Haugesund, an idyllic small town by the Norwegian west coast in the mid-nineties. Susanne Sundfør likes growing up here. The astute ten year old’s favorite hangout is the library, for she loves to immerse herself in books. She also enjoys the cinema, and withdrawing to her parents little cabin with her dad's tapes of a-ha and Cat Stevens. Susanne is having piano lessons as well. Proudly she presented her first composition to her teacher. “She told me to learn the piano properly first.“

An episode, which 25-year old Susanne has had to re-tell again and again. So often in fact, that the pianist and songwriter –the early discouragement would not put her off eventually – has been quoted as saying; „I feel a bit sorry for her, because so many people have picked up on it. It was only a silly piano tune. I don't think she was really at fault.“ 

It is still a great way  to introduce Susanne Sundfør, darling of the critics. The artist that collects awards as well as chart hits and about whom the national newspaper Dagbladet wrote: “Norways other young artists have to cry when they hear her, so far is she ahead of them.”

That daily newspaper is not exaggerating. We can hear that on The Brothel (2010). This is a record unlike any you have heard before. It is artistic. It is deep. It is ambient. It is exotic. It is brimming with tension. Piano-lines fight against and melt into woodwind to suddenly burst into industrial samples. We hear ensembles of strings and sounds from the hard drive harmonize with arabian harmonies (“Turkish Delight”) or choral hymns (“Father Father”). Above all this: Susanne’s voice. She is belting, she is soothing, wallowing, whispering and wailing. She always hits the perfect tone in this enchanted world of sound of hers.

The record has been a turning point for Susanne Sundfør, not only because it is the first to be released outside her home country. “I don't think I really decided that I really wanted to to dedicate my life to making music until I was 22, when i finished my last album. Before I wasn't sure if maybe I did want a normal job.”

So Susanne would immerse herself even more deeply in the creation of her third album, collaborating with some of the biggest names of the Norwegian scene happy to lend a hand.

It was inspiring to work with so many talented musicians! I found the sound that I felt most comfortable with. The sounds evolved in the collaboration with the producer Lars Horntveth (of Jaga Jazzist and The National Bank). While all the musicians who contributed had artistic freedom in what they did, it was really good that me and Lars understood each other and understood where to go. My goal was to make it even more electronic, Lars suggested strings and the bass clarinet and the vibraphone. Because of him the sound became much more human, organic, but also with a lot of contrasts. I like the contrasts between the different elements, i think its cool that a song can be warm and industrial at the same time.

It comes as no surprise then that The Brothel gave Susanne her second nomination for Best Female Artist at the Spellemansprisen, the Norwegian Grammy's. Susanne received her first Spelleman two years ago for her self titled debut album Susanne Sundfør (2007), sparking a nationwide discussion with her acceptance speech. “I said that I ‘m an artist first and secondly a woman.”

Being entirely consistent, Susanne has refused to accept the second nomination for Best Female Artist. It is not something she likes to obsess about. “Well I mean, it's not really a big deal. It's really just about my own opinion, and I’m surprised that the prize concerns my gender. It’s a common way of talking about 'female musicians', whereas male musicians are talked about just as musicians. I dont need to be reminded of my sex all the time – and sometimes there's something you have to fight for to happen.“

Something Susanne loves to talk about though is a-ha. The songstress is one of four winners of the talent grant the Scandinavian icons of synth pop have created for aspiring musicians. Susanne received 1 Million Kroner (approx.. 126.000 EUR / 100.000 £) from Morten Harket, Pål Waaktar-Savoy und Magne Furuholmen. “That was just great. Everything about it. Later I toured with them – all the winners got to support them – I was honored to meet and talk to them. And of course it was amazing to win that money. Hopefully it will help us in a good way. The money is supposed to be used for promotion abroad – for touring, releases, everything that has to do with supporting your music.“ Ah, right. It is earmarked so that bands don't blow it all on cocaine. “Exactly!” comes a wicked laugh from Susanne. “'Cause THAT was my original plan!”

Photo: Stian Andersen