Reflections: The Rebirth of Marit Larsen

This article is the second part of a series on M2M and Marit Larsen: Click here for Part One

While it may have initially been both painful and difficult for Marit Larsen, the break-up of M2M has ultimately proven to be one of the best things that ever happened to her. After the disappointing and frustrating end that M2M had come to, Marit was not heard from for close to 4 years. Taking time off to recover, live a normal life and--apparently--break a few hearts, Marit went hard to work in her native country of Norway, writing and producing her first original album as a solo artist.

Free of the oppressive, cookie-cutter hand of the international pop music market, Marit was finally able make the music she had always wanted to make, finding her own voice and style in a far less restrictive musical world.

Marit's solo debut was titled Under the Surface, and was exclusively released in Norway in 2006, debuting at number 3 on the NRK radio charts.  It has since sold more than 46,000 copies.

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UNDER THE SURFACE

It's unlikely that Marit Larsen's Under the Surface will ever be as internationally appreciated as it truly deserves to be. But the album serves as a testament to possibilities.  It showcases the magic that can happen when an inspired artist is privileged and patient enough to make their music in exactly the way they want. There are no time lines or molds that must be fit into; it's an exploration of new worlds full of exciting experiments. As a result, most of the songs on Under the Surface provide a unique style and flavor, yet inexplicably come together in a deliciously perfect blend by the end.

After having her feathers slowly and mercilessly plucked by her former record company as a part of M2M, Under the Surface documents a complete rebirth. Like the mythical phoenix, Marit has risen from her ashes and is stretching her wings, readying herself for her first triumphant solo flight.

And from the sound of things, she's never been happier or more excited.

In addition to being credited as a producer and writer on all but three of the album's tracks, Marit plays an absolutely astonishing number of instruments on the record: acoustic, electric and classical guitars, harmonica, mandolin, piano, glockenspiel, as well as various percussion instruments. The result is an album that feels organic and real in all the right places with very few synthesized instruments, yet has pop sensibilities in its songs' construction.

"UNDER THE SURFACE"

The album's namesake track takes approximately four seconds of warm up before taking the equivalent of an elegant, sophisticated sledgehammer to anything that M2M ever created. A sweeping, romantic string arrangement with just a touch of glockenspiel (a xylophone sound-alike) sets the mood immediately. It's such a rousing, beautiful, and harmonious piece that it's innocence conjures recollections of Disney’s early-era animated films.

"It's such a funny sensation to be/So happy that you want to die," Marit says incredulously and unapologetically. It's not only an intriguing line to begin a record, but a seriously gutsy one. We learn we've rejoined Marit as she is confessing her paranoia to her current lover, believing that she may never measure up to his former flame. "Under the Surface" would be quite a bitter pill for the audience to swallow as an opener, if it wasn't accompanied by such a gorgeous string section.  As it is though, it's more than likely Marit has millions of people fooled into thinking this is a "happy" song. 

"DON'T SAVE ME"

"Don't Save Me" provides a strong shift in tone, and Marit does a 180, no longer a victim to her own insecurities. The chorus is a cheery piano rocker that has a distinctly nostalgic, late-90s flavor. Driven by a composition that is melodically reminiscent of something Sixpence None the Richer's Leigh Nash may have penned during her "Kiss Me" and "There She Goes" heyday, the track is all about Marit's refusal to continue a relationship despite her caller's dogged pursuit. "I'll save you the hassle/Our little castle/Is a house of cards", she sings in a brilliantly witty line, seeming to almost stifle laughter at her former love's expense.

"ONLY A FOOL"(AUDIO ONLY)

Opening with an infectious harmonica and hand-clap combination that will have all but the most glum of people wanting to tap their toes right along, Marit takes immense pleasure in chastising an unfaithful former fiance on “Only a Fool"--a Dixie Chicks-esque country lark. Or at least that's what it seems to be from a melody standpoint. "Yours was the ring that I started to wear/Yours were the vows that went up in the air" The track is the perfect example of a talented songstress turning untold pain into triumph through music, and serves as an anthem for wronged lovers who have reached their breaking point. "Understand me, as of lately I have learned a thing or two/And there is just no way that I'll be coming home to you". One of the most surprising inclusions to the track is a random slide-whistle that gives the tune an almost cartoonish sense of light-hearted whimsy.

"SOLID GROUND"

"Solid Ground", as it was initially recorded, is a piano piece that serves as a thematic stand-out from the rest of the album. No longer mourning or celebrating romantic relationships, it may very well serve as Marit's reflection on her time being under the thumb of a major record label. "They will always pull you down...They will fight and struggle/To blur and trouble/Your sense of solid ground." The track serves as a warning siren for any and all would-be's who might try to follow in Marit's footsteps. "Know the risks you take", "Keep your head above it all/Sure, you can fall/But not now/You've gotta prove/Something new/Being you". The song seems to be both a lament and a call to action. The pressure that is placed on one's shoulders in the world of pop music is immense, but at the same time the importance of staying true to oneself and one's principles at all times cannot be overstated.

