Abacus is roughly 55 intense, calm, strange, confusing, recognisable, fast, and slow minutes of music. It’s quirky, melodic, bluesy, arranged with total abandon, and guitar-driven for the most part: a musical cocktail of 70s power pop, blues rock, and baroque colored contemporary classical music.
It’s a record that doesn’t strive to be defined but

Abacus is roughly 55 intense, calm, strange, confusing, recognisable, fast, and slow minutes of music. It’s quirky, melodic, bluesy, arranged with total abandon, and guitar-driven for the most part: a musical cocktail of 70s power pop, blues rock, and baroque colored contemporary classical music.
It’s a record that doesn’t strive to be defined but rather strives to reflect creative diversity, improvisation, and experimentation: from the fragile piano and linear story in “Hotel Royale” to the allegorical and rough “If I Die In a Combat Zone (...)”.



Guitar Quintet in F-Major, or the album’s intermezzo if you like, is a composition in which form is re-evaluated and the string orchestra re-invented. According to Bjørn he “set out to make the electric guitar a part of a whole; an integral part of the harmonic machinery, and move away for the a-typical guitar quintet that places the classical guitar at its centre of attention.”



Bjørn has written and produced Abacus himself on a minimal budget. But with a little help from both new and old friends. The record is mastered by Don Bartley, possibly Australia’s most prolific mastering engineer (Metallica, Nick Cave, INXS, ABBA and Beatles re-issues etc), and printed by Diger Distro in Oslo.