Kalandra: The State Of The World
Not long into a conversation about her band’s new record, Katrine Stenbekk throws up the peace sign after a stream-of-consciousness about what keeps her hopeful. A Frame Of Mind, the stunning second album from KALANDRA is a defiantly optimistic reaction against the state of the world. At times meditative, other times deeply introspective, it believes in the ability of humans to overcome turmoil and find the good that connects us.
“Love,” she says. “The love I have for my boyfriend, my friends, and the growth that I try to keep moving toward with my family. A lot of the things I write about are from my past and my childhood, and it hasn’t always been easy. But I try to move forwards with a viewpoint of love.” It’s then she throws up two fingers, harkening back to the 70s when it was all peace and love, man.
Stenbekk shares the pen with bandmates Florian Döderlein Winter and Jogeir Daae Mæland, something she says makes everyone a better writer. Each gives the others feedback in service of creating the best song, not stroking egos. And make no mistake: these are KALANDRA’s best songs. Asked to describe the band’s new music, Stenbekk says, “imagine if PINK FLOYD met KATE BUSH in an elevator and they were having a jam. What would it sound like?” It goes some way towards describing a record that fits as comfortably on folk radio as a metal bill. But speaking to their unclassifiable nature, when ArcTanGent were categorising every band playing 2024’s festival on their social media feeds, they ultimately considered KALANDRA uncategorisable.
For all its existential themes, A Frame Of Mind never sounds preachy, or twee, or deluded. The record instead comes from a genuine and inquisitive place, accepting the world in front of us with grace while considering our role in how it can heal. Stenbekk says, “I’m curious about the mind; other people’s and my own. I’m curious about the world. And I want to come from a place of honesty. I’m fascinated why we take the actions we take, whether they are conscious or subconscious. We think we’re in control, but most of the time, we’re probably not. Some things come from the way we were brought up, some are in our DNA. And we are a product of the time we live in. I can’t deny I’ve been influenced by the state of the world and wars going on everywhere.”
Perhaps A Frame Of Mind is Stenbekk holding a mirror up to herself and the world, reaching for the words and the sounds to represent what she sees. Reflecting on the song I Am, she says, “we are all victims, but we’re also to blame for who we have become. Especially going into your 30s, there comes a time when you can really only blame your parents for so long, then at a certain point you’re like, I am an adult now, I need to take responsibility for the fact I have become who I am. And what parts do I want to bring forth, what do I want to change, and can I even change? Then the question becomes, can you accept it?”
Acceptance may be the record’s through-line. It requires forgiveness and letting go, but action and participation too. Closer I Remember A Time’s stark vulnerability gives voice to our deep insecurities, of profound alienation and lack of belonging, but also to our aspirations for a better tomorrow. Maybe we really will find a sense of home and overcome our universal loneliness. Digging deeper, Stenbekk says, “I definitely feel like I am, sort of, sometimes, too sensitive for this world. When I first started touring, I was really emotional and didn’t realise how tough it was. It requires everything of you. I feel that I feel too much in a way. But I know that’s not true, because the music industry would not be as interesting if you only had one type of person going for jobs all the time.”
She pauses. Why did touring in particular come to mind? Then she remembers a man coming up to her while she was crying on the road, saying: “don’t cry, be grateful, this is a great opportunity”. She thought: “I am grateful! That’s why I’m crying!” And then: “I felt this anger because he couldn’t meet me in that vulnerable space. But that’s not my fault. The fact I am able to be vulnerable makes me strong. He looked at me like he’d never heard those words before.”
As A Frame Of Mind’s recording sessions came to an end, Stenbekk thought: “holy shit, this album is going to be so good”. In the last few months, that has changed to: “I think we can do better”. This progression appears to have been caused by a newfound bravery to fail. Rather than criticise themselves into inaction, she and the band are eager to create, whatever the outcome, even if it’s ‘pretty shit’. The curiosity to try new things; the honesty of self-assessment. The unique guitar sounds on the pulsing Bardaginn were a result of this experimentation, speaking about which makes Stenbekk light up, instantly inspired. The future is full of unknowns ready to be brought to life. “We are failing our way forwards,” she says. “Now I’m really excited about what else we will be able to create.”
A Frame Of Mind is out now via By Norse.
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