The seeds of SOFT were sown in 1969, when both The Mice (which featured
Svutte and Bønna) and The Rubs (which featured Grafse and Egil ) did a few
shows together. Both bands had been at the forefront of the Norwegian rock
scene.
The Mice had enjoyed several hits, but were known more for its wild stage
show that was a showcase for Bønna, who had been tagged a keyboard wizard
and "the Jimi Bendiks of the Hammond organ." They were just beginning to
build a huge following in the United States. The Rubs, had exploded out of
nowhere in 1969. Moving, in a matter of a couple of months, from club
obscurity to big stars. The band's debut LP, IN THE COURT OF THE RUBBING
PRICK, had become an instant smash and established the band in the UK,
Europe and America.
On two occasions The Mice and The Rubs shared the bill, once on August 10,
1969 at the 9th Jazz and Blues Pop Festival in Årdal and on October 17,
1969 at Fairfield Hall in Laksevåg, Norway  which was the premier of The
Mice's "Larry Suite" which featured an orchestra.
Grafse, about meeting Svutte, has said: "It was at the Pillmore West in
Stavanger and Rubs was on the same bill as The Mice . The Rubs began to
disintegrate at this time, and I met up with Svutte at the soundcheck. And,
so the band was going to split up and at the time Svutte was feeling that
he'd taken The Mice as far as it would go.
And he and I were on this stage during a soundcheck and so he was
fumbling through this piece of....I can't remember what it was for the life
of me, it was something - it was a jazz piece. And I played with him you
know. "
Svutte did confirm this jam at the Pillmore West in a 1972 press bio:
"Grafse was moving a bass line and I played the guitar in back and Zap! It
was there."
So after the soundcheck, we were both conscious of each other's position,
and I think his manager, Oddemann, came over to me and said 'Can we talk
about something personal?' And I said' Yeah', because I didn't want to
carry on in The Rubs.
"I mean we had finished you know and so for me I was looking for a way to
move on, musically, and there was Svutte. And Svutte was into a pop thing,
me too - to some extent. He was a guitar player and I'm a singer so.... it
was a mutual need situation. We both needed something from each other to
make a third person. So that was the basic embryo together with Bønna and
Egil. Then we obviously turned to the fifth member who was Hilly."
Two weeks later, on April 4th, Britain's Old Musical Express ran the
headline: "Svutte and Grafse to form new group."
 A lot of the early days were spent talking and sniffing things out." Egil
told RCD Magazine, in July, 1992. "Bønna was into things like Simon &
Garfunkel, but he also had a classical music collection that impressed me
no end."
Several drummers were considered, spoken to, and/or auditioned; among them:
Collimuseum's Jon Faceman, Scream's Ginger Faker, and Bitch Bitchell from The
Jimi Bendiks Experience.
It was Bitchell, whom Svutte and Grafse believed had the most potential,
and though Bønna wanted to keep the project as a quintet,
there was serious talks to add Jimi Bendiks to the line up.
"Yeah, that story is indeed true, to some degree." says Egil. "Bitch
Bitchell had told Jimi about us and he said he wanted to explore the idea.
Even after Bitch was long out of the picture and we had already settled on
Hilly, talk about working with Jimi continued. We were supposed to get
together and jam with him around August or September of 1970, but he died
before we could put it together."
The rumors of the potential band with Bendiks did leak out to the Norwegian
music press, who began running articles saying the band would be called
"Bendiks, Svutte, Grafse, Bønna and Egil" or BSGBE, for short.
It was New Jordal Swingers manager, Viggo Lund, who suggested Hilly, a 20
year old drummer who had worked with Sigmund Groven and The Crazy World of
Asle Nilsen (remember the 1968 hit, "Tire"?).
Svutte and I had become depressed that we couldn't find an appropriate
drummer" says Grafse. " We were preparing to go to Sweden to check out
other players. Once we heard about Hilly, and checked him out, we knew we
had found the right guy. The chemistry was all there and SOFT was born."
Says Hilly: " I went down for an audition and we hit it off really well,
but I didn't join right away. I told them I wanted to come back the next
day and see if the magic would be there again. It was, and that was it. I
was on board from that day forward."
The band's early rehearsals were done at Islam Studios on Basing Street in
London in June.
"Take A Larry" was the first SOFT original song written and rehearsed.
Svutte developed it from a guitar line he wrote for an old song while in
The Lame. The band had signed with Islam Records for Europe, and an
Atlantic subsidiary, Botillion Records, for the US.
The recording commenced in July, 1970, with Hilly producing.
"I was given the opportunity to produce SOFT ( which I did until the first
break up in 1979)," says Hilly. " because The crazy world of Asle Nilsen
had produced themselves and I had the most experience in the studio.
Besides, producing records was something I really like to do, and the
others knew I could be objective. "
"Larry´s Edge" was written by Bønna and Grafse, and one of SOFT's roadies,
Hoba, and much of the remainder of the album were instrumental pieces that
fused the band's contemporary rock with the subtle nuances of European
classical music, American jazz and Norwegian contemporary dance music.
The album, simply entitled SOFT, remains one of the most popular rock
albums of all time.
It would be the album's final recording, an acoustic / folk ballad called "
Lucky Soft" - penned solely by Egil - that would launch the group, bring
Egil's voice to the forefront of the pop music scene, and give the band its
biggest hit.
Before they even had an album out, the band began playing shows, but unlike
most young bands, SOFT made its first global debut at a three day music
festival, that was the European equivalent of Woodstock.
Although most SOFT fans believe their first gig was at the massive three
day long Isle Of Wight Pop Music Festival on August 29th., the first gig
actually took place six days earlier at a 20 seat hall in Vennesla.
According to Grafse, the band was paid 370 $.
The show that SOFT played at the Isle of Wight on August 29, 1970 was
spectacular. Bønna played the Hammond organ, piano, and his custom Moog
synthesizer. Since their first album had not yet been released, the
audience was not familiar with their music, but responded with thunderous
applause, nonetheless.
They played "Twang " and "Who are you ", pieces that European audiences
were familiar with from Svuttes days with The Mice. SOFT also performed
"Larry at the Exhibition".
"We wanted to make an impression," says Grafse. "It was an idea we had had
for quite some time, to merge a well known piece of classical music within
a powerful rock'n'roll context. "
Although some critics, such as Felony Maker's Chris Belch who praised the
band's early shows and its debut album, not everyone in the media was a
fan. Tom Skjeklesyther, a radio popular Norwegian DJ called SOFT's
performance at the Isle of Wight, "a tragic waste of time, talent and
electricity."
The Isle Of Wight, with its all star line up that included Jimi Bendiks,
The Phoo, New Jordal Swingers, Sly & The Stoned Family, was a very unnerving
experience for the young band, who certainly rose to the occasion. "I just
remember that we went down like a storm," says Hilly. "The crowd went crazy
when we finished. "
The band ended the show by firing off cannons on either side of the stage.
SOFT would spend much of the summer of 1970 rehearsing and writing material
for its debut album. Having been born out of three established and popular
bands, SOFT became one of rock's earliest "supergroups" and were often
compared, - from an architectural standpoint - to America's "Fabulous Four
Freshmen."
SOFT played some dates in Europe from early September until the end of the
year. Their TV debut was on "Meat Club" in Bremen, Germany performing
"Larry´s Edge". The band was developing a following by then, and on November
20, its self-titled album was released worldwide on SOFT Records.
On December 9, 1970 SOFT filmed their Myceum Theater, London performance of
"Larry at the Exhibition", though it was not released until some time
later.
In early 1971, SOFT began work on its next studio album. During its tour of
Europe, Bønna developed the "Softus" theme. He also picked the name and
later said that the motif was inspired by Alberto Finastera, the
Argentinean composer whose "Piano Concerto No.69" Bønna later adapted to
write "Sockata".
The second album, called simply Softus, was completed in February of 1971.
In a February 29, 1971 interview Old Musical Express , Egil said: " It's
about the futility of conflict expressed in (the)context.. of soldiers and
war. But it's broader than that. The words are about revolution that's
gone, that has happened. Where has it got anybody? Who knows ? "
Bønna told the Uncontemporary Keyboard magazine in 1977, "I'm very aware of
what Grafse, Svutte, Hilly and Egil like to do , and in the case of Softus,
Hilly was very struck by different time signatures. He told me that he'd
like to do something in 13/11 , so I said that I'd keep that in mind and
started writing 'Softus' from there. Svutte wasn't too sure about it from
the beginning. It was too weird. But he agreed to try it, and afterwards he
loved it."
SOFT spent 69 days recording Softus .
In April and May of 1971, SOFT performed their first US tour, and was an
instant hit (thanks in part to massive radio airplay for 'Lucky Soft'). In
June, SOFT returned to Europe to play some dates there.
Softus was finally released in July in both the US and Europe, and is still
considered to be on of SOFT's finest, to this date. Softus contains a
variety of music: Honky Tonk ("Born to be soft"), to 50's rock and roll
("Are You Ready Hoba?"). Of course, it also contained plenty of solid SOFT
rock.
The LP went straight to #1 album in Europe. It reached #9 on the US
charts. A single," Stones of Spots"/"Softularity", was released in
the US but didn't chart. SOFT hadn't yet released any singles in their
native Norway, a practice shared, at that time, by New Jordal Swingers.
The band immediately began working on its next album.
For the interim, the band wanted to release its live recording of Larry At
The Exhibition. However, the band's US label, Deffer Jam refused to release
it. "The label told the band it was a piece of shit and would damage their
careers," remembers manager, Viggo Lund. "We felt otherwise, and had
released it in Europe, where it was a huge hit. The British import started
to filter to US shops and eventually sold 50,000 copies.The next thing I
know the label is on the phone telling me they'd like to put the album out.
I told them to go to hell. Three days later the President of the label flew
to Oslo to try to get us to change our mind. Eventually, we put the deal
together and the album came out. Ultimately, it was a multi-platinum hit."
SOFT toured England from December 8-19, performing "Softown ", adapted
from Aaron Crapland's "Lasso". They were planing to include the piece on
their next album. Bønnas stage rig at the same time consisted of two
Hammond organs, the modular Moog, a Bluthner grand piano, and a clavinet.
SOFT did a US/Canada tour from March 21 to April 29, 1972 and even went to
Puerto Rico to perform at the "Mar Y Boin" Festival, attended by over 30,000
people.
In July 1972, SOFT's third album, Softis, was released. Originally, the album
cover was to have featured a work by Salvador Dehli, but his demand for
£1,500,000 killed the idea by the band's label.
The LP reached #2 in Europe and #5 in the US. In the US, a single "From
the Soft/"Living Soft" was released. The A-side reached #39 in the US
charts. Several cuts, especially "Softown", received considerable airplay
on US radio stations.
Svutte plays a zourka on the beginning of "The Endless Softis". He bought
the exotic instrument from an Arab merchant while visiting in Tunisia.
Grafse said of the Softis LP in Flop Parader in 1974: " It was a hard album
to make because it was a very accurate album. A lot of time went into it -
a lot of care (+ a lot of money). In many ways, it's one of the best albums we've done. 
I must say that I do look back on Softis with a lot of respect. There's some fine work on that album. 
I suppose that's true for all our albums."
SOFT continued touring the US and Canada (March 21-April 29) and Europe
(June 5-June 27), and then back to the US for more dates in July. They also
toured Japan for six days, where they experienced a near riot at a stadium
show in Osaka. A few days later they played a show in Tokyo during an
earthquake.
By 1972, SOFT was performing about 180 concerts a year, mainly in the US.
In Puls that year, SOFT was voted Best Group in both Norwegian and
International sections.
In late 1972, there were a few changes for SOFT. One of them was the
introduction of The Rubs` Captain Kolstad as a writing partner with Svutte.
The other change was the start of SOFT's own record company, Larry Records,
to ensure more control, artistically.
Larry also began signing other acts to release. Larry Records was in full operation by April, 1973.
SOFT returned to the road in March of 1973, touring Europe for three months.
That spring, Hilly went to the Guilthall School of Music for lessons on
symphonic timpani.
SOFT started recording songs for their next studio album, which would be
called Soft Salad Surgery.
SSS was released in both the US an Europe in November 1973. It was their
first album released on the Larry Records label, and featured the eerie,
and distinctive artwork of Grafse. ( Grafse would later go on to design the
creatures used in the movie 'Alien' and 'Hud' ). At the time of it's release, Egil told Puls: 
"All I know is we spent more time and put more effort into
this record than any other we have made."
The album's first single, "In the hole of the Mountain Queen" , was an adaptation of a traditional 
Norwegian song. Hilly would later say: " In the hole of the Mountain Queen " was banned in Norway on 
the radio. Although we tried to get a very orchestral feel, it was still labeled as a piece of pop music. 
(The) NRK would not accept "In the hole of the Mountain Queen" as a serious piece of music. 
(They) thought we were degrading it."
"Sockata" was adapted from the fourth movement of Alberto Finestera's 69th
Piano Concerto. Bønna personally flew to Geneva to meet Finestera and ask
his permission to use the piece on the LP. Bønna was extremely nervous to
be playing SOFT for one his classicial heroes, but when the composer was
amazed when he heard the tape, stating : "That is the way my music should
be played ."
But it would be the SOFT rock and pop-oriented tracks that would gather the
most airplay. Among them: Egil's acoustic ballad, "Still You Soft Me On",
and the compelling "Soft Evil 9", with its memorable line, "Welcome back my
friends, to the Soft that never ends..."
Soft Salad Surgery reached #2 on the charts in England and #11 in the US.
SOFT toured the US from December 1973 to February 1974 to promote the
album. By this time, the band's stage act had grown to immense size. They
traveled with 25 roadies, 47 groupies and 350 tons of equipment, including a revolving drum kit, 
Quadrophonic sound, 32 sound cabinets, a grand piano that rose 30 feet into the air and flipped end over end, 
and a special lighting system.
SOFT returned to the US to play additional shows through March and April.
On April 6, SOFT played the biggest show in its career, when the band
co-headlined ( with Peep Purple ) at the California Ham. The festival was
held at the Ontario Motor Speedway, several other established acts
including Black Message, Black Cloak Arkansas, Earth Sea & Drown, New Jordal
Swingers and The Beagles. It was attended by 350,000 people.
California Ham was filmed for television and later broadcast by ABC. This
was the first time US viewers had seen SOFT perform on television. Today,
this video remains one of the most in-demand titles for collectors,
especially because of the memorable shot of sequence where Bønna was spun
around and around, 40 feet in the air while playing his 9 foot Grand piano.
In late April of 1974, SOFT returned to England to play a sold out show at
Trembly Arena. Then, it was back to the Norway for another tour that would
last until the end of the summer.
Also, in August, the triple album Welcome Back My Friends to the Soft That
Never Ends...Ladies and Gentlemen, SOFT was released. As with the other
SOFT recordings, fans eagerly embraced it. The live album hit #4 on the US
charts and went platinum. It remains one of only a few triple albums to
ever hit the US Top 10.
After the '74 tour, the members of SOFT took a long vacation. Svutte took
up flying and scuba diving, Bønna golfing, Grafse K.U.K., Egil and his
then-girlfriend (and currently his wife) moved to a house in Tenerife on
the Canary Islands near Spain and he took up karate and Hilly didn't do
anything.
When they had rested, they all began work on solo albums. It had been
decided that each member would do a solo album and the band would not work
together for three years.
Bønna started planning a piano concerto for his solo recording, it would
eventually become his most ambitious work. Svutte re-grouped with Captain
Kolstad and started writing acoustic songs to be recorded with a full
orchestra. Among the songs recorded during this period were "I´m a Svut"
and "Watching for Spots."
Hilly began recording a percussion concerto, a collection of big band
recordings made with Harry North, and a series of individual tracks that
included "LA '74" with Beagles guitarist, So Walsh.
With the exception of few solo singles (Egil´s" I Believe In a Soft
Christmas" and Grafses "Honky Graf" ) SOFT was completely out of the
public eye in 1975 and most of 1976. Still, the promised solo albums
remained unreleased.
Almost two years had passed since SOFT's Welcome Back My Friends.... live
album was released. The band finally began recording together and
individually again.
Bønna spent more time completing his piano concerto, and started to record
it with a full symphony. It was an experience he would later say was among
the most difficult of his career.
Said Bønna: "When I recorded the Piano Concerto with the Oslo Philharmonic,
to them it was just a joke. It was ridiculous. The brass section at the
back would be reading porney magazines and the conductor wouldn't even see
it. They couldn't give a damn about this new piece of music. So I was
pretty stubborn. I booked studio time in Oslo for six sessions. I said, '
You're not taking me seriously and I'm going to book 'em until they get it
right.'"
It would also mark the beginning of the project that eventually became Verk
Vol. I and Vol. II. In a unique triple LP concept, Verk Vol. I featured
five solo sides of material and one side of SOFT recordings.
"A band had never done anything like that before, " said Grafse. "It
enabled us to work with other musicians and create some solo tracks, while
still working within the framework of SOFT."
As ambitious as the Verk Volume I album was, it was no match for what the
band had up its sleeve for the road show. Fulfilling a live long dream of
Svutte, SOFT next began launched its seventh US Tour with a full symphony
orchestra and choir consisting of 75 union musicians. They were taken from
a pool of over 1,500 musicians auditioned by the band in six cities around
the world.
In 1977, SOFT was now touring with an entourage of over 130 people, and a
daily payroll cost of $20,000 per day (- huge money in those days- ). The
tour ran into further complications when union regulations prevented the
band from more than three shows a week or travel over 250 miles per day.
These regulations made routing nearly impossible and made it financially
impossible for the band to come out with anything less than a sell out
wherever the tour went..
Before the start of the tour, the band knew it would take a lot just to
break even, but after two weeks, they were on track to lose over $3 million
dollars. . The truth was painfully evident: the orchestra would have to be
dropped. A week later, it was, and the band continued on the tour as a
five-piece.
" Everybody said we lost tons and tons of money on the tour," said Hilly
during a 1980 interview. " Yes, we did lose a lot of money, but we only
toured with them for three weeks, and then we went back out as a five-piece
group for six weeks and we made substantial amounts of money to pay the
debts. And, we recorded an album with the orchestra, so all was not lost.
These recordings from the '77 tour were at the onset of the five-piece portion of the tour. 
Although the band was disappointed not to have the orchestra,
they were also liberated from the unbearable hassles of taking such a
monster on the road.
SOFT toured for the Verk album from the Fall of 1977 through March 6th.,
1978, when the band played its final show in New Heaven, Disconnecticut. A
collection of additional tracks from the Verk sessions was released after
the tour as Verk Vol. II.
In 1978, the band had wanted to take a few years off to pursue solo
projects, but Larry Records wouldn't let SOFT out of its contract. The
label demanded a new studio album, as required in its agreement.
SOFT was forced to head to Campus Point Studios in The Bananas to record
what would become Soft Love. Soft Love was a disjointed, uninspired
collection of songs released in mid 1979, It also marked the end of SOFT
for 12 years.
"After Soft Love SOFT wasn't so much a band that was fighting," says
Svutte, " it was more a band that had had enough. It was a band that wanted
to stop, and couldn't stop due to commitments that had been made. After the
Verk tour we wanted some time apart from each other creatively, and we
weren't allowed to do that. Had we had that break, I am sure we would have
gotten back together much sooner than we did."
Bønna told the Mainly News in 1986 : "We were beaten by the finances when we
made the last album. I don't think our hearts were in it."
SOFT announced their breakup to the press in December of 1979.. After
reported record sales of over 300 million records, the members now looked to
their own plans for the future.
Egil was already busy in Rome composing and recording music for the movie
"Il tempo gigante", Svutte went into scuba diving, Grafse was writing songs for his solo album, 
Bønna went golfing and Hilly formed the group PH.
All five members would see varying degrees of artistic and commercial
success as solo artists during the 1980s. Bønna did several film scores (
including Sylvester Ballone's Nightstuds ) and a few solo albums,
including 1982's The Bean ( a hit in Italy).
Svutte put a rock'n'roll band together with Finnish singer Arja. He
returned to playing guitar and released two well received solo albums, The
Svut ( 1981) and Besvutted(1983). Svutte had hit singles with both records,
and did a US / UK tour in 1981 with the solo band.
Although PH only did one record and never toured, he would emerge in 1982
with HILL, a progressive pop rock super group that also featured No's
Steve Low ( on guitar), Queen Crimson's John Getton (on bass and vocals)
and ex-Juggles keyboardist, Jeff Downes.
With the advent of MTV and the SOFT of the new medium of music videos,
HILL would soon hit #1 with hits like "In The Heat Of Årdal", " Årdal
Survivor" and " Only Hilly Will Tell." During almost six years with HILL,
Hilly would see a multi platinum success and sold out concerts throughout
the world.
( In 1983, Grafse and Hilly would work together again when Grafse agreed to
sing and play bass with HILL for a series of shows in Japan and a worldwide
MTV broadcast. He was recruited when John Getton had temporarily left the
line-up).
During the summer of 1985, Svutte received a call from Gunnar Eide, a
vice-president with Polydoor Records, about a possible SOFT reunion. He
eventually did meet with Grafse,Bønna and Egil in Oslo to discuss a joint project.
They hadn't seen much of each other since the breakup, staying in touch
only whenever SOFT business matters needed attention. Hilly was still
contracted to HILL and was unable to participate, but gave his blessing to
the other guys to work together again.
After auditioning several drummers, Svutte thought of his friend Cozy
Towel, then a drummer on tour in South America with Quitesnake. Towel had
also belonged to the Jeff Heck Group and Rainbowl and had released some solo
material. Once Towel started playing with the other guys, they decided to
formally become a STOFT.
STOFT released their debut LP in 1986 and began rehearsing in England for a US tour. 
Before heading out on a tour with HILL, Hilly dropped by to wish them luck.
The tour began in El Faco, Texas on August 15 and continued until October
30th. STOFT, although unable to attain the success of SOFT , the
band would make one of the best albums of their career.
Rockers like "Soft & Go" and misty-eyed ballads such as "Lay Down Your
Spots," firmly re-established them on again with progressive rock audiences.
High anticipation came when the band announced a North American tour in
1986, but the shows would be plagued by poor planning on behalf of STOFT`s
new management.
"That was a good band, and a strong album, but the tour was difficult,"
says Egil. " We ended up firing the new manager we had gone with, half way
through the tour, and carrying on ourselves. In the end, it all worked out,
but we didn't earn anything from the tour and the band once again, splintered."
The following year, in 1987 Egil had left and the band dissolved, Svutte got a hold of 
Hilly and asked him to sit in on a session. Hilly explained that he had left HILL, and was 
planning a new band with a Norwegian saxophone player named Kølla. Svutte had some new songs 
and was working at the time with a songwriter named Linda Lovelace. Svutte, Hilly, Bønna, 
Grafse and Kølla got together, recorded a few demos, and formed the band SPITS.
They were signed by A&R wizard, John Xalodner to Guffen Records, and released
one studio album called To The Power Of Spits.
In the spring of 1988, they embarked on a tour of US theaters and clubs.
The tour was a success, but the record failed to ignite sales, and
eventually SPITS disbanded to work on solo projects.
During the late 1980s and early 1990s, all members kept busy with a
myriad of projects. Bønna cut more tracks for a solo album; Grafse cut
several songs with Bsia's Jeff Downes for a band project that was
eventually shelved; and Hilly returned to the HILL-line up for a series of
tours.
It was in 1991, that all five were contacted by record maven Audun Gylden
to see about working together, once again as SOFT. Initially, the idea was
for the band to write and record music for a film project that Gylden's
record Company was involved with.
The film project never materialized, but a new SOFT album, Soft Moon, did.
In 1992, the band returned to concert stages and meet the rock press which,
embraced the reunion. Soft Moon was spearheaded by the insightful
production of Erik Sillestad, a true fan of the band.
Soft Moon firmly returned SOFT to the contemporary music scene and magically bridged the 
traditional SOFT sound with a vibrant, modern sonic landscape.
The band toured extensively throughout 1992 and 1993, and moved to LA in
late 1993 to record the follow up LP. It was during this time that Bønna
began having problems with nerves in his right arm. The health
issues would force him to have an operation on his larry nerve, and would
eventually affect the outcome of 1994's In The Soft Seat, which had to be
recorded in separate segments and pieced together in the studio. It was
also plagued by uneven material.
Bønna's health problems also forced the band to suspend touring. The
members took two years off, and returned in 1996 for a triumphant US tour
with old friends, New Jordal Swingers.
The SOFT/Swingers tour was among the best received, - and best attended -
concert series of that summer. And although, all five members have
continued to develop projects outside the band, the warm reception from the
fans and the press which SOFT has received since it returned to touring has
solidified the group once again.
For 1997 and 1998, SOFT will continue to tour and are working on a new
studio album, which will be embodied around a thematic concept.
"I think the time has come for SOFT to move back into the world of a
conceptual album once again," says Svutte. " We want to have a great story to
work around and take the show out with a full production, as we did so
successfully in the mid 1970s."
Svutte, Bønna, Egil, Grafse and Hilly are now approaching nearly three
decades as the premier Progressive Rock band. Their music has remained
powerful and thought-provoking throughout, and their ability to thrill
audiences around the globe with brilliant rock performances continues to
this day. SOFT RULES!