Posts Tagged ‘Ruins’


It’s been almost four years since Stay Gold, the critically acclaimed album full of Cosmic American Music-tinged folk, put Swedish sisters Johanna and Klara Söderberg on the map. As fans eagerly awaited a follow-up, the sisters slowly broke down. Subjected to the draining tedium of a never-ending tour, they found themselves going through the motions as the ground beneath their feet never stopped moving. Written largely in Joshua Tree, where they hunkered down after the dissolution of Klara’s engagement, Ruins is a mature record.

Compared to their previous work, Ruins feels subtle, a little more grown up. While it is missing some of the energy of earlier singles like “Stay Gold” and “Silver Lining,” this album expands upon their mastery of the American songbook. Never feeling like outsiders, the Söderbergs are consistent and confident in their execution. Working with producer Tucker Martine and Peter Buck or R.E.M. fame, Ruins has the requisite twang that has charmed listeners since their debut EP Drunken Trees (2008). The perfect combination of the sisters’ voices remains the heart of their music. Their harmonizing is organically crystal clear in a time of over-synthesized production; the purity is shocking.

Ruins may not recapture the intensity of Stay Gold, but its strength lays in the duo’s swooning vocals and lyrical romance. Where it misses the loud, creative production of past albums, folk vocals with a little extra (those harmonies!) pick up the slack. Ruins is a charismatic, concise send-up of a style unclaimed by many young American musicians in 2018, but exquisitely executed by these special Swedish talents.”

Not that it’s darker, per se; their gorgeous, blood-close harmonies and the sunny streaks of pedal steel guitar keep it from ever feeling too morose. Instead, there’s a gentle weight of experience that permeates the album’s lyrics, a freshly sharpened edge of cynicism explored across several different sounds. There’s the classic country of the easy-riding “Postcard,” the ‘50s doo-wop vibe of “Fireworks” and a return to their folk roots with “To Live a Life.” 

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The Girl Who Cried Wolf is a five piece from Belgium. The band was created around a love for raw, dark and melancholic music. With a sound best described as hypnotic doompop, they try to draw people into their own universe. A universe inspired by bands like Portishead, Chelsea Wolfe, Esben & The Witch, Wovenhand,… TGWCW has built a solid live reputation with numerous shows in Belgium and The Netherlands. So far they’ve released an EP (Ohm ), an album (RUINS ) and several singles. They’re currently working on a new album, and have just released a new single/video ‘Tin Men’.


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Swedish folk duo First Aid Kit have unveiled the title track from their forthcoming LP, Ruins, due out on January. 19th via Columbia Records.

Following the release of advance tracks “It’s A Shame,” “Postcard” and “Fireworks,” “Ruins” is a more somber affair, its introspective folk musing on the end of a relationship with the duo’s vocals beautifully weaving in and out of one another, surrounded by minimal, calming instrumentation.

The “Ruins” video is a live performance from the Rebel Hearts Club Austin Texas, featuring a witty introduction from an older British man before the duo’s acoustic song gently mesmerizes with its lap-steel guitar and luscious, tender country vocals. Watch the live video for “Ruins” below.

The duo’s fourth studio album, Ruins was produced by Tucker Martine (My Morning Jacket, Laura Veirs) and recorded in Portland, Ore. where the Söderberg sisters collaborated with R.E.M.’s Peter Buck, Wilco’s Glenn Kotche and Midlake’s McKenzie Smith.


First Aid Kit, noted Swedish pop duo consisting of sisters Johanna and Klara Söderberg, have released the latest single from their upcoming album Ruins. “Fireworks” is somewhere between a gentle waltz and a march, bolstered by a lithe string arrangement, backing vocals, intricate guitar interplay, and as usual, a remarkably tuneful lead melody. “Why do I do this to myself every time,” Söderberg sing in harmony, in a chorus that sounds like it could have been cribbed from a Righteous Brothers single. “I know the way it ends even before it’s even begun/I’m the only one at the finish line.” Listen below. Ruins is out on January 19th.

“Fireworks” off First Aid Kit’s upcoming album ‘Ruins’ is available now.

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First Aid Kit have announced the full details of their fourth album Ruins which will be out on January 19th, it is the follow up to 2014’s acclaimed Stay Gold.

The Söderberg sisters announced their return at the end of September with ‘It’s A Shame’Ruins will come out on 19th January, and the band have shared another sample of the new record with ‘Postcard’.

The single leans heavily on the style of classic country ballads about a fading romance, with sliding guitar swells and ambling rhythms accented by sophisticated piano lines. The duo’s seamlessly blended harmonies bid a lover farewell: “Send me a postcard when you get to where you’re going / Send me a line to everything you’ve left behind.”

“‘Postcard’ is one of the most traditional-sounding songs we’ve ever written, and we wanted the production to mirror that,” the sisters have said . “It’s not a resentful song, but more of a reaching out to a lover to wish them well on their journey in the midst of having to let them go.”

The Swedish band’s Instagram reveals Ruins was produced by Tucker Martine and recorded at Flora Studios in Portland, Oregon. the girls collaborated with R.E.M.’s Peter Buck, Wilco’s Glenn Kotche and Midlake’s McKenzie Smith.

GROUPER – ” Lighthouse “

Posted: January 25, 2015 in MUSIC
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No other album in 2014 sounded quite like Grouper’s “Ruins”. Liz Harris, from Portland, Oregon. is the musician behind Grouper’s murky world of sound, recorded the album with a four-track tape deck and a single microphone at a house in Portugal, where she was doing an artists’ residency. Each day she walked through the ruins of several old estates, sifting through a lot of what she calls “emotional garbage” and anger. “Ruins” captures this period of soul searching — a delicately woven mix of Harris’ wispy voice, a lone piano and a menagerie of incidental sounds that sneak into the recordings: Distant bullfrogs, crickets, the wind, the creak of a wood floor. It’s a profoundly moving collection of songs that feel almost cavernous, like the dark and empty hole that must reside somewhere in Grouper’s heart.



The ambient US musician’s 10th studio album is “the most heartbreaking and beautiful record of the year by a country mile…”. The album was recorded very simply with a portable stereo microphone next to an upright piano, and even includes a beep from a microwave picked up accidentally. Liz Harris, from Portland Oregon, however, is unlikely to share any of these piscatorial characteristics but the music on her new album ‘Ruins’ does indeed
have more than a little flavour of cimmerian subaquatic mystery about it.

This collection could not, in any terms, be considered “easy listening”. Ms Harris has a disctinctive vision which bares some resemblance to the spectral landscapes conjured by Austrian singer/songwriter Anja Plaschg (aka Soap & Skin) and listening to these eight compositions is among the most unsettling musical experiences I have had this year.

Following an enigmactic introduction, which consists of little more than
a faint heartbeat and what seems, to my hairy ears, to be a few croaks
from a wayward crow, the first song in the set, ‘Clearing’, an arrangement
for voice and piano, unfolds so quietly that it is almost impossible to
discern the half-whispered words but the fragile melody is quite beautiful
in its own way and the sum effect of the piece is strangely captivating.