Oslo Tapes: Interview About "LÅST COMET"
Marco Campitelli Shares His Thoughts About Working With Music Legends and Making the New Album
When Marco Campitelli first travelled to Oslo over a decade ago, something profound shifted within him. The Norwegian capital's stark beauty, its interplay of light and darkness, and its avant-garde spirit left an indelible mark on his entire creative journey. From that transformative experience, Oslo Tapes was born. Since his newest Album, "LÅST COMET", came out in November, these ten songs have been spinning on repeat in my headphones. From the first listen, I knew I had to ask Marco some questions about it. And now, here we are! This is my exclusive interview about it!
The project has consistently pushed the boundaries of krautrock, shoegaze, and experimental soundscapes. Since releasing the debut album "OT (un cuore in pasto a pesci con teste di cane)" in 2013, through the critically acclaimed "ØR" on Pelagic Records in 2021, and the introspective "Staring at the Sun Before Goin' Blind" in 2023, Marco's collective has carved out a unique space in the world of experimental music.
Now, with "LÅST COMET," Oslo Tapes returns with what I think is Marco's most ambitious work yet. Released on 14 November 2025, this album represents a bold new chapter in the band's evolution, which I previously described as
"between ritual noise and cosmic reflection"
The record features an expanded lineup and remarkable collaborations with Emil Nikolaisen of Serena Maneesh and The Brian Jonestown Massacre, legendary Motorpsycho drummer Håkon Gebhardt, and a stunning remix by Jeff Kim Schroeder of The Smashing Pumpkins. Produced by the ever-reliable Amaury Cambuzat (faUSt, Ulan Bator), "LÅST COMET" emerged from sleepless nights and days marked by mood swings, resulting in what Campitelli describes as a "visceral and dreamy album" that captures the mind-shifting power of an ayahuasca trip combined with the physical force of a sledgehammer. The album's title—meaning "Locked Comet" in Norwegian, whilst phonetically resembling "Lost Comet" in English—perfectly encapsulates the duality at the heart of this mesmerizing sonic journey.
10 Questions for Oslo Tapes
Anne: Marco, it's wonderful to have you back on Sounds Vegan! Since we last spoke about "ØR" back in 2021, you've released "Staring at the Sun Before Goin' Blind" and now "LÅST COMET." How has your creative process evolved across these three albums, and what drove you to explore the "visceral and dreamy" sound you've achieved on this latest record?
Marco: Hi Anne, thank you for the passion you put into your writing; I often follow your site and consider it one of my go-to references when listening to international music. Regarding your question, I'd say the creative process hasn't been much different across the albums you mentioned. However, I believe this latest record manages to be very dreamy despite not having much room for long, drawn-out sections—a contrast that I find quite striking.
Anne: Thanks so much for your compliment. I feel flattered. This really means a lot to me! The title "LÅST COMET" is fascinating—locked yet lost, constrained yet drifting. Could you tell me about the conceptual framework behind this album and how the title reflects the themes you're exploring? The Norwegian language seems to remain central to your artistic identity.
Marco: The themes of 'profound loss' and 'getting lost in far-off places' are recurring motifs for Oslo Tapes. Living and working closely with Emilie Lium Vordal, our Norwegian singer, I discovered the meaning and phonetics of certain Norwegian words; from there, a title was born that only truly makes sense if you listen to the 'sound' of the words themselves. This fascinates me deeply. Something similar happened with the album "ØR", but for that record, it was Emil Nikolaisen who suggested the title, acting as a sort of spiritual guide.
Anne: You've described this album as being born from "sleepless nights and days marked by mood swings." How do these emotional extremes translate into the sonic architecture of tracks like "Inhuman Witch" and "Lazarus Awaking"? There's clearly a raw, unfiltered energy pulsing through the record.
Marco: Oh, yes! After an initial phase in which I wrote the songs, Stefano and I spent about two months recording every night, creating a geometry for the sonic architecture of this album. I remember it left us exhausted, which affected our moods during the daylight hours; generally speaking, we slept very little. The tracks you mentioned are truly at opposite ends of the spectrum, both in their placement on the record and in how they were conceived. "Inhuman Witch" was built instrument by instrument with great precision, whereas "Lazarus Awaking" is an improvised piece characterized by a certain creative urgency. In between, you'll find this visceral energy—like blood in the veins—that flows through and sustains every track on the album.
Anne: Working with Emil Nikolaisen and Håkon Gebhardt must have been extraordinary. They are legends in the Norwegian and psychedelic rock scenes. How did these collaborations come about, and what did each artist bring to "LÅST COMET" that pushed the album beyond what you'd initially envisioned?
Marco: "Absolutely! I met Håkon through a friend, Andrea Angelucci (a long-time collaborator of Oslo Tapes); I reached out to him, and he was very open to working with us. After some trials on a few tracks, he ended up playing guitar on 'In Deep,' recording it in his own studio.
Marco: With Emil, it was a different story. We've known each other for years now and text often; I had been hoping to collaborate with him for a long time, as I'm a huge fan of his music. He stayed at my house for a week, and we just threw ourselves into the music for days, having a lot of fun. With him, 'the clock lost all meaning' (laughs). Working on several tracks together, I was able to push the album toward a more cosmic, acid sound, full of layers and fragmentation. It was a beautiful experience, fueled by simplicity and passion—I feel like I share a lot with his vision.
Anne: Jeff Kim Schroeder's remix of "Pyramid Shape" adds yet another dimension to the album. What was it like having a member of The Smashing Pumpkins reinterpret your work? How does his version transform the original, and what does it reveal about the track's hidden layers?
Marco: This is another surprise that this album has gifted me. Jeff is a superlative guitarist who truly created some incredible soundscapes with The Smashing Pumpkins. I shared the album with him, and in no time, he got back to me, offering to deconstruct one of the tracks to create a remix. For me, it was a huge privilege to hear Jeff's unique tone (which you can fully appreciate on his solo album, "Metanoia"); I believe he brought a distinct "German cosmic" imprint to his version of "Pyramid Shape" (Jeff Kim Schroeder Remix).
"Every album is a previously unexplored place"
Anne: Amaury Cambuzat has been your collaborator since the very beginning of Oslo Tapes, and he's produced "LÅST COMET" as well. After working together for over a decade, how has your creative relationship evolved? What does he bring to your vision that makes him irreplaceable?
Marco: The evolution has been spontaneous and proportional to our personal visions. Dialogue is the foundation of everything, but today we know each other's characteristics well; we share a sense of curiosity and a love for constantly seeking new solutions. I find all of this to be a sign of great complicity, a trait I consider fundamental. It's something you build—it isn't just a matter of 'technicality'.
Anne: Looking at the tracklist, certain titles immediately captivate: "Analemma," "Tribe Telepathy," "Bizarrå," "Quasistar." Do you want to walk me through a few of these tracks and the sonic or conceptual journeys they represent? How does the album flow as a complete experience?
Marco: The titles represent concepts that exist within a continuous flow throughout the record. It shifts from scientific concepts to the paranormal, or from tribal ritualism to astronomy. There are contrasting elements, both sonically and in their meaning. The constant is that they are all anthropologically present within the human being.
Anne: You've mentioned that performing Oslo Tapes requires "a good dose of craziness" from the musicians involved. Now that "LÅST COMET" is out in the world, how do you envision translating these tracks to the live setting? Will the expanded lineup and guest collaborators influence your touring approach?
Marco: Of course, that same craziness needs to be brought back into the live set. We make the core elements of our songs recognizable and explicit, but during the show, there's always something that must be left to the intensity, energy, and emotion of the moment. That's honestly what I believe.
Anne: Since "ØR," you've performed at prestigious venues, including Roadburn Festival in 2022. How have these live experiences shaped your approach to creating "LÅST COMET"? Would you say audience response has influenced the direction you've taken with this new material?
Marco: Of course! I consider every live experience grand and a great privilege because it allows me to express myself, which is exactly what I've wanted to do since I was a young boy. Specifically, Roadburn was a vital step in realizing that horizons can be infinite and that people out there are receptive, with a real desire to share and celebrate life with you. It's important to connect and understand that you can add a small piece to the life of someone from a completely different culture than your own. Musically, it pushes you to do better and to let those experiences contaminate and enrich your compositional approach.
Anne: Looking at your journey from that first week-long recording session in 2013 to this multifaceted, internationally collaborative project, where do you see Oslo Tapes heading next? "LÅST COMET" feels like both a culmination and a new beginning. What unexplored sonic territories are calling to you now?
Marco: It's crazy now that I think about it, especially considering the evolution that has happened in between, but I will continue to follow the natural process that has guided me through these years. I immerse myself in a flow of ideas and thoughts, and I let the instruments do the talking. You're right. For me, every album is a previously unexplored place. It might sound cliché, but right now I feel the need to play "LÅST COMET" live as much as possible, and then I'll lock myself in my studio again to bring new ideas to life.
