Bergen has long been a breeding ground for strange, atmospheric sounds, but few artists have carved out such an intimate and desolate corner of the ambient spectrum as Picture Ann. Both prolific and uncompromising, the project has been quietly building its own haunted world of instrumental melancholy, a place where beauty and decay sit side by side.

This Friday, October 3rd, Picture Ann releases his latest full-length, “There Are Only Goodbyes Between Us”, an album that drifts in like the cold breath of fall itself. The record is a dark meditation on control, lies, and manipulation, themes that creep and coil through its ten tracks like shadows moving across a crumbling cityscape. It is reflective, brooding, and strangely intimate, tugging at the listener’s nerves while pulling at the heartstrings in equal measure.

As the project’s main architect J.N. explains, the record finds its roots “somewhere between the autobiographical and a myriad of different things absorbed either through the eyes and ears of others or via literature.” Initially envisioned as a sonic portrayal of a bleak metropolis corrupted by words and intentions, the album slowly unfolded into something much more personal, an echo of failed connections, corrosive deceptions, and the strange hollowness left behind.

Still, in true Picture Ann fashion, the melancholy is not entirely without hope. The album’s title itself gestures toward redemption: the possibility of shedding old scars by letting certain things wither away. “Perhaps there is a light at the end of the tunnel after all,” J.N. reflects. “You decide.”

“There Are Only Goodbyes Between Us” arrives just as autumn descends, a fitting soundtrack to long nights, empty streets, and the quiet storms we carry within.

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Photos: (c) C. Nepper