The release date for Seigmen’s new album Dissonans on October 23 is no coincidence. The record marks a new chapter in a story where everything connects. Most notably, Dissonans is the second installment in a planned trilogy, following last year’s critically acclaimed and Norwegian Grammy-nominated Resonans.

The release also coincides exactly with the 30th anniversary of Seigmen’s breakthrough album Metropolis, which hit record stores on the same date in 1995. More subtly, several tracks on Dissonans draw inspiration from the band’s earliest years, when their music was sharper and more abrasive. Another circle completes itself.

Listen to the album here: https://ffm.to/dissonans

Dissonans is Seigmen’s second album in just over a year, which is remarkable in itself considering that before Resonans, the band had released only one studio album in 26 years, and that was nine years earlier. But again, this timing is no accident. Nor is it coincidental that a third and final album in the trilogy is planned to follow. The idea is that, in the end, the three albums can be experienced as a whole, created in parallel and tied together by a shared origin and a larger narrative.

Yesterday, on October 23, 2025, Seigmen presented chapter two of that story.

The first thing that stands out about Dissonans is its artwork. Where previous Seigmen albums have favored symmetry and minimalism, Dissonans offers something rawer, almost a stripped-down punk aesthetic. True to its title, not everything is as expected. Seigmen’s loyal followers will still recognize the band’s signature atmosphere, but they will also hear an unfamiliar playfulness, a willingness to break conventions and to let the songs evolve naturally, wherever that leads. And not least, the tempo has been turned up a notch or two.

The album opens with “Dyret (23 bud),” which also served as the first single. The track begins majestically with Espen Winther (Eldrim / Folket Bortafor Nordavinden) performing on his self-made string instrument, Gnaal. The song delivers, by Seigmen standards, a crystal-clear message: to recognize one’s own unique worth and to resist being shaped by others’ expectations. It can be read as a message to their younger selves back in the rehearsal room 35 years ago, but it has also resonated strongly with many listeners today.

The second single, “Disiplin,” raises the energy level considerably, driven by a drum riff that had been waiting in the drawer since 1990. Direct and uncompromising, it culminates in a cathartic chorus built around the line “for det som betyr noe for meg” (“what matters to me”), a phrase that lingers long after the song ends.

“Rosemalt” carries a darker emotional weight. Photographer par excellence Bjørn Opsahl had a long and personal relationship with Seigmen, both as the band’s “court photographer” and as a close friend. When Opsahl passed away earlier this year (2025), Rosemalt became, in a way, a tribute to him. He had often contributed ideas for Seigmen’s visuals and once suggested using traditional Norwegian rosemaling (decorative painting) as artwork for an upcoming release. The idea was tested but never used, and instead a song bearing that title appeared, its lyrics personal and haunting, written before anyone knew what was to come.

The final single before the album release is “Så Nært,” a song that ventures into new and unexpected territory. Airy and full of life, it features Alex Møklebust in a more intimate and expressive vocal performance than usual. The monotony of the verses gives way to a soaring refrain, a release, a breath, and yes, a true ballad.

Together with six other songs, these tracks make up Dissonans, an album from a band that has somehow rediscovered a fresh spark of energy, creativity, and joy in playing, decades after being one of Norway’s leading rock acts.

Fittingly, the release of Dissonans also marks the 30th anniversary of Seigmen’s platinum-selling breakthrough Metropolis.

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Already when SEIGMEN released their album Resonans in 2024, it was revealed that this was the first step in an ambitious series of three albums over as many years.

The road to the next album, Dissonans, began that same year with the single : «Dyret 23 Bud» — a grand and powerful track with the signature Seigmen sound.

The journey continued in May this year with the release of Disiplin, a catchy up-tempo single bordering on punk, nodding back to early Seigmen.
On August 29, the band is set to release the third and final single before the new album comes out on October 23.

So what exactly is Dissonans?
Noise, untuned energy, or pieces that just don’t quite fit? Perhaps.

But dissonance can also mean contrasts — the soft against the hard, the love for beauty confronting the fascination of ugliness. Light and shadow. Enter: Så nært.

