Artwork and cover design by Bendik Kaltenborn
Album Credits
Background vocals, voice synthesizer, omnichord and synthesizer: Hanne Hukkelberg
Lead and background vocals: Jenny Hval
Drums, drum programming, percussion, body percussion and synthesizer: Martin Langlie
Cello: Kaja F. Pettersen
Clarinet, bass clarinet and contrabass clarinet: Kristine Tjøgersen
Lead and background vocals, autoharp, omnichord, guitar, glass, piano, hammond organ, harmonium and synthesizer: Mathias H. Tjønn
Recorded by Akihiro Nishimura at Engfelt & Forsgren in Oslo, with additional recording by Julian Tulip at The Sleeproom in New York
Mixed at by Akihiro Nishimura at Engfelt & Forsgren and Moultrie Studio in New York
Mastered by Morgan Nicolaysen at Propeller Recordings in Oslo
The second album of music by Mathias H. Tjønn as Racing Heart, What Comes After is a political record trying to be personal rather than preachy. It contains songs about society’s impotent solutions in the aftermath of The Great Recession (“Flogging a Dead Horse”), office visits to the power players of the world (“A Prayer from Our Leaders”), reports from the front lines of our endless conflicts with no clear enemies (“Squaring the Circle”) as well as tracks about all the rest of us caught in the crossfire.
Produced by Hanne Hukkelberg, the album is a stark departure from Racing Heart's debut record in both style and substance. Instead of looking inwards, they look outwards. Instead of being folk-based, they aim to meld acoustic instruments and synthesized sounds. This album has sharp edges.
Helped greatly by the creativity of musician Jenny Hval who contributes both lyrics and vocals, the songs are propelled by the drums and programming of Martin Langlie (Susanne Sundfør, Pantha du Prince).
Genre-wise What Comes After is an experimental pop album inspired by musicians such as David Sylvian, Winston Tong and ANOHNI. Mixing some of the sounds of the early 80’s with a multitude of contemporary voices both real and artificial, What Comes After tries to make some sense of the way neoliberalism and its faceless language of finance-first has led us here.
Mathias H. Tjønn presents catchy melodies with lyrics telling of an urban world and post-capitalistic language in decay, accompanied by idiosyncratic avant-folk and grainy electronic music.
– Audun Vinger, Dagens Næringsliv