Tell us about you, Arne

I grew up 30 minutes’ drive north east of Oslo in a small place close to nature and sports. I played football, did Judo and excelled in cross country skiing from age 10. I was interested in electronics and creative pursuits. I loved picking things apart and putting it together.. I did a lot of drawing. Bought my first Apple computer at the age of 14 and taught myself programming. When the other kids started playing computer games, I programmed my own.

During high school, I became friends with people who played in bands and my music interest grew from top chart songs to rock. When I got my driving license at the age of 18, I become a-freelance driver for a few bands. I was present on a band´s rehearsal one day, and when they played a song, a thought crossed my mind, “Why do they go that way with their chord and melody progression. I wouldn’t”.  I remember sitting there thinking about it for a few minutes, contemplating whether should I tell them, or should I try to do it myself? The following week, I bought my first guitar. Still have it. I learned playing Stairway To Heaven by listening and rewinding a cassette! Then I started writing my own stuff. Did the military for two years and went to Trondheim to study. I guess I was a happy, curious and a bit of a shy kid. The shyness wore off!

Introduce to us the members of Postgirobygget and the instruments they play.

  • Per Sarin Madsen, drums – musician since he was 14 years old, punk background, played in several Norwegian bands and with Jerry Lee Lewis.
  • Nicolai Hauan, bass – educated in bass, former band member of Baba Nation.
  • Nils Petter Time, guitar – my fellow from naval architecture, we share interest in non-mainstream, odd music.
  • Daniel Hovik, keyboards – educated in piano.
  • Arne Hurlen – lead vocal and guitar.

Looking back to 1996, what initially brought you together as a band during your university days and did you ever imagine you’d still be making music decades later?

The thing is the story has two bloodlines. During my first years as a student, I wrote songs when I got bored of studying. I put all the songs in the drawer, had no ambitions in that direction, only to entertain myself.

During a vacation back to my hometown one day, a friend from my skiing years, who played keyboards, asked me if I have any songs. Well, I said I have a couple. I showed him, and suddenly we were in a communal studio, recording a demo CD. 25 songs were tracked in five days.  I came up with the name Postgirobygget for the project. I found it funny. It would have been a stupid name for a band. We printed several thousands of these CDs and sold them to students in Trondheim. They bought 5, 10, 15, 25 and resold in the communities they came from. It was a huge success. So, we did the same again six months later. 25 new songs on a new demo CD. This one was also called Postgirobygget, but with a subtitle this time, Rivd, in Norwegian meaning “destroyed, broken, torn down” in English. The first demo CD had a photo of the Postgirobygget building (the post office). To demonstrate the demolition, we used a photo of a building ruined after the Kobe earthquake in the early nineties. The project was closed, over, finito. I did it just to have the songs on a digital format, so that I could play them to myself sometime in the future.

About the same time in Trondheim (university), some guys and I started a theater group. Every second year, there is a big student festival in Trondheim called UKA. As naval engineer students, we had our own facilities, and decided that we wanted to arrange our own festival the years in between. This festival was called RUKA. We wrote a theater show for Friday night, but as the festival were for two days, we came up with the idea of having a band playing. So, I started the band. Someone had told me that Nils Petter was a good guitar player. He was the first on board. Thereafter, we contacted a guy called Erik who played the drums. He agreed to join if he was allowed to shave his head and paint it purple. He was allowed. We could not find a bass player, so we asked another great guitarist, Gunnar Westgaard. The initial band was formed, and we came up with another stupid name – The Pissed Off Sons (from Axl Rose’s, “You’re just pissed because your daddy gets more pussy than you do!”)

We set out to do cover songs on the first gig ever, but as the demo CDs were made available, with a couple of my songs on the setlist. The concert was crazy. The audience demanded several numbers from the Postgirobygget project. We were later on an invited to play at Samfundet in Trondheim, and then for the first time under the name Postgirobygget.

We had no ambitions – none, whatsoever. So, when I was due to deliver my diploma in the fall of ‘95, we stopped the band and quit playing.

I delivered (my diploma) on a Tuesday in December. The day after, the phone rang. It was Åge Aleksandersen (a big national musical hero in Norway). He had heard the demo CDs through his son. He said it was the most amazing thing he had heard in so long. He invited me to a meeting with a record company in Trondheim. During the days before this meeting, all other major labels in Norway called me to get a signature on a contract. Someone had handed the demo CDs to people in the music industry behind our backs. We had no ambitions.  This was lucky!

Melis was released less than five months later and became the biggest selling debut album in history. It was on the charts for more than 70 weeks and peaked at number one a year after release.

Everything we had done is for fun, and fun only.  Were about to set out a new direction, not only for me, but for the rest of the band. Of course, we didn’t believe it would last more than three years or so.

Øyvind, a brilliant keyboardist joined the band from our second show and forward to 2016. Gunnar had to leave in 2008. Erik was replaced with Per in 1999.

Can you describe the early creative process when Postgirobygget was starting out. What were your biggest influences and how did the Norwegian music scene at the time shape your sound?

In the beginning, I had no filter. Looking back, it feels like I just received and wrote down stories I wanted to tell or punchlines I came up with. It felt so easy. Very rarely, I used more than ten minutes on a song. Even though it’s hard to hear, I was of course influenced by Norwegian bands, but the Pixies and Frank Black was my key inspiration. I simply love that universe of madness and intelligence. I remember thinking I wanted to introduce some madness and happiness to the Norwegian music scene, because I found Norway too melancholic at the time. Music can and should also be entertainment.

The journey from university rehearsal rooms to long-term collaboration isn’t an easy one. What were some of the key turning points that kept Postgirobygget together over the years?

Good guys never quarrel.  They discuss, and then decide. So, to us, it has been a joyful journey with no key turning points. We simply enjoy each others company.

How has your approach to songwriting and production evolved since those early days? Do you still hold onto elements of your original sound or philosophy?

In the beginning, you had no audience. Then you write and do what comes to mind without thinking about reception or other people. When you know your audience, you might get distracted by them and your former hits. I still try to be true. I still try to say to myself, what would the young Arne have done?

What’s your take on the current state of the music industry, especially in Norway? Do you feel it’s easier or harder for new bands to break through now compared to when you started?

I feel it’s harder. The whole industry has shifted. If you got a hit record in the old days, you could make millions on that. Today there are big festivals and big income, but almost impossible to make a living from streaming revenue. Another problem for the newbies is that the big festival, in most cases, bank in on old bands. New bands get a slot, but little money. At some big festivals abroad, new bands have to pay to play the festivals or do the dishes!

Technology and streaming have changed how music is made and consumed. How has this shift impacted Postgirobygget’s relationship with your audience and the way you release music?

We are lucky. We started in the CD era, got known, and are only influenced by the economy shift from sales to “live” income. We must have hit a magic spot, because the size our audience is still growing every year, without press, without any marketing. Just word of mouth. Today, record companies are not necessarily necessary. We have released, music on our own label. That was unthinkable 30 years ago.

Looking at your body of work over the decades, is there a particular album or era you feel especially proud of, or one that you feel was misunderstood at the time?

I am especially proud of the debut album, Melis. Then, our Tidløs album in 2007, and there are some great songs on the Lykke Til album from 2020. I have made one album I regret. It was not misunderstood, it just wasn’t good.

As we speak, I am working on a jubilee album for our 30 years anniversary next year.

When you perform older songs now, how do they resonate with you?  Do they feel like time capsules, or have their meanings evolved for you personally over time?

The songs have evolved to becoming the reason why people want to come to our concerts. They have evolved into a Norwegian songbook; hence we reach new generations every year. Most of the audience that we see closest to the stage, wasn’t even born when we started. Some of the songs are reminders of a time and place, and thereby some kind of time capsules.

In your lyrics, there’s a recurring theme of summer, sand, sea, and swimming.  Images that feel both nostalgic and vivid. You also cite Langesund and your band returns there every year to perform. Is there a special connection between those lyrical themes and Langesund itself? Do these elements hold personal meaning for you, or have they taken on a larger significance over time?

I believe I fell into the summer pot. I didn’t set out to write songs with the content of summer, I wrote them all during winter and snow storms, longing for summer. Maybe that’s why they became so popular and easy to relate to, lyrically. Langesund has been important for us, and we to them. I spoke to the guy managing the concerts at Wrightegaarden (concert ground) in Langesund last week. He said there would have been no Wrightegaarden for 35 years without Postgirobygget. And we love to play there. Important for us. Important for them. *Langesund – a coastal summer city in south of Norway

Are there any projects, collaborations, or directions you’re currently exploring that fans might not expect from you at this stage in your career?

Hmmmmm…I did a synthesizer album during covid and put it out under my own name on Spotify.  It was inspired by the first record I ever bought, Forever Young by Alphaville. I also have an album of rock songs in my desk, but as I am trying to learn to mix music, I never get satisfied with the sound. Time will show.

What does the future look like for Postgirobygget? Are you working on new material, planning tours, or perhaps considering a different creative path altogether.

Hopefully, 2026 turns out to be the celebration of 30 years we are planning for.  New album. New recordings of old popular demos. Big celebratory concert with guests in Trondheim, and maybe somewhere south.

Favorite book genre

Thriller

Best book you’ve read this year

Skorpionen, Øystein Wiik

The last music you downloaded

Can’t remember, I haven’t downloaded since 2008!

The music or band that changed everything for you

The Pixies.

Things you’ll always have in your fridge

No clue

Morning routine

Coffee

A typical day for you

Nowadays, studio and training.

What have you come to appreciate the last 2 years

My heritage

Definition of success to you

To be able to do something you wanted to do for your own satisfaction.

Biggest inspiration comes from

Television and conversation.

One gadget you can’t do without 

Phone

Something you’ve recently discovered

Entangled particles (Here)

Philosophy in life

Never lie

Your style icon

David Bowie…hehe

Your workout

Running and weight-lifting

What’s in your glass and plate for cocktail hour

Always red wine. Maybe a beer.