Listen to the singlere here: https://ffm.to/sanartseigmen

No one would have expected Seigmen to release a soaring ballad, yet here it is — a calm and steady song with a subtle yet seductive chorus. After more than 30 years, Seigmen still manages to surprise. Nothing about Så nært was predictable; the song itself came about by “accident”: a jack cable missing the input on a black Gibson SG guitar.

You can’t get sound from an electric guitar without a cable, and it needs to be plugged into an amplifier. During a rehearsal, guitarist Sverre missed the input jack, and the plug instead struck the guitar’s pickguard. It buzzed harshly, like an electric shock — but with a harmonic tone close to G. That became the seed of a beat, a pulse — and the song wrote itself, as it often does, reveals songwriter Kim Ljung:

“For me, music is like a jigsaw puzzle. All the pieces are there, somewhere in the air — you just have to pull them down in the right order. I’m not saying it’s easy, but that’s how it works. Don’t stress — if it’s meant to be, everything will eventually fall into place.”

And sometimes a song comes along that just soars. Så nært is one of those. Filled with hope. With air. With life. A song where vocalist Alex Møklebust lifts the choruses with an unusually intimate and personal vocal, creating space for the voice to rise where the steady monotony of the verses gives way and the chorus breaks in. Like when a rain shower suddenly ends and the sunbeams break through the clouds. That’s what sparked Så nært.

The upcoming album, Dissonans, is set to be released on October 23 — exactly 30 years to the day since the release of the legendary Metropolis, Seigmen’s major breakthrough.

Så nært is mixed by Mike Hartung at Propeller Music Division.
Recorded by Christer Krogh at Velvet Recording.
Produced by Alex Møklebust and Kim Ljung.
Mastered by George Tanderø.
Cover design by Sigurd N. Kristiansen.

SEIGMEN:
Alex Møklebust – Vocals
Kim Ljung – Bass, Vocals
Noralf Ronthi – Drums
Marius Roth – Guitar, Vocals
Sverre Økshoff – Guitar

ABOUT SEIGMEN:

It was an unfinished band that took to the stage when Seigmen (formerly known as Klisne Seigmenn) played their very first show during Christmas of 1989. However, even then, they had something unique that set them apart from the others, and their sound was undeniably different from all those they shared stage with. Even the conservative paper Tønsbergs Blad reported the next day that “Klisne Seigmenn outperformed the others.”

Fast forward to 1994, the year they released the EP “Hjernen er alene” and their third studio album “Total.”

From there on, Seigmen and their heavy and grandiose, yet catchy melancholy, defined the 1990s.
“Total” was later recognized as one of Norway’s 100 best albums of all time, and their fourth album “Metropolis” dominated the charts back in 1995 won a Spellemann award for Best Rock Album.
In 1997, “Radiowaves” went straight to number one.

Then it all came to an end, as out of nothing, the announcement came that the band was disbanding because guitarist Sverre was leaving. One for all and all for one. A few months before the previous millennium came to an end, Seigmen played their farewell show for a packed Rockefeller in Oslo, Norway.

But it wasn’t meant to end there; it’s almost unnatural to just let go of a good thing and old friendships forever. In 2005, the band reunited on stage for the first time in Dødens Dal in Trondheim, and in 2008, they were the first Norwegian band to be invited to play at the new opera house in Bjørvika.
However, the biggest event of the new millennium came in 2015 when Seigmen surprisingly released “Enola,” a full 18 years after “Radiowaves.”
Then on April 12, 2024,Seigmen released “Resonans,” their first album in nine years.

The choice of Velvet Recording as their studio is not a coincidence; it’s the same place “Total” was recorded back in 1994.

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Seigmen devotees will know that 9 years passed between the release of Enola and the release of their latest album Resonans in May 2024. If you were to take yet another step back in their studio album discography, you would find yourself way back in 1997.

With a steady pace of one album each decade since the turn of the millennium, expectations for more new music from Seigmen in the near future are bound to be low. Perhaps all the more surprising then, that a brand-new single is set to be released this summer. And it´s not yet another single from “Resonans”, but the very first offering from a brand-new album set to be released next year!

The single “Dyret” 23 bud is released today, 9th of August in connection with the festival Midgardsblot, and will be performed live there for the first time.

Listen to the single here: https://ffm.to/dyret23bud

Many have harbored a dream of playing in a band. A dream of playing with your friends, standing on a stage together, recording in a studio together, releasing music and to read tributes from a reviewer that got it, that got what you were trying to convey. Many have tried through the years, but few have made it all the way.

For Alex, Sverre, Noralf, Kim and Marius, this dream of releasing an album first came true with “Pluto” in April 1992, and the first panegyric review appeared shortly after in the iconic monthly (now defunked) music magazine Puls. There, highlighted in black print on the yellow tinted pages, was an image of the album cover with the headline “The Revelation”. The band’s symbol and logo, “Dyret”(eng. “The Beast”) among friends, was introduced to the world there and then, radiating from the center of the deep, maroon cover. A milestone, and a decisive moment for a young band who finally got confirmation that what they were doing also had value outside of their close-knit circle.

Fast forward to the summer of 2024 where the vibrations from Resonans still lingers, and yet the time has already come to open the next chapter.

When the single “Dyret” 23 bud hits your favourite streaming service on August 9th, it will be the first taste from the bands next album; Dissonans.

Another new beginning, but also the closing of another circle. The song itself is a nod back to the young band that released their debut album back in 1992, accompanied by the symbol and logo “Dyret” that were to become their visual alter ego.

However, there are other and more tangible links to the past. When Seigmen played their first ever concert in their hometown of Tønsberg, they shared the stage with a local band called Floodland. The guitarist and vocalist in Floodland, Espen Winther, who would later become a skilled instrument maker and a member of the medieval/folk band Eldrim. Winther is the one that opens “Dyret” 23 bud in a majestic way with his home-made wooden harp called “Gnaal”.

Another new album already you might ask? The truth is that it has been the plan all along. Seigmen have made the most out of the last four years, during lockdown and a long and involuntary hiatus from concerts and touring. “Resonans” was the first part of what in time will become a trilogy, consisting of; Resonans, Dissonans and Substans. And yes, a third new album is also in the works. Three albums in three years, it seems almost surreal when you take the bands last 25 years of release-history into account.

Dissonans will be the second part of the trilogy and is scheduled to be released on October 23rd 2025. Why just then? Because on that day, 30 years before, the major breakthrough album “Metropolis” hit the record stores. The third and last part of the trilogy called “Substans” will follow in 2026 if all goes to plan. Three albums with a common thread running through them, but still three very diverse and different releases.

Resonance – Dissonance – Substance (Resonans – Dissonans – Substans)

“Dyret” 23 bud, is the first taste from “Dissonans”. The song’s lyrics consist of twenty-three “rules”, twenty-three “rules” from Seigmen of 2024, projected back through time towards the young band that just released their deep and enchanting maroon debut album Pluto in 1992. And to everybody else who needs to hear that you must have faith in yourself, you must believe to make your dreams come true.

“Dyret” 23 bud was recorded at Velvet Recording by Christer Krogh, mixed by Mike Hartung and mastered by George Tanderø. It was produced, written and arranged by Seigmen.

SEIGMEN:
Alex Møklebust – Vocals
Kim Ljung – Bass, Vocals
Noralf Ronthi – Drums
Marius Roth Christensen – Guitar, Vocals
Sverre Økshoff – Guitar

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Ask yourself the question: How many bands have maintained the same lineup throughout a career spanning over three decades? Just count and see how far you get. Seigmen is and remains Alex, Sverre, Noralf, Kim, and Marius.

Resonans is Seigmen‘s new album, echoing the essence of a longstanding friendship. A strong bond among five guys who found each other through music, learned to play instruments, and expressed themselves together. They solidified their friendship through muddy and sour tones from the rehearsal room on the old submarine quay, down into a basement in the city center, out to a barn outside the city, up on the heights near the old library, down into the mountain beneath the same hill, and back to a rehearsal container at the old shipyard. Always tied to their hometown, Tønsberg in Norway.

Resonans is the reverberation of endless evening rehearsals, weekends with “lefse” and freshly ground coffee in thermoses, and syncopations. Smiles, conversations, and gossip. The hard, precise, and long-term work. Love and art.

Resonans is guts and integrity, demonstrating the uncompromising nature that Seigmen has always represented.

