Beneath the Alog moniker, Dag-Are Haugan (b. 1970, Tromsø, Norway) and Epsen Sommer Eide (b. 1972, Oslo, Norway) develop a unusual cross types of music that merges house studio room recordings, analogue musical instruments, notebook technology, and intensive and careful post-processing. Haugan and Eide evidently developed their Alog task name once they made a decision to rip-off the BASF logo design because of their sleeve artwork therefore required a four-letter name. They acknowledge, in hindsight, it could have been motivated by the term analog. Echoing Eide’s Phonophani task which correlates the aversion folks have towards hereditary engineering using the distaste with which many watch sample-based documenting, the duo state they will have no ‘audio hierarchy’, blending their very own music with examples and found-sounds. Strangely, the duo primarily began their cooperation within a kindergarten cellar in Tromsø where these were able to create their equipment following the children had opted home. This devices included Eide’s notebook containing discarded examples from his dad’s big music group record collection. Eide and Haugan have already been self-described as, respectively, ‘Digitalman’ and ‘Analogman’, reflecting the duo’s jobs when executing live: the previous plays two notebooks and the last mentioned plays instruments such as for example analog synth and dual bass bow on cymbal (within the studio room, these jobs are blurred). The duo admits that Eide’s recordings as Phonophani and Haugan’s recordings under his very own name both effect on Alog, with regards to both suggestions and actual noises. Perfectly, ‘As Complicated SO WHEN Beautiful As Usually’ (from 2001’s Duck-Rabbit) was meant like a tribute to My Bloody Valentine, and was documented 10 years following the release of this band’s famous Loveless recording. Bizarrely, nevertheless, what appears like guitars on Alog’s documenting is actually produced from a Commodore 64 video game soundtrack.