Posts Tagged ‘Jenny Hval’

At first listen, “The Practice of Love”, Jenny Hval’s seventh full-length album, unspools with an almost deceptive ease. Across the eight tracks, filled with arpeggiated synth washes and the kind of lilting beats that might have drifted, loose and unmoored, from some forgotten mid-’90s trance single, The Practice of Love feels, first and foremost, compellingly humane. Given the horror and viscera of her previous album, 2016’s Blood Bitch, The Practice of Love is almost subversive in its gentleness—a deep dive into what it means to grow older, to question one’s relationship to the earth and one’s self, and to hold a magnifying glass over the notion of what intimacy can mean.

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As Hval describes it, the album charts its own particular geography, a landscape in which multiple voices engage and disperse, and the question of connectedness—or lack thereof—hangs suspended in the architecture of every song. It is,an album about “seeing things from above—almost like looking straight down into the ground, all of these vibrant forest landscapes, the type of nature where you might find a porn magazine at a certain place in the woods and everyone would know where it was, but even that would just become rotting paper, eventually melting into the ground.”

“Look at these trees/ Look at this grass/ Look at those clouds … Study this/ And ask yourself/ Where is God?” Leave it to Jenny Hval to open an album with words that could’ve been lifted from a self-help mindfulness exercise and turn them into an existential reckoning. The Practice Of Love grapples with all kinds of questions, as any of Hval’s work does. But at the same time as Hval remains thought-provoking, she’s now housed these meditations in futuristic pop songs like “High Alice” and “Ashes To Ashes,” locating an accessibility and infectiousness we might not have ever expected from her. The Practice Of Love is a thing of shimmering beauty throughout, but perhaps this is its most moving takeaway: constant searching leading to new thoughts and new sounds, history and memory and life lived stoking yet another evolution.

From ‘The Practice of Love,’ out September. 13th, 2019. Sacred Bones Records

Norwegian avant-garde musician Jenny Hval has announced a new album, “The Practice of Love”, and shared its first single, “Ashes to Ashes.” The Practice of Love is due out September 13 via Sacred Bones.

The album is the follow-up to her acclaimed 2016 album, Blood Bitch, and her 2018 EP, The Long Sleep. The album features guest vocalists Vivian Wang, Laura Jean Englert, and Félicia Atkinson. The title The Practice of Love was partially inspired by Valie Export’s 1985 film of the same name.

Hval had this to say about the album in a press release: “This all sounds very clichéd, like a standard greeting card expression. But for me, love, and the practice of love, has been deeply tied to the feeling of otherness. Love as a theme in art has been the domain of the canonized, big artists, and I have always seen myself as a minor character, a voice that speaks of other things. But in the last few years I have wanted to take a closer look at the practice of otherness, this fragile performance, and how it can express love, intimacy, empathy and desire. I have wanted to ask bigger, wider, kind of idiotic questions like: What is our job as a member of the human race? Do we have to accept this job, and if we don’t, does the pressure to be normal ever stop?”

From ‘The Practice of Love,’ out September. 13th, 2019.

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Wooden Shjips  –  V

Wooden Shjips, long-time leaders of the contemporary psychedelic movement, expand their sound with V. On their fifth album the quartet of Ripley Johnson (Moon Duo), Omar Ahsanuddin, Dusty Jermier, and Nash Whalen augment their already rich sound with laid back, classic summer songs. Inspired by the tumult of the modern world, and the desire to offer a contrasting vision of peace, the band has created a record that lters their trademark hypnotic grooves through an optimistic lens, resulting in music that is bright and vital. Each song shimmers with a distinctly Wooden Shjips sound, a relaxed summer vibe. This was a conscious choice, an atmospheric goal that in uenced nearly every detail: the tones, the delay types and reverbs used, as well as the synthesizer elements that color the songs. The band’s members collectively share a love of classic rock from the Velvet Underground to Neil Young, as well as more overt love of the San Francisco scene of the 60’s. This commonality in their formative musical years binds them even as they live in different cities. Wooden Shjips has with V. created the most concise, laid back songs of their career. Their music is a balm of sorts, a respite from the insanity that, through its regenerative abilities, empowers continued, calm resistance. A reminder of the simple power of peace and beauty, V. is brimming with optimism and a peaceful energy, aptly timed for release at the height of spring.