Listen to the album here: https://orcd.co/resonans

The singles “Berlin,” “Kollaps,” and “Elskhat” have seen the light of day. Listen to “Melanchthon”, approaching two minutes, and the endless solo that ends with no more frets on the guitar neck. Listen to “Blasfem”, raw nerve for nearly eleven minutes. Listen to the space created in “Eksplodere i det stille”, The transition to a single chorus after five and a half minutes. There are many layers here. The depth is buried in the details. The ones you hear when you play the song for the third or sixth time.

Resonans is the result you get when five focused individuals return to the studio where they recorded “Total” in 1994. Carrying the same curiosity, the same hunger and the eternal urge to create. Incidentally, this year marks exactly 30 years since the release of “Total”. Recently, the book about the album was published in the series “Norske albumklassikere”, skillfully written by Even Smith Wergeland. The reference is track number two on “Total”, “Ohm”, which might be the song that best defines the band. Ohm means resistance.

Resonans is also the echo of the time it took to complete this album. The resistance along the way, in the form of a pandemic and, most notably, serious and prolonged illness. Of course, one should also acknowledge the frugality and thoroughness these years have allowed. Time to work in silence. No concerts for four years have provided ample time in the “space.” Even more lefse. Even more cups of freshly brewed coffee.

Resonans is vibrations.
Listen to the last phrases of “Når alle skjermer går i svart” (When all screens go black). The desperation in the voice of vocalist Alex is palpable, you can hear the resistance. Seigmen has always believed that it is they are at their best when there’s resistance. Listen to the first line of the lyrics in “Berlin.” All hope is lost, but never say die—it doesn’t get much clearer than that.

Resonans ends with the surprise song “Tønsberg”, nothing less than a magnificent, honest and personal tribute to the city the band hails from. In the first part of “Tønsberg,” guitarist and opera singer Marius finally unfolds his vocal prowess within the framework of Seigmen, something he has only done once before on a record. Strings tastefully arranged by the “film musician,” Ginge. Then the rest of the band kicks in halfway, and Alex takes the baton to the finish line. Marius is actually retiring as a soloist in the Norwegian national Opera this spring, where they retire early.

“Up the mountain, up in the tower. Never a stranger in the streets we walk.” “Tønsberg” might be a bit of an oddity on Resonans, but the song comes straight from the heart.

Resonans.

If you acquire Resonans in physical format, you will find it tastefully wrapped in peach pink by designer Sigurd N. Kristiansen. Master photographer Bjørn Opsahl is, as always, by Seigmen’s side. A band photo in the same color palette is taken in Kim’s living room. Pink boots under the sofa, a small nod to the band’s very first song. It reveals a band with more humor and spirit than many may think, that sets its own standard and is ready for whatever comes next.

Resonans Info

Recorded at Velvet Recording by Christer Krogh.
Mixed by Mike Hartung in Propeller Music Devision: “Elskhat”, “Arkadia Ego”, “Når alle skjermer går i svart”, “Eksplodere i det stille”, “Melanchthon”, and “Tønsberg”
Mixed by Adam Noble: “Kollaps” and “Voltaire!”
Mixed by Alex Møklebust in Room 13: “Berlin” and “Blasfem”
Words and melody lines: Kim Ljung.
Music: Seigmen.
Produced by Alex Møklebust and Kim Ljung.
Mastered by George Tanderø.
Artwork by Sigurd N. Kristiansen.

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On February 28th, the third single “Elskhat.” from SEIGMEN’s upcoming album “Resonans” was released!

“Elskhat” is the opening track on the album “Resonans”, and also the first one written back in the summer of 2015. At that time, their previous album “Enola” had just been released, and touring and big festivals were on the horizon.

The search for that magical riff was a constant pursuit. The guitar riff that forms the foundation of “Elskhat” was revealed outside the rehearsal space, played on a deep red semi-acoustic Gibson. The reception was good, so much so that the band realized this riff was the gateway to Seigmen’s next album. Little did they know it would take nine years before the song could be presented in its entirety.

“Elskhat” narrates the constant oscillation between extremes and has its roots in songwriter and lyricist Kim Ljung’s state of constant migraines. The contrast between light and dark is always close, akin to black and white, day and night. “Elskhat” leaves no middle ground.

