Torgeir Waldemar is an extraordinary artist with a multifaceted output. This has never been more apparent than on the sister albums Love (2020) and the new “sister record”, Mercy. Love was a grandiose rock-album with layers upon layers of guitars, vocals and effects, but on Mercy Waldemar pursues the grand in the smaller tings. Only two musicians in the room, straight to the point and recorded directly to tape. Torgeir Waldemar says: “Mercy is the companion to Love. The two of them are connected in an inseparable kinship. As the Old and the New testament, as hate and love, day and night, sun and moon. And last but not least, as good and evil. It’s about what we as humans struggle with. What we’re confronted with every single day.” With Mercy, Waldemar wants to celebrate imperfection. Hardship and friction are themes, both musically and lyrically. Where we normally avoid discomfort and seek convenience, Mercy wants to confront what’s unpleasant, in the belief that it sharpens us as humans. At the base of everything is the belief in humanity and compassion. Musically the record is reminiscent of the greats, such as Townes van Zandt, Gene Clark and Neil Young. Mercy was recorded to 1/4” tape, on two tracks with no overdubs or tampering of any form after the takes were completed. It’s the closest thing to capturing the sound of the room. It is the total opposite of the former album Love – lots of musicians in a huge production. On Mercy there’s only two people, one guitar, one fiddle and one room. Mercy was created in close collaboration with violinist, singer and songwrier Michael Barrett Donovan and with Waldemars long-time musical partner Anders Møller. The result is perfect in all its imperfection – naked and honest, and intimate as possible.