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Halo Maud  –  ” Je Suis Une Île “

Halo Maud’s first release on Heavenly is a recap of the story so far ahead of an album release later this year – three tracks of this EP originally came out on a Canadian label last year, with the difference that Du Pouvoir now features some English lyrics, and À La Fin andDans La Nuit cropped up on a La Souterraine compilations in 2015 and 2016 respectively. Maud Nadal has been a member of both Moodoïd and Melody’s Echo Chamber’s live bands, and of course at times there are comparisons to be drawn with Melody’s Echo Chamber, with both teetering on a crystalline peak where extreme joy and despair meet. But if anything Nadal’s own melodies are even more indelible, and her voice turns them into vapour trails.

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Gretchen Peters – Dancing With The Beast

Dancing with the Beast, the new album from Gretchen Peters, puts female characters at the fore, from teenage girls to old women. And intentionally so. With the 2017 Women’s March and the #MeToo Movement as bookends to her writing time, Peters knew that a feminist perspective would be the critical core of the record. She admits, “You can trace the feminist DNA in my songwriting back to ‘Independence Day’ and probably before. The thing that 2017 did is just put it front and center.” Though Peters doesn’t consider herself a political writer, she is politically minded and, therefore, knew she had to address the 2016 election and all that has happened since… but in her own way. There’s a bittersweet beauty to the passing of time – the changes it brings are just as often heartbreaking as they are heartwarming. The inevitable tension that arises from that sway is Gretchen Peters‘ most trusted muse. With melody supporting that melancholy, the songs on the new album combine to lift the effort over the high artistic bar set by her last outing, 2015’s award-winning Blackbirds.

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Wand  –  Perfume

If the emblem of Wand’s Plum was the stark blue cloud a condensation, a linking between longing molecules, data hungering for more data, a flotilla of vapor between eye and sky – then Wand’s new EP reeks of something more forceful, more seductive, more intoxicating, more insidious: this is Perfume. Here are six electric hues, shocks of light that flagrantly provoke the dark, a posy’s clutch of purple, fuchsia, green and snowy white that curl against a stench of plague. Recorded between tours and fire seasons in Grass Valley, CA by Tim Green, Perfume’s potent, expansive tunes were mixed in Woodstock, NY by Daniel James Goodwin. The band features Sofia Arreguin, Evan Burrows, Robbie Cody, Cory Hanson and Lee Landey. There’s a kind of return here, a haunting, the deja vu you only take in through a curious nose. Your nose invites the world inside your skull. A familiar fragrance finds you when you thought you’d let a lover go, but it won’t linger like a lover, flickering away with the breeze toward a yawning future.

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Judee Sill  –  Songs of Rapture and Redemption: Rarities and Live

Judee Sill may not have been commercially successful in her short recording stint, but her influence looms large with recording artists such as Warren Zevon, Andy Partridge, Liz Phair, Beth Orton, Bill Callahan, Bonnie Prince Billy and more having covered her songs. The Turtles recorded Lady-O in 1969, two years before Sill’s 1971 debut album on Asylum Records contained that song. This brand new collection includes demos and live recordings that are making their debut on the vinyl format and have never sounded better. With new artwork, liner notes and deluxe packaging, this limited ROG release should not be missed.

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Cream –  BBC 1966 – 1967

Clapton, Bruce, and Baker are responsible for some of the most classic BBC live recordings of the 60s. Recorded for several different programs between November ’66 and October ’67 there are raw versions of classics likeStrange Brew, andTales Of Brave Ulysses, as well as great blues covers and a fascinating series of interviews with Clapton, these are essential live sets for any serious Cream collector. Limited edition splatter vinyl LP.

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The Smithereens  –  Covers

The Smithereens – Pat DiNizio, Jim Babjak, Mike Mesaros and Dennis Diken dip deep into their archives to present Covers, a tribute to the songs and the artists that shaped their career. The album presents a heavy dose of British Invasion paying homage to the Kinks, the Beatles, the Who and T. Rex. The Smithereens were also influenced by a fair number of homegrown heroes too including Springsteen, Sinatra, Iggy Pop, The Beach Boys and more. The Smithereens are known for writing and playing catchy 1960s-influenced power pop. The group gained publicity when the single Blood and Roses from its first album was included on the soundtrack for Dangerously Close, and the music video got heavy rotation on MTV. During the course of their career the Smithereens racked up 2 platinum albums and 1 gold record.

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Jenny Hval  – The Long Sleep

The follow-up to Jenny Hval’s acclaimed 2016 album Blood Bitch is The Long Sleep, an adventurous new EP that sees the Norwegian multidisciplinary artist embracing an instinctive, even subconscious, approach to creating meaning. In contrast to Hval’s more explicitly conceptual work, The Long Sleep foregrounds the act of composition itself, letting the melodies and structures reveal the other elements of the songs. All of the songs on the EP recycle the same compositional motives, but manipulate them into very different shapes that take them further and further out of their original, “life-like” context. Hval recorded The Long Sleep with longtime collaborator Havard Volden and producer Lasse Marhaug, along with an ace new supporting cast of talented players from the jazz world — Kyrre Laastad on percussion, Anja Lauvdal on piano, Espen Reinertsen on saxophone, and Eivind Lønning on trumpet. Hval calls them some of her favorite contemporary musicians, and their musical background helps to give the songs on The Long Sleep their intuitive, improvised feel.

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The Heads  –  RKT

Timely reissue of the first 3 releases The Heads put out on the Rocket label, from their first split 7” release (with Lilydamwhite) in 1998 to their much lauded Sessions 2 freakout 12” from 2002… compiled here in their remastered glory, the Heads were quite prolific back in the late 90s / early 00’s, and in between the Everybody Knows We Got Nowherealbum andUndersided album they released their jams and raw rehearsals via the burgeoning Rocket Label. Compiled here with extensive sleeve notes from Rocket founder Simon Healey, this limited 3LP (1000 copies) and 2CD (1000 copies) set captures the band at their most laconic and free… psychedelic sprawling morass or sound and aural distortion grooves akin drawing from their wide influences…also from simply plugging in and letting go. LP and CD both come with booklet

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Pink Floyd  –  BBC 1967 

Performing on 4 different dates in 1967, the year they released their first album, Piper At The Gates Of Dawn, this is Pink Floyd at their early, psychedelic, and raw best. Their showing in May of that year, for the program The Look Of The Week, was probably the earliest live video recording of the group and includes amazing versions of Pow R. Toc H. and Astronomy Domine. Two more recordings for the program Top Gear, which showcased the underground hipster scene of London, and one for Tomorrow’s World round out this amazing collection of early Floyd, including great versions of Set The Controls For The Heart Of The Sun, Flaming and Vegetable Man. Essential live recordings of Pink Floyd during their greatest era! Limited edition splatter vinyl LP.

The follow-up to Jenny Hval’s acclaimed 2016 album Blood Bitch is The Long Sleep, an adventurous new EP that sees the Norwegian multidisciplinary artist embracing an instinctive, even subconscious, approach to creating meaning. In contrast to Hval’s more explicitly conceptual work, The Long Sleep foregrounds the act of composition itself, letting the melodies and structures reveal the other elements of the songs. All of the songs on the EP recycle the same compositional motives, but manipulate them into very different shapes that take them further and further out of their original, “life-like” context.

Hval recorded The Long Sleep with longtime collaborator Håvard Volden and producer Lasse Marhaug, along with an ace new supporting cast of talented players from the jazz world — Kyrre Laastad on percussion, Anja Lauvdal on piano, Espen Reinertsen on saxophone, and Eivind Lønning on trumpet. Hval calls them some of her favorite contemporary musicians, and their musical background helps to give the songs on The Long Sleep their intuitive, improvised feel.

Releases May 25th, 2018

The follow-up to Jenny Hval’s acclaimed 2016 album Blood Bitch is The Long Sleep, an adventurous new EP that sees the Norwegian multidisciplinary artist embracing an instinctive, even subconscious, approach to creating meaning. In contrast to Hval’s more explicitly conceptual work, The Long Sleep foregrounds the act of composition itself, letting the melodies and structures reveal the other elements of the songs. All of the songs on the EP recycle the same compositional motives, but manipulate them into very different shapes that take them further and further out of their original, “life-like” context.

Hval recorded The Long Sleep with longtime collaborator Håvard Volden and producer Lasse Marhaug, along with an ace new supporting cast of talented players from the jazz world — Kyrre Laastad on percussion, Anja Lauvdal on piano, Espen Reinertsen on saxophone, and Eivind Lønning on trumpet. Hval calls them some of her favorite contemporary musicians, and their musical background helps to give the songs on The Long Sleep their intuitive, improvised feel.

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Jenny Hval Shares Dreamy Single 'Spells'

Norwegian experimentalist Jenny Hval has unveiled a new song ‘Spells’, the captivating lead track from her upcoming EP collection The Long Sleep. Replete with pulsing electronic grooves, ‘Spells’ conjures a dreamy soundscape of heart-tugging pianos, playful saxophones and Hval’s weightless vocals. Wading into balearic dance-pop territory, the song’s cascading melodies cast listeners adrift in whirlpools of sound as the artist cryptically sings

“You are your own disco ball hovering above you, like a comforting reminder that not even you belong to you.” The intoxicating track follows Hval’s winning recent collaboration with fellow Norwegian artist Lindstrøm ‘Bungl (Like A Ghost)’, listen to ‘Spells’ .

From ‘The Long Sleep EP,’ out May 25th, 2018.

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Devotion is a stunning artistic about-face from revered Melbourne songwriter Laura Jean. Loved for her piercing, intimate, folk-based albums such as 2014’s Laura Jean and 2011’s A fool who’ll, Laura has worked with producer John Lee (Beaches, Lost Animal) to create an enveloping, deep pop album like nothing she has done before.
Laura’s last self-titled album, recorded in the UK with John Parish (Perfume Genius, Aldous Harding, PJ Harvey) and featuring Jenny Hval on backing vocals, was a critical smash in Australia, shortlisted for the Australian Music Prize and nominated for two Age Music Victoria Awards.
The album lead to Australian and New Zealand tours with Aldous Harding and Marlon Williams, plus shows with Julianna Barwick, Jessica Pratt and more.
But soon Laura found herself tinkering with a 90s Kawai keyboard, enjoying its built-in drum rhythms and moody synth sounds. Laura began a series of shows performing with nothing but the keyboard, as the idea for her next album grew and developed.
Devotion is an album about teenage obsession, coastal child- hood and vivid memory – universal themes filtered through Laura’s razor sharp lyrical focus. Initial influences for the record took in R’n’B, 80s adult contemporary pop and 70s disco, but the end result is transformed into something wholly other, full of depth, resonance and mystery.
Played entirely by Laura, John Lee and drummer Dave Williams (Augie March), “Devotion” is both contemporary and timeless. 

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About the album, Laura says: “Devotion is about how a lonely coastal childhood filters into a contemporary adult life built hundreds of miles away. I wrote this album for my mum, middle sister and myself as we were at that time – eccentric, romantically-unfulfilled teens and a stressed out single mum trying to have a love life. In those times we needed to hear songs that were loving and uplifting, about the reality of intimacy, longing, romantic risk and reward. The album is narrated by me in the present, a detached adult figure far away from home, but still driven by an inner fantasy world that is set on the beach where I grew up.”

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Initially, the music on Kelly Lee Owens’ self-titled debut comes across a certain way. Owens has already proven herself adept at chilly, claustrophobic electronic arrangements that nevertheless still move. But her record is a deeper and more paradoxical work than first impressions might suggest. Her background includes both childhood choirs and young adulthood stints in the indie-rock world, and you can hear the lingering influence of both in the music she makes now: choir vocals in the ghostly or cooing way she sings and produces vocals, a songwriter’s eye applied to the limitless boundaries of dance music. Kelly Lee Owens feels removed and hypnotizing as much as it feels intimate and emotive, a personal work abstracted and reconstructed to the point where listeners can find their own way in no matter which direction they’re coming from.

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<em>Blood Bitch</em> by Jenny Hval

Blood Bitch is all about vampires and period blood, but it’s also an innovative piece of art that extends beyond the realm of music. Jenny Hval has always honored the taboo in her work by giving voice to topics not easily traversed in the mainstream, and she does it with unconventional pop sensibilities and hooks. “Conceptual Romance” might be one of the finest examples, but there are moments throughout this album that illustrate Hval as an artist who’s constantly thinking about what comes next — an avant-gardist in the truest sense.

Jenny Hval has never shied away from the taboo. That much was clear on the opening track to 2013’s Innocence Is Kinky, where the Norwegian avant-pop artist utters “That night, I watched people fucking on my computer,” placing special emphasis on the verb. Hval keeps intellectualizing the body on the still atmospheric but considerably poppier album Blood Bitch, which throbs with references to menstrual blood, vampires and ‘70s horror films, subjects that repeatedly get woven together in a dreamy stream of consciousness.

The haunted, organ-laced “The Plague” absurdly instructs, “keep that birth under control!” after Hval washes the Pill down with a gulp of rosé. And album single “Female Vampire” breathlessly captures two women’s flows synching up (“When I’m near you become someone else… Here it comes”). Set against noise producer Lasse Marhaug and Hval’s pensive yet buoyant soundscape.

Jenny Hval for SPIN, 07/10/16

The avant-garde Norwegian singer Jenny Hval pulls off this feat with a rare grace, layering prose poems, both spoken and sung, over synths, pulsing house rhythms, and noise-rock fuzz.” –

Arguably the most consistently interesting artist of the last few years returns with an album about blood: specifically, menstrual blood, along with vampires, time travel and the rigors of touring: “This is my most fictional and most personal album. It’s also the first album where I’ve started reconnecting with the goth and metal scene I started out playing in many years ago, by remembering the drony qualities of Norwegian Black Metal. It’s an album of vampires, lunar cycles, sticky choruses, and the smell of warm leaves and winter,” says Hval,

Jenny Hval — Blood Bitch (September 30)