On a secondary note, that is one amazing orchestral accompaniment used in the video!  Don't miss it!

"THIS TIME TOMORROW"

The song “This Time Tomorrow” has such enthusiastic, carefree flair behind its triple-meter and catchy mandolin riff that the folk jig seems like something one might hear in a olde-time Irish pub--if not, once again, for lyrics that contradict the upbeat feel.

The story this time around: a third-person tale of a woman who is irreversibly stricken with low self-worth. It is a documentation of a tragedy in action. She simply will not trust her man, no matter how faithful to her he is, nor how many times he says he loves her and her alone. At the chorus, Marit makes the reality clear, "At night you tell her that she's all you long for/But she knows by your face that there's got to be more/Her eyes are too narrow/Her legs are too long/She knows by this time tomorrow you'll be gone" It's the sad story of what can happen to a person when they've been the victim of infidelity so many times that they begin to believe that no love will ever last. One would certainly hope this is not Marit's perspective or that it is so steeped in sarcasm as to be making light of the ridiculous behaviors exhibited by the woman in question.

"THE SINKING GAME" (AUDIO ONLY)

Late into the album, my favorite track, "The Sinking Game", has a schizophrenic and child-like reckless abandon nestled into a down-home bluegrass feel. Like something one could imagine a bunch of hillbillies playing on their front porch with any tools they'd find lying around, the jaunt goes all over the place melodically speaking, and is accompanied by a host of unique percussion. Boings, dings, whistles, finger snaps, pants and (what sound's like) someone playing the saw, provide an atmosphere of light-heartedness.

Simply put, the track is just so much damn fun in it's exuberance and playfulness that it's hard to hold back a smile. Always returning to another catchy chorus, Marit proclaims "We dive into disease/We dive deep, deep down in the sea/Hold your breath with me until I'm ready". The song represents what may be Marit's biggest risk on the album. Its lyrics are so befuddling and its style so distinctly different that it leaves the listener scratching his head, trying to decipher the meaning.

"COME CLOSER" (AUDIO ONLY)

Were it not for Marit's recognizable cherubic vocals and the fun banjo work on this, one might potentially confuse it for a 90s-era Dave Matthews composition. This is the first time that Marit's lyrics take on the quality of a poetic love letter. Coming up once again with a memorable, sweet refrain, the track slows down as it nears the chorus, with Marit speaking to her lover at whisper volume. The lyrics to the song, while not nearly as confounding as "The Sinking Game", definitely require a good bit of inspection before fully grasping their intentions.

"Come Closer, Love/I can't hear what you're saying", she sings in a hushed voice. It's not that she literally can't hear him. She's simply not sure what his intentions with her are and she wants clarity. "What kind of truth lives in the absence of trust/What is the use of holding back on this much?" Marit is pining and attempting to entice the man in question into making decision, but it seems he may be torn between her and another woman. The dilemma is implied through the lyrics at the end of the each chorus, "It's a nice escape/But will it keep you warm at night?/I don't think so!"

If any of the songs on the album had a chance of US indie radio play, it would probably be this one. Another one of my favorites, "Come Closer" serves as a beautiful reflection on young love and the confusing game of give-and-take that often ensues at its outset.

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Nearly every upbeat track on Under the Surface nails what makes for a good song in the pop music book: an infectious, memorable hook and a beat that leaves the listener involuntarily tapping his toes. Crafting melodies and lyrics so catchy and fun that the listener can’t help but be tempted to sing along by the second time the chorus comes around, Marit has a truly amazing gift when it comes to songwriting and composition. Under the Surface is an utterly perfect showcase for a first-time entry, proving just how diverse a range she can have when it comes to her craft.

Reflections of a Former Fanboy: Marit Larsen & M2M

Ten years ago, if I were writing this, I’d be unable to suppress my overzealous enthusiasm and would likely start off with a capitalized proclamation about how Marit Larsen is incalculably and utterly adorable…much like an obnoxious teen’s status update on Facebook.  

Thank God I'm no longer 19.

Make no mistake, Marit--officially pronounced “MARR-it”--is a beautiful woman.  But, so what?  That’s the tip of the iceberg.  What makes her so incredibly appealing lies under the surface, as any member of her dedicated fanbase will attest. But we'll be discussing that next time.

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Marit Larsen has held the position of my favorite artist ever since the release of her first solo album in 2006. However, that’s not actually where I first discovered her.

I had the privilege of meeting her while she was still part of the ill-fated and under-appreciated pop duo M2M in the early 2000's.

A Brief History of M2M

If you've never heard of M2M, I'm not particularly surprised. They were a part of the late 90s explosion of corporately-backed teen and young adult musical talent.  But they weren't members of the “varsity” team, if you’ll indulge my analogy.

While big ticket names like the Backstreet Boys, N'Sync, Britney Spears, and Christina Aguilera got massive followings, (and were mined completely dry by their record companies) legitimate young bands and musicians like M2M and british male trio BBMak were trying to strike gold with the same demographic, while sticking to stronger convictions.  These groups were met with much less financial backing from their labels and, as a result, much less success.  Very few pop groups or artists felt it crucial that they either write their own songs, or (at the very least) be a part of the song writing process of the music they would record.  But this duo from Norway wasn’t going to budge.

