Until now, Agropelter from Norway is an unknown name in the progressive rock scene. The man behind this project is Kay Olsen. He made with The Book Of Hours a very impressive debut album with lots of Mellotron, Hammond organ, synthesizers, and bass pedals. Kay has played all guitars and church organ among other instruments. He recorded his debut album with the help of the well-known bassist Jonas Reingold (The Flower Kings, Karmakanic), percussionist Mattias Olsson (ex-Änglagård) and drummer Andreas Sjoen along with many classical musicians. According to the editorial staff of Background Magazine, Kay Olsen deserves a place in the spotlights, so we asked him all the ins and outs of his first musical effort.

Would you please introduce yourself by telling us where you come from, whether you have had a classical music training, and which bands have influenced you now and in the past?
"I'm from a small town called Skien in Telemark County in Norway, a town with a strong jazz culture. However, it is the home of legendary prog label Colours, which released bands like Änglagård, Landberk and

Kay Olsen

Anekdoten amongst others back in the early nineties.
I have no formal musical training, but classical song structures and instrumentation have always interested me. It also has made me a believer in instrumental music, which I think is superior to traditional music with vocals. It's a controversial opinion, I know... I am influenced by the likes of Eloy, Genesis, Schicke Führs Fröhling (SFF), Beethoven, Bach, Rachmaninoff, John Coltrane and all kinds of other classical music."

What was the reason to record a solo album under the moniker of Agropelter. Why didn't you use your own name, and where does the name Agropelter come from?
"I think the name evokes an interest by being something people haven't heard of before.
Few people know who I am, and I like it that way! As far as the name is concerned: an agropelter is a fearsome creature that lives in the forests of Northern America. It is rumoured that it throws sticks and branches on lumberjacks when they are not looking. It is also told that the agropelter is so fast that no-one has ever seen it!"

You play almost everything yourself. How did you become a multi-instrumentalist and what instruments did you use on the album?
"My main instrument is the guitar, so my musical understanding stems from that. There are only twelve notes available, so I don't think it's too difficult to figure out how to use them on other instruments too. On The Book Of Hours, I play all guitars, bass - except for the fretless bass - synth leads, synth pads and Hammond and church organ."

How did you get involved with Jonas Reingold, Andreas Sjøen and Mattias Olsson as well as a wide array of classical musicians providing various strings and woodwinds?
"I heard about of Andreas Sjøen through an old friend from Skien, and I loved his sound and playing, and thankfully he wanted to play drums on the album. But it was Jonas Reingold who took the quality of the songs to a higher level. I played the fretless bass myself on the demos, but Jonas improved it to a level that made my playing laughable. I have been a major fan of Jonas since I first heard The Rainmaker by The Flower Kings. What an exceptionally tasteful player and musician he is! I'm truly proud to have him leaving his mark on my album. Mattias Olsson is shockingly creative and he contributed on all songs on the album! He is completely insolent in his approach; nothing seems to be off limits. He fits the project so well in terms of what he brought to the table: atmosphere, percussion, weirdness, unusual sounds, very unusual flee market synths and instruments. He just expanded the sound and character a lot. The album would have been flat and boring without his creativity."

Artwork The Book Of Hours Click to proceed to review

Why did you decide to record an instrumental album without using vocalists?
"That has to do with my love for classical music. My favourite pieces from Beethoven, Mozart, Rachmaninoff, etcetera are all instrumental. It gave me the confidence to pursue an instrumental route. I have always thought that writing instrumental music demands more in terms of composition. I think that The Book Of Hours speaks very well without vocals. I want people to use their imagination instead of being told what the song is about."

Is The Book Of Hours a concept album, and if so, what is it all about?
"With the title of the album I really tried to evoke a certain imagination. It hints to medieval times and to the old books that were used by people to pray. These books had illuminated letters and heavy ornamentation in its drawings. It's hard to justify the claim that it is a concept album without any lyrics. I want it to be whatever to you imagine it to be."

Who made the amazing album cover, and what does it mean?
"After a long and tedious process of trying out different visual ideas without any results, my friend Dag volunteered to give it a try. We experimented with lots of concepts but landed on this barren and deserted place. It works well in terms of stimulating the imagination. The physical covers can also be laid out next to each other, and the image continues forever!"

How long did it take to record the album, and what was the most difficult part to record?
"It took about two years to record the album before I decided to release it. I needed much time to learn the recording process and I was fastidious about how things would sound, etcetera. I spent a lot of time on nailing the lead guitar tones, three different microphones were used simultaneously! The most challenging part, however, was recording the church organ in Frogner Church in Oslo. The organist fell ill for about a year, so everything was delayed because of his illness. But finally, I think it turned out great. It gives that certain feeling and atmosphere that makes the hairs in the back of your neck stand up!"

How did you get in touch with the record label Laser's Edge-Sensory? Were other labels interested in releasing your album as well?
"Jacob Holm-Lupo (White Willow) who mixed and mastered the album, was of significant help by using his network in the music business. He really has a big share in finding a record label. Without him I don't think anybody would have noticed this album. I also reached out to a couple of labels that were interested, but I decided to go with Ken Golden of Laser's Edge who offered me a deal right away. I don't think there are many people in this business who know more about this genre than Ken, and I value competence above anything else. You really need courage to release an instrumental album from someone who is unknown in the music business. He also has a no-nonsense approach that I really like."

What has the future for you in store? Are you going to play the music of The Book Of Hours live on stage?
"First of all, I want to focus on writing new music and putting out a new album within a couple of years. For this moment, I have no plans for playing concerts, but you never know. There are lots of instruments that need to be figured out, but it is doable. I'm not ruling it out."

Thanks for answering all my questions, and success with your album and the new project!
"Thank you very much!"