Posts Tagged ‘Sweden’

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Sometimes you need an amazingly crafted Swedegaze pop album, and sometimes that album will kick in your door, shower you with kisses, then proceed to back its time capsule steamroller over your face. Set your picnic blanket ablaze. Eat flowers while skydiving. Sleep beneath the waterfall. Absolutely gorgeous.

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Vocalist Julia Bjernelind going solo on vocal duties, adding a new sense of linearity contrasting with Last Forever’s male-female dialogues. From the previously mentioned burners to the relatively slow numbers like “Daylight”—still pretty fast, not to mention unbelievably dense—their self-titled works as a posthumous debut introducing themselves as a collective held together with friendship, as Bjernelind claims, and marked by an aptly floral cover design. Their beach-friendly riffs seem less an act of provocation and more one of pure optimism—a welcome disposition any time of year.

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Stockholm band Melby bring a mildly psychedelic and moody outlook to dream pop on debut full-length, “None of the This Makes Me Worry”. While the band favors strong, instantly earworm-y melodies and baroque instrumental choices, the songs here are just slightly too long, sophisticated, and altogether downbeat to be pigeonholed as sunshine pop. But there’s also a playfulness in Melby’s approach that recalls psych’s more childlike impulses, with Matilda Wiezell’s subtly emotive vocals contributing to the band’s balance of modern and warmly nostalgic sounds.

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Debut LP ‘None of this makes me worry’ out April 12th via RamaLama Records and Sinnbus

released April 12th, 2019

All songs performed and arranged by Are Engen Steinsholm, Matilda Wiezell, David Jehrlander & Teodor Jernkvist.

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There’s a prevailing image of The Tallest Man of Earth — Swedish folk singer Kristian Matsson’s musical moniker  of a wayward, sometimes homesick vagabond in the constant pursuit of adventure.

Gotta say, I really wasn’t expecting to say this, given my love of the previous albums The Wild Hunt and “Shallow Grave”, but The Tallest Man on Earth has possibily just put out the best record of his career (and among my favorite records of 2019 so far). This is, what he should sound like, what he’s been trying to sound like the last few records and didn’t start to really get his footing on until the demo project a few years back and the EP he slowly dripped out last year. There’s an urgency to it, but a considered one, one that comes with time and heartbreak and rebuilding your life and figuring out what exactly matters. It’s lush in all the right ways and at all the right times, and bare in all the right ways at all the right times, and a combo of the two in all the right ways at all the right times. It’s an astoundingly gorgeous and engrossing album, and I’m so glad we finally hear the sound he’s seemingly been chasing for over a decade.

The Tallest Man On Earth’s album ‘I Love You. It’s A Fever Dream.’

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Hater was coming to Dijon 3 days before the gig.. so FD contacted the band via facebook very quickly for a session at the end of soundcheck and the answer was « yes ! ». We recorded the tracks twice, in live condition. Really nice people, great LP with great pops songs. A lot of emotion in the vocals.

Session #186 : Hater (07/11/2018).

New album ’Siesta’ out on Fire Records on the 28th of September.

Tracks :

Fall Off ,Things to Keep Up With,

Venue : L’atheneum, Dijon. Recorded: 2018, november, 07th.

Recorded in live conditions at the end of soundcheck at the venue ‘L’atheneum’ in Dijon. Thanks to the band for their kindness, Fabrice for the lights, and to the wonderful Sabotage crew,

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The singer and songwriter artist Vilma Flood from the steel town of Avesta in Sweden started her career in the blues world and appeared around many of Stockholm’s and Dalarna’s blues scenes. but Vilma found her greatest source of inspiration in the folk / indie genre through artists like Melanie, Alela Diane, Buffy Saint-Marie, Leonard Cohen and Ane Brun. She has since created her very own mix of blues, folk and pop together with fellow musicians Lars Knutas and Pontus Lundin.

Vilma has shared a new track called “Green Eyed Moron” with her powerful, dark and vibrating voice, combined with big marching drums, acoustic guitars and slide guitar  to deliver a really compelling and intoxicating slab of melancholic, bluesy Americana. It reminds us of Jolie Holland or Gretchen Peters no less.

Her next single is released this Friday! Vilma and Pontus Lundin wrote the song sitting cross legged on a carpet in a big unfurnished room .

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Her first album ‘Before Sunrise’ was released in 2016 and received a very nice reception by both the audience and the media and it has taken her on both big and small gigs around the country. Now Vilma is up to date with the second album ‘Moodswinger’, which will be released on April 26th, The pillars are pedal steel, slide guitar, big drums,plus Vilma’s vibrant, directly recognizable powerful voice

Band: Pontus Lundin, Lars Knutas and Roger Gustafsson

One of 2015’s most ambitious records, Anna von Hausswolff is a diamond in carving out colossal songs which start in one place and evolve into a myriad of others before, very often, bursting into something quite magnificent. We fell in love with The Miraculous the first time we heard the sprawling 10-minuter Come Wander With Me/Deliverance – before the whole album sound tracked a grey October in Budapest. The fourth album by Sweden’s Anna von Hausswolff grapples with mortality, but the music is far from morose. In fact, Dead Magic is possibly her most triumphant release to date, offering uplifting crescendos propelled by rising rhythms, swelling guitars, and von Hausswolff’s seemingly-unlimited vocal powers. It helps that von Hausswolf recorded the organ parts in one of the largest churches in Scandinavia, giving the album’s cathartic bombast and even more epic feel. But it’s not the tools von Hausswolf used that make Dead Magic so intoxicating; it’s the transfixing vision and unswerving commitment she brings to every note that she utters.

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Me, my band and Randall Dunn spent 9 days in Copenhagen recording this record. The great pipe organ you’re hearing is a 20th century instrument located in Marmor Kirken, “The Marble Church”, Copenhagen.

Here is a poem for you by the Swedish writer Walter Ljungquist (1900-1974):
”Take the fate of a human being, a thin pathetic line that contours and encircles an infinite and unknown silence. It is in this very silence, in an only imagined and unknown centre, that legends are born. Alas! That is why there are no legends in our time. Our time is a time deprived of silence and secrets; in their absence no legends can grow.”

Please enjoy the music. Yours sincerely, Anna von Hausswolff” released March 2nd, 2018

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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.” 

Hater - Siesta

Hater have a new album ‘Siesta’ due out 28th September and another New single ‘Fall Off’ . Sweden’s Hater know how to sprinkle in the right amount of melancholy. The indie quartet wowed us last year with their debut LP, You Tried. It was a triumph of fuzzed out dream-pop, it earned them a spot on our Best New Bands of 2017 list. While Hater’s songs are typically filled with infectious riffs and easy-going melodies, Caroline Landahl’s bittersweet vocal delivery always keeps things rough around the edges. There’s pain between the soft glow of warm guitar tones and rosy harmonies.

Thet are one of the best, most underappreciated bands “Fall Off” finds Hater at their most softly devastating, wistful and full of hope, and it’s one of our favorite tracks from the group’s beautiful new LP Siesta” .

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I heard their earlier hazy single “It’s So Easy,” which is less gloomy, thanks to some sparkly synth work and crisp production. Even so, Hater maintain their laid-back sound with bright, jangly hooks and characteristically excellent guitar work that reminds me ’80s jangle pop bands like the Feelies or even the college rock sound of early R.E.M. records. Via email, the band explained, “Sometimes one can feel that everything’s fine without really being in touch with your own feelings. It’s so easy is about seeing a close friend ignoring such things.”

“It’s So Easy” is one or two new singles we’re hearing from Hater’s upcoming album, Siesta. Like the title would suggest, the song is nothing short of easy listening, the perfect complement to a summer drive at golden hour — or, nodding to the album title, an afternoon nap after spending your morning at the beach.

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The other new track, “I Wish I Gave You More Time Because I Love You,” serves as the B-side and also directly follows “It’s So Easy” it on the Siesta tracklist. The band calls it “a beautiful song which includes a magnificent saxophone played by Inge Petersson Lindbäck.” They add, “It’s about the strong bonds you can have with a family member, being together, but still not. Also there’s some congas in there somewhere.

Echo Ladies make expert use of ghostly vocals, a style employed by everyone from Ian Curtis to CHVRCHES, where the words feel far away—like they’re coming through a radio in another room. Echo Ladies, like Makthaverskan and Agent blå are part of a flurry of post-punk-leaning pop to flood out of Sweden. New on the scene and released by the excellent U.K. label Sonic Cathedral, “Pink Noise”could be the soundtrack to a dark high school comedy (called Pink Noise, of course) that follows an all-girl post-punk band trying to make it. It’s their liberal use of synths, classic pop song arrangements, and simplistic drum machine beats that set this album apart.

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Released June 8th, 2018

All songs by Echo Ladies

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Stockholm-based Delsbo Beach Club have been one of this year’s most frequent live acts on the capital’s indie scene and are set to release their instantly charming debut single All The Way Home on Swedish label Rama Lama Records (Steve Buscemi’s Dreamy Eyes, Melby).

The track, a fine representation of the band’s expertly crafted sound, finds its irresistible strength in their fuzzy indie pop melodies, with hints of classic garage and surf rock drawing early comparisons to the likes of Mac DeMarco.

Having formed when frontman Erik Björklund moved to Stockholm from northern Swedish city Umeå and began recording a ton of bedroom pop demos, before joining together with Alexander Kuronen (drums), Max Englund (guitar) and Aron Lange (bass), the band have since developed into an infectious live outfit and will release their debut EP early next year.

Stockholm band Delsbo Beach Club’s debut single, out on all platforms via Rama Lama Records Oct 11th

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Band Members
Erik Björklund
Jesper Jonason
Alexander Kuronen
Stas Neilyk
Ebba Vikdahl