Marion Raven and Marit Larsen (thus "M 'to' M") weren’t just cute faces and sweet voices. At the time of recording their debut album Shades of Purple, they were two Norwegian fourteen year-old musical prodigies who wrote, performed and sang their own songs on record and in concert.  To an American teen who was drowning in catchy, but entirely manufactured, soulless pop groups and stars every time he turned on the radio, M2M served as a breath of fresh air and a respite from the “fake”.  It could also be quite reasoned that they both served as beneficial role models for their female fans.

No choreographed dancing. No lip-syncing. No cash-grab attempts at sex appeal or innuendo.  M2M was the female version of Hanson; vocals, guitar, and piano—played and sung live—and they were determined to make it on those principles come hell or high water.

"DON'T SAY YOU LOVE ME"

Perhaps M2M’s biggest misstep in their short career was how they (or their label) decided to make their name initially known.  M2M’s first single, “Don’t Say You Love Me”, a brilliantly executed earworm track about the importance of taking things slowly in a dating relationship, debuted on the soundtrack to Pokemon: The First Movie. 

This decision probably kept the majority of young adult listeners from discovering them or ever taking them seriously.  While Pokemon has a huge nostalgic fan following today (even with adults) at the time of its inception, it was not often seen or discussed within the walls of a junior high—and definitely not a high school; the two demographics that M2M’s appeal would have been best marketed toward.  

Yes, the soundtrack also had songs from Britney Spears, Christina Aguilera and 98 Degrees, but these were artists that already had established their fanbases.  M2M’s first (and arguably only) big single was “playing to the kiddies”, and as a result, likely caused mainstream pop radio to nearly blacklist the rest of their singles from regular radio play when they debuted.

M2M’s eventual breakup was a painful thing to behold for their fans, but over the years has become bittersweet.  For over 3 years I felt as though I personally watched M2M slowly dissolve as the cute blonde guitarist continually received the raw deal. Marit was almost always being pushed to the back so that Marion, the brunette, “hotter” counter-part could receive the majority of the attention and eyes of the doting fans.

This decision is understandable from a marketing standpoint.   Marion was the lead singer, and of the two, she did have more power behind her vocals.  Early on, she  appeared to be the elder of the two, and she spoke more than Marit during shows—seeming to possess a bit of a more confident stage presence at the time.

Correction: THIS was the biggest misstep.

By the time the duo’s second album The Big Room was released, Marit could only be heard distinctly on about half the songs. It was becoming abundantly clear which “M” Atlantic Records was banking on.   The Big Room received a decent amount of critical acclaim, but was a financial flop—unsurprising, considering Atlantic Records did almost nothing to promote the album to teens at large.

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Meeting M2M

On the night of one of their final performances as a band, I met Marit and Marion for the first time as they stood outside their tour bus talking with their band mates.  The 17 year-old blonde young lady indulged my uncontrollably excited fanboy antics like a saint, even trying on a ridiculously oversized shirt I designed for her that said “Guitar Chicks Rock”, which was a quote I had seen her write on several of her blogs.

Marion asked what I thought of the show, at which point I responded as a friend would.  I told both of them that they looked “tired” and asked if they were okay.   I think Marion was blind-sided and/or offended by the response, as shortly after this, she boarded the bus, leaving me to speak with Marit one-on-one.  I intended to express myself as concerned for their well-being rather than as a dissatisfied customer, but for all I know, they may have already had their hearts crushed by the label. Reflecting now, it’s possible that they had already received the news that they were getting dropped.

I’m sure I embarrassed myself several times while attempting to keep a coherent conversation going, trying not to seem like a completely star-struck dweeb. We talked about their recent tour through Malaysia where they had shot their video, “What You Do About Me” as well as how we had occasionally interacted on various online fan forums and sites when M2M held a live chat session online.

The two did seem utterly exhausted and I was honestly worried about them, particularly after hearing from multiple sources online that Marit had actually passed out a just a few days prior to the concert.  Marit confided in me that they had been running extremely difficult 18-hour-a-day schedules, which left little time for sleep between interviews, photoshoots, radio performances, etc.  It seemed to be that they were flown and driven all over the place internationally, which had led to multiple bouts of sickness, jetlag and other unpleasant circumstances.  For as ultimately unknown as they were, and as far as I could gather from her—without her directly saying it—the label was running them absolutely ragged.

All told, I think Marit gave me about 10-15 minutes of her undivided attention, before telling me she needed to get some rest and joined Marion on the tour bus.  I bid her a very thankful good night and left the venue.  Sure enough, two short weeks after that, M2M was no more.

Ultimately, Atlantic exhausted and euthanized the band before they could ever leave much of a mark.  When the dust had settled, Marion was offered a contract with Atlantic as a solo artist; Marit was hung out to dry.  From here, she seemed to entirely leave the world of music for nearly 3 years before she could no longer deny the unquenchable passion that was always inside her.

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OTHER M2M MUSIC VIDEOS: