With the object of finding alternative routes or approaches to heavy metal, without veering away from its primitive foundations, ALTAAR began recording their self-titled debut album in 2011, at Taakeheimen Lydrike Studio.
2012. One year on. ALTAAR have finally finished 2 new movements: "Tidi Kjem Aldri Att" and "Dei Absolutte Krav Og Den Absolute Nåde". The songs make up each of their respective side of an LP attacking conventional doom metal (Corrupted, Black Sabbath, Nortt) with references stemming from the classic Psychedelic era (Les Fleur De Lys, Captain Beefheart, Pink Floyd).
To combat the vast need for visual aesthetics that match the direction of the band, ALTAAR have called upon Norway's premier illustrator, Sverre Malling, to collaborate with the artwork. It is within the marginal changes that the most compelling impacts occur. Only fully understood over time. "The listeners sense of meaning, or search for symbolism, is of more importance than our concept." - Toft.
The journey began back in 2007. After the dissolution of JR Ewing, Andreas Tylden (also known from "One Tail, One Head") established the solo-project ALTAAR. In the shadows of Vår Frelsers graveyard in Oslo, the cassette "Dødsønske" was recorded. The result was a brooding mixture of black metal, doom, noise, ambient and drone. A short time later, art-academy graduate and noise-musician Sten Ove Toft (Ryfylke, Faux Pas) was initiated into the project and the second pressing of Dødsønske was released on Tofts label Roggbif. Already then the International community started to take note, and both pressings sold out in a matter of days.
2009 saw the band once again adding new members to the fold in the shape of Espen T. Hangård (KILLL, NoPlaceToHide), Kenneth Lamond (JR Ewing) and Didrik Telle (Obliteration). In the preceding months the quintet toured the US and Europe, performed a commissioned piece at the Henie Onstad Art Museum as well as showcasing their music at respected festivals such as SXSW, Øya, Incubate and by:Larm. Due to the bands backgrounds in metal, punk/hardcore, noise and indie, ALTAARs live shows became an almost ritualistic experience. With concerts played either in perpetual darkness, stages bathed in candlelight or illuminated by projections of hand-picked films, the results drew the audience in to a place where they had to acquiesce, or react. Something that made the music all the more poignant and central.
The album was recorded at Taakeheimen Studio with Morten Øby, mixed by Espen T. Hangård at Dogskool Studio and mastered by Tom Kvålsvoll at Strype Audio.