“If you tremble, then I tremble too.”

Listen to the single here: https://orcd.co/elskhat

Author and screenwriter Harald Rosenløw Eeg, a close friend of Kim and the band, was working on the script for his second disaster film for Fantefilm at that time. Earthquakes was the theme. Kim suggested “Skjelvet” (The Quake) as the title and expressed interest in writing a song for the film. It remained an attempt. Time and timing had different plans.

In 2018, Seigmen borrowed a house near Karlsvik gård, a picturesque gem near the shoreline outside Tønsberg in Norway. Every room in the house was set up for recording and brainstorming ideas for the album.

“Elskhat” underwent a significant transformation here, moving from the key of D to G. For the uninitiated, it was quite an un-Seigmen-like move, but it turned out to be a revelation. “Elskhat” gained the lift, the air, and light it needed.

In a pure bootleg style, the intense and creative days in the house were dubbed the “Karlsvika Tapes.” Everything was just sketches, sounding raw and unfinished. Yet, it undoubtedly gave the band a boost, shaping the form of “Resonans.”

The band then returned to the rehearsal space, fine-tuning their aim for the final push before recording at Velvet Recording in Spydeberg in Norway. They were back to the familiar setting and the same studio where they recorded “Total” in 1994—the time many believe Seigmen truly found their identity. However, an unexpected turn of events occurred. The pandemic and illness stood in the way of continuation, putting “Resonans” on hold.

The challenges that followed have added a new dimension to “Elskhat,” with meaning that might not have been there initially but will resonate with those who experienced a difficult time during the pandemic.

Seigmen faced their share of setbacks, but the extended delay also provided extra time to refine the songs that make up “Resonans.” The lyrics of “Elskhat” have proven almost prophetic for Seigmen—after the rain comes sunshine, and after a challenging period, it is an ultra-positive and inspired band getting ready to release their first album in nine years.

“Elskhat” is also the first song from “Resonans” mixed by Mike Hartung (Propeller), setting the standard for the rest of the songs and defining the album’s sound. Like the rest of the album, the single was recorded at Velvet Recording with Christer Krogh as the technician. The single cover was designed by Sigurd N. Kristiansen, featuring an alternative prophecy created by Kim’s daughter, Nova.

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On January 17th, Seigmen released “Kollaps” (Collapse). Their second single is taken from the upcoming album “Resonans,” which is set to be released this April.

It may be hard to believe that the songs on “Resonans” were written pre-COVID. Before the conflicts in Ukraine and Gaza escalated, and with the United States in a looming darkness forced to choose the lesser of two evils yet again.

Through their devotion to details and their immediate environment and the people populating it. Through their strong use of words and powerful dramaturgy, Seigmen’s lyrics become universal and timeless.
The result are songs where love is always at the core, veiled and twisted in a blend of desperation and hope, but always accessible and unmistakably Seigmen.

Listen to the single here: https://orcd.co/kollaps

Seigmen’s universe is filled with clues to their source of inspiration. This is not often brought to light, but on “Kollaps,” the initiated listener will recognize text references in both verses and choruses to West German industrial pioneers; «Min venn, was glaubst du denn?»

Some of the sonic elements in “Kollaps” are the recording of an angle grinder used by Kim Ljung’s father in law while assembling shelves for old tape decks, effects, and synthesizers in his home studio.
The sound of strings heard in the chorus is generated by almost 50-year-old synthesizers, purchased at Supersonic (a legendary Norwegian music store) before the band recorded their classic album “Radiowaves” in ’96.

“Kollaps” was recorded at Velvet Recording studio in Spydeberg, with Christer Krogh at the console. The mix was done with an un-Norwegian and steady hands of Adam Noble (UK), perhaps best known for his work with Biffy Clyro.

“Kollaps”’s artwork follows the style of the first single, “Berlin,” with a beautiful, but disfigured object, as the centerpiece. This time, a broken lamp that caught Kim Ljung’s eye in an underpass on his way home during a heavy snowfall. The shards of glass positioned like angel wings, was shot just as they were found.
A resonance of “The Light that Shines In.”

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