This album opens the Interiors trilogy with dark ambient textures, built from flickering layers, resonant tones, and unstable echoes of memory. It weaves together dark ambient, electroacoustic, and experimental elements to create an immersive journey through fragile atmospheres and ever-shifting sonic landscapes.
The title Oscillations of Memory refers to how memories are never stable, but always in motion. The word oscillations means swings, pendulums, or vibrations — movements back and forth that never settle into a fixed point. Memory works in much the same way: it shifts in form and intensity, vivid and near in one moment, dissolved or distant in the next.
At the same time, the title points toward the musical tools I use. In synthesizers, oscillators are the very core — generating waves and frequencies that form the basis of sound and texture. In Oscillations of Memory, these two perspectives meet: the unstable, living movements of memory, and the electronic oscillators that create the raw material of sound. The music thus becomes an image of both the fragility of memory and the perpetual oscillations of synthesis.
Kjetil Husebø Synthesizers, samplers, electronics, compositions, mix & production at GrandisStudios, Oslo, 2025.
“While electronics can completely dominate the production of sound, creating performances that no human could possibly manage on their own, some musicians are using technology to augment their playing. Consider Norwegian pianist Kjetil Husebø’s ‘Piano Transformed,’ from the eponymous 2017 album. Husebø plays the piano but its sounds are then fed into electronics that heavily process the source material, creating a sort of diaphanous context that is at once part of and completely independent of the more conventional sounds to which we are accustomed.” Misha Lepetic, 3 Quarks Daily