ABSTRACT
This chapter identifies a number of features that relate to constructions of Norwegianism within a stylistic category of music that is broad-based and predominantly European. Geographically, where musicians and bands come from represents a potential for understanding how political power structures and dominant cultural expectations function at national level. Certainly, music is about power and can evoke internal states that occur dialogically between our external social and political environments. In Da Kingue DMazda the level of socio-political commentary provides a link to understanding the sounds themselves as the recording spells out the absence of the artist through the sampled voice. In his reading of this track, the coolness in musical expression seeps through the gestural drive of the drum patterns and their metric organization as the groove articulates a wealth of musical ideas.
