d been wanting to see live for a while, and he didn’t disappoint. He delivered a set full of raw emotion—soreness, anger, longing—and impressive guitar playing.

I had been in touch with him before the festival, and we agreed to try for an interview. However, due to his soundman’s tight schedule, they had to leave the area minutes after the show, so we exchanged a few words via Messenger a few days later instead.

S-L: How was your gig at Midgardsblot?

Ledfoot: The audience was great, and there was such a good vibe there 🙏

S-L: Did the show or audience differ much from your solo gigs?

Ledfoot: No, it’s the same everywhere—I do my best and hope the audience appreciates it.

S-L: More music in the works?

Ledfoot: I’ve started on my new record, and hopefully it’ll be out by the end of the year.
And I’d like to say a big thank you to the audience and all the people working behind the scenes.
Hugs!

Next, we went to see Bel Canto, the pioneering Norwegian electronica band, performing a set that spanned their entire career, including a few new tracks from their latest album Radiant Green. As always, they delivered a top-notch performance, and Anneli’s voice remains as impressive as ever!

Making Bernard envious by sending him live photos was an obligatory part of attending Bel Canto 😉

I also managed to spend a few minutes in Gildehallen to check out another band with a Tønsberg connection, though mostly from Oslo—the doom-sludge-ultra-heavy Dwaal. The hall was packed, with a queue outside, clearly hitting their target audience perfectly. I later caught up with lead singer Bjørnar Kristansen to ask about their experience.

S-L: How did Midgardsblot treat you?

Bjørnar Kristansen: Midgardsblot was amazing. Right after the show, we said it was one of our favorite gigs, if not our favorite. The crowd’s energy from the first riff to the last deeply affected us. I asked for a ritual, and we got a ritual for sure. A true catharsis, both on and off stage.

S-L: How does playing at a festival like this compare to club gigs?

BK: Festivals are different from club gigs because the crowd is a more varied mix of people—those who already know Dwaal and those giving us a chance for the first time. Not to say anything bad about the Norwegian audience, but it seems like international music lovers are more open to discovering new music. They come from far away and want to engage with as much as they can, even if they’ve never heard us before. It makes for an intense experience in the best way.

S-L: Did you explore the festival area, try the Viking activities or food?

BK: Our drummer Anders went on Friday and had a great time at the Blot. The rest of Dwaal arrived on Saturday, and we had some time to explore the festival. It’s an incredible event. Everyone makes you feel so welcome and included. A huge recommendation from Dwaal!

S-L: Any upcoming releases, albums, gigs, or other news?

BK: As 2024 winds down, we’re hard at work on new music, with some exciting projects that push us out of our comfort zone, which we love. Our last regular concert of the year will be at Apollon Tønsberg on October 11th, with Uaar as support. On December 14th, we’re playing the Caliban Sessions, a yearly mini-festival hosted by Ole Petter Andreassen of Black Debbath, Thulsa Doom, and Cumshots fame. It will be a fantastic end to a great year for Dwaal, marking our tenth year as a band. There are plans for a gig in Oslo in 2025, so stay tuned for that announcement.

We’re also in talks for more live shows in Europe, though nothing we can confirm just yet. And of course, if Midgardsblot invites us back, we’d love to play again!

The last show in Gildehallen this time around was the one that probably impressed me the most—Karin Park from Sweden. Alone on stage, standing between two tables covered with synths, computers, and modular gear, she sounded and performed like a full band, delivering an incredibly energetic set. Crown her the Queen of Synth already! (go to https://www.facebook.com/748210539/videos/1540166493571503/ for videos, several in the comments!)

The Norwegian band Emperor, regarded as pioneers of extreme black metal, closed the festival on the main stage, Helheim, in front of a devoted audience.

To sum it all up: a festival well worth visiting! As they’ve expanded the musical genres in their lineup, there’s now something for everyone without losing their core purpose or audience. This approach also increases the chance to discover something new, which is always a plus!

A big shoutout to Runa Strindin, the driving force behind the festival, and her entire crew for making it such a success! Hopefully, they’ll continue for years to come, and perhaps the 10th anniversary next year will be even more special?!

PS: As a food enthusiast, I must mention the excellent variety of food, ranging from handmade hot dogs to Thai, Mexican, elk burgers, and elk kebabs! Most impressive was the food from the Norwegian Chefs National Association, Vestfold branch (Norske kokkers Landsforening, avdeling Vestfold)—their hot-smoked halibut dish was to die for! 😊

Jan Ronald Stange

Sometimes – when I’m not cooking, biking, listening to music or attending concerts, I write stuff for Side-Line.com. Mostly about Norwegian bands, but it’s been some Swedish, English, American, Danish, German and others too… 😉

www.facebook.com/jrstange

(By our Norwegian correspondent Jan Ronald Stange / Indie Recordings press release. Photos by Bjørn Opsahl, Frank Hiis and Jan Ronald Stange) Out on May 3rd was the seventh Seigmen album “Resonans”, highly anticipated after the nine years wait since “Enola” in 2015. The release was celebrated by an evening of fun at the Apollon Platebar (record shop & pub/bar in one – excellent place!) in Tønsberg, full house and all of the tickets gone already at the opening that day.

The event started off with a signing session. As there’s three different vinyl versions in addition to CD and cassette versions – and many bought all versions! – they went through a bunch of marker pens in a busy hour. Then the whole album was played, followed by a move upstairs for the ticket holders. Arvid Skancke-Knutsen held both a challenging quiz and an entertaining and informational Q&A session. He was definitely the right person for the job, knowing and supporting Seigmen throughout their whole career, and also the first journalist to review the debut CD in a major publication.

The Seigmen album

“Resonans” is Seigmen’s latest album, echoing the essence of a longstanding friendship. A strong bond among five guys who found each other through music, learned to play instruments, and expressed themselves together. They solidified their friendship through muddy and sour tones from the rehearsal room on the old submarine quay, down into a basement in the city center, out to a barn outside the city, up on the heights near the old library, down into the mountain beneath the same hill, and back to a rehearsal container at the old shipyard. Always tied to their hometown, Tønsberg in Norway.

“Resonans” is the reverberation of endless evening rehearsals, weekends with “lefse” and freshly ground coffee in thermoses, and syncopations. Smiles, conversations, and gossip. The hard, precise, and long-term work. Love and art. Resonans is guts and integrity, demonstrating the uncompromising nature that Seigmen has always represented.

Singles and songs

The singles “Berlin,” “Kollaps,” and “Elskhat” have already been out there. Listen to “Melanchthon”, approaching two minutes, and the endless solo that ends with no more frets on the guitar neck. Listen to “Blasfem”, raw nerve for almost eleven minutes. Listen to the space created in “Eksplodere i det stille”, the transition to a single chorus after five and a half minutes. There are many layers here. The depth is buried in the details. The ones you hear when you play the song for the third or sixth time.

Resonans is the result you get when five focused individuals return to the studio where they recorded “Total” in 1994. Carrying the same curiosity, the same hunger and the eternal urge to create. Incidentally, this year marks exactly 30 years since the release of “Total”. Recently, the book about the album was published in the series “Norske albumklassikere”, skillfully written by Even Smith Wergeland. The reference is track number two on “Total”, “Ohm”, which might be the song that best defines the band. Ohm means resistance.

“Resonans” is also the echo of the time it took to complete this album. The resistance along the way, in the form of a pandemic and, most notably, serious and prolonged illness. Of course, one should also acknowledge the frugality and thoroughness these years have allowed. Time to work in silence. No concerts for four years have provided ample time in the “space.” Even more lefse. Even more cups of freshly brewed coffee.

“Resonans” is vibrations. Listen to the last phrases of “Når alle skjermer går i svart” (When all screens go black). The desperation in the voice of vocalist Alex is palpable, you can hear the resistance. Seigmen has always believed that it is they are at their best when there’s resistance. Listen to the first line of the lyrics in “Berlin.” All hope is lost, but never say die — it doesn’t get much clearer than that.

‘Tønsberg’ – the city anthem

Resonans ends with the surprise song “Tønsberg”, nothing less than a magnificent, honest, and personal tribute to the city the band hails from. In the first part of “Tønsberg,” guitarist and opera singer Marius finally unfolds his vocal prowess within the framework of Seigmen, something he has only done once before on a record. Strings tastefully arranged by the “film musician”, Ginge. Then the rest of the band kicks in halfway, and Alex takes the baton to the finish line. Marius is actually retiring as a soloist in the Norwegian national Opera this spring, where they retire early.

“Up the mountain, up in the tower. Never a stranger in the streets we walk.” “Tønsberg” might be a bit of an oddity on Resonans, but the song comes straight from the heart.

Mini-interview with Kim Ljung

The day after Kim Ljung had this to say about the event:
– We were real happy with how Friday turned out. It was a near and personal event. Also it’s always nice to see eacother away form rehearsal and studio, have a few drinks together, then meet nice eager people who’s always polite and just seems interested and throughout extremely inspired by what we do. 
Also a sheer pleasure seeing the glow in our fans faces, coming up with the vinyl, CD or a cassette they just bought, signing them and knowing they go home that evening in utter delight. 

I also had to ask about ‘Arkadia ego’, the track starting with “Husk at du skal dø en gang” (“Remember that you must die once”) – was it written before Depeche Mode’s “Memento Mori” were announced? 
– When DM released “Memento Mori” I was a little stressed, since we had the “Arkadia ego” song written long before. However it was all put on hold for several years due to Covid and internal health issues in the band. We started writing material right after we released “Enola” in 2015. Then there is also a part on “Blasfem”, the 11 minute track, that has a guitar line which dates back to the 90’s. 
“Elskhat” was the first track written, however the riff for “Berlin” was there ages before. Just something we never though was of real importance until our manager Øystein heard it and said you have to work on that one. Single potential!

Though “Arkadia ego” was a song that emerged in 2019, the first lyric actually had the line Memento Mori in it, but it sounded a little lame on a demo version, and was taken out. 
So the fear when DM press release came mentioning their title, I was just afraid “Arkadia ego” was in there.

A side note to that: I personally saw their album as a huge dissapointment. I feel with all their history and assets in old synthesizers and their legacy, they should come with better sounding stuff. When Fletch sady passed, I hoped they would bring Alan back in. That would surely made huge differerance to their quality of sound.

The idea of “Arkadia ego” was just me trying to find out a way of using the word Arcadia in a song. Always liked that word. Then I discovered that line. 
Every Seigmen song starts out with a title. That gives me a total picture of how a song should plan out. 

Cheers to Side-Line from Seigmen!

Design background story

If you acquire Resonans in physical format, you will find it tastefully wrapped in peach pink by designer Sigurd N. Kristiansen. Master photographer Bjørn Opsahl is, as always, by Seigmen’s side. A band photo in the same color palette was taken in Kim’s living room. Pink boots under the sofa, a small nod to the band’s very first song. It reveals a band with more humor and spirit than many may think, that sets its own standard and is ready for whatever comes next.

Credits

• Recorded at Velvet Recording by Christer Krogh
• Mixed by Mike Hartung in Propeller Music Devision: “Elskhat”, “Arkadia Ego”, “Når alle skjermer går i svart”, “Eksplodere i det stille”, “Melanchthon”, and “Tønsberg”
• Mixed by Adam Noble: “Kollaps” and “Voltaire!”
• Mixed by Alex Møklebust in Room 13: “Berlin” and “Blasfem”
• Words and melody lines: Kim Ljung
• Music: Seigmen
• Produced by Alex Møklebust and Kim Ljung
• Mastered by George Tanderø
• Artwork by Sigurd N. Kristiansen
• Photo by Bjørn Opsahl

Listen to the album at these streaming services: https://orcd.co/saveresonans, or buy physical versions right here: https://shop.indierecordings.no/collections/seigmen

Side-Line also covered seigmen’s ‘Dyret 23 bud’.

Jan Ronald Stange

Sometimes – when I’m not cooking, biking, listening to music or attending concerts, I write stuff for Side-Line.com. Mostly about Norwegian bands, but it’s been some Swedish, English, American, Danish, German and others too… 😉

www.facebook.com/jrstange

Meet Naeon Teardrops, a fresh electronica project from Norway. But here’s a twist: the talent behind this name is none other than the seasoned Norwegian techno artist, Per Martinsen, also known as Mental Overdrive.

For those who’ve been around, Per Martinsen isn’t a new name. He’s been a force in the hardcore, rave, and techno scenes for over 30 years. Starting in 1990, he kicked off with powerful techno tracks on the Belgian label R&S. He’s also worked with labels like Smalltown Supersound, Ploink, and Virgin Records, to name a few.

With Naeon Teardrops, Martinsen is diving into synthpop and darkwave sounds, giving them a modern twist. This new direction stems from his fictional autobiography, “Pyramids On The Moon”. In this three-part tale, he imagines three different life paths, each with its own musical alias.

Naeon Teardrops’ debut has been preceded by several singles: “Amnesiacs” came out in 2021, followed by “Shadowsister” in 2022. The recent singles, “Water Rising” and “Outbound”, dropped in March and May 2023.

The debut album, “Testimony”, is a blend of three decades of electronic music, mixing electropop, darkwave, and more. Set to release on September 8th, 2023, through Love OD Communications, it’ll also be on vinyl and CD via Apollon Records.

Want a taste? Check out the tracks released so far below.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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The Bergen (NO) based darkwave trip-hop act Melt Motif is back with an all new track, “Warrior”, from their upcoming album “Particles. Death Objective”. It’s no exaggeration to say that this act is one of the best discoveries from the past few years pouring out a steady stream of quality music.

The new track is accompanied by a video which was entirely created using AI. Every single frame in the video was generated by artificial intelligence, and the result is indeed quite fascinating.

Melt Motif started as an experiment by Rakel and Kenneth Rasmus Greve. Apollon Records (Zeromancer, Sonisk Blodbad, Sleepyard, Bithammer, Richard Gjems, Green Sky Accident) signed the band while it still was a studio project with no official releases out. The material was mixed by São Paulo producer and musician, Joe Irente. Irente is now a permanent member of the band.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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Earlier this year we reported about the album “A White Horse Will Take You Home” from the Bergen (NO) based darkwave trip-hop act Melt Motif.

Out now via Melt Motif / Apollon Records is the remix EP “Vandalism Vol. 1” by Melt Motif. The EP holds 8 tracks including a few remixes by the band and by Joe Irente, The Poizone, Cato Canari, FKOFF1963 and äbvsd.

Kenneth Rasmus Greve: “We let some other artists we like have their total freedom to do whatever they wanted with our music. It has resulted in hard techno, dream pop, drum n bass, ambient, hyper pop.. you name it. It’s pretty cool to hear how these tracks can get another life in a different style than the original. But always related to electronic music.”

Melt Motif started as an experiment by Rakel and Kenneth Rasmus Greve. Apollon Records (Zeromancer, Sonisk Blodbad, Sleepyard, Bithammer, Richard Gjems, Green Sky Accident) signed the band while it still was a studio project with no official releases out. The material was mixed by São Paulo producer and musician, Joe Irente. Irente is now a permanent member of the band.

The EP is available on Bandcamp and all other services.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

Earlier this year we reported about the new 2nd single from the Bergen (NO) based darkwave trip-hop act Melt Motif. Out now is the album “A White Horse Will Take You Home” on CD, vinyl and as download.

Melt Motif started as an experiment by Rakel and Kenneth Rasmus Greve. Apollon Records (Zeromancer, Sonisk Blodbad, Sleepyard, Bithammer, Richard Gjems, Green Sky Accident) signed the band while it still was a studio project with no official releases out. The material was mixed by São Paulo producer and musician, Joe Irente. Irente is now a permanent member of the band.

The 9-track release offers quite a diverse pallet, from dreamy and cinematic to aggressive and industrial. Unpredictable is the best label you can put on this excellent new discovery.

You can order your copy straight from the band on CD, vinyl, Minidisc, cassette and as download.

After the album release, a remix album album will be dropped, with contributing artists from around the world, like Russia, Japan, Brazil and Norway. Since the vinyl plants had some delay in pressing up their debut, the band has already started on their second album.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

From the rainy west coast of Bergen, Norway, and the dusty cityscapes of São Paulo, Brazil comes the trip-hop act Melt Motif.

Melt Motif was founded early 2021 by Kenneth Rasmus Greve, and soon Rakel joined on vocals. After demoing their first material they got picked up by Apollon Records. For their upcoming debut album “A White Horse Will Take You Home” the band collaborated with the Brazilian mixing engineer and artist Joe Irente. Trente has by now also joined the band as a real member even before their debut is released, speaking of a very symbiotic endeavour in the studio!

The debut single, “Everything Will Disappear” was released in December 2021 and will be followed by “Mine” (which also got the video treatment as you can see below) in February 2022 and which we present today. Coming up in March will be the band’s 3rd single, “Andalusian Dog” and in April you can expect “Sleep”.

After the album release, a remix album album will be dropped, with contributing artists from around the world, like Russia, Japan, Brazil and Norway. Since the vinyl plants have some delay in pressing up their debut, the band has already started on their second album.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

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