Posts Tagged ‘Sweden’

Jesper Lindell was the breakout star of 2017 on the Swedish music scene, when he released his debut EP. Produced by Benkt Söderberg, father and former producer of the world-renowned sister duo First Aid Kit, “Little Less Blue” presented a collection of songs that were equal parts soul, Americana and rock.

Lindell went on to star in the acclaimed show “Who by Fire”, a tribute concert to Leonard Cohen organized by First Aid Kit at the Royal Dramatic Theatre in Stockholm, where Lindell performed the Cohen classic “Chelsea Hotel #2”.

Jesper Lindell’s enticing debut album Everyday Dreams (out November 29th via Alive Naturalsound Records) is a clever mixture of rock, folk, blues and soul, performed by a 26 year old musician in love with classic pop, Stax-Volt R&B, and that old time rock & roll. The album finds the young guitarist/pianist/songwriter delivering an intimate collections of songs that could have been recorded in the late sixties. This is modern classic rock music, and hearts full of soul will fall in love.

“Stormy Waters”, one of the main singles on the new album. The song is a groovy nugget of throwback soulful rock and roll. Lindell showcases a voice that is completely original and well-suited to lead a band. Speaking of band, his conjures a subtle yet powerful sound, letting the music ebb and flow around the singer’s emotive vocals and the catchy choruses and harmonies. With its stomping piano and revelatory lyrics that feel like Lindell conquering life’s challenges,

Lindell shares his own story behind the song:

“When I wrote ‘Stormy Waters’ I was signed to one of the larger record labels in Sweden. I had just been to a meeting with the label and had played some of my demos, and the head of the company didn’t like any of them. And I remember feeling like a shipwreck when I got home. And that’s when I wrote ‘Stormy Waters.’ Though the song is not about that meeting. It’s about that feeling. And holding onto something that’s dragging you down. The songs I played for him turned out to be my debut album Everyday Dreams.”

Taken from the album “Everyday Dreams”

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Since their formation in 2016, the Swedish indie-pop quartet Hater have released two EPs and two full-length albums, the most recent being last year’s excellent Siesta (released via Fire Records),  With Caroline Landahl on vocals and guitar, Måns Leonartsson on guitar, Adam Agace on bass, and Lukas Thomasson on drums, the band’s dreamy and oftentimes moody sound was augmented by some atmospheric lighting. Hater treated the crowd to a 13-song setlist spanning the entirety of their discography, including both sides of their latest 7”, “Four Tries Down” backed with b side “It’s a Mess”

As they are Hater are gearing up for their first-ever North American tour, and to promote it they’ve got a new 7″ single that’s out September 6th. Like on last year’s terrific Siesta, A-side “Four Tries Down” is dreamy guitar pop with a melancholy aura.

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Hater announce ‘Four Tries Down/It’s A Mess’ 7″ vinyl out 6th September

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Marti West sent us his latest song and we were instantly struck by how powerful and close to our own life stories it was. We’re incredibly grateful for the awesome people that joined us, such kind, giving, energetic souls that just went for all our ideas and provided their own amazing creativity. Enjoy ‘Give Me Light’!

Marti West is often on the move. Born in Massa Marittima, near Siena in Tuscany, the Italian-English songwriter spent his early years living in Italy where he was first exposed to music through local opera performances in the town piazza. Musical masterpieces by Verdi, Donizetti and Puccini were often heard through an open window and instilled a love of melody and storytelling at a young age.

Since then, he has lived in London, Oxford and Bristol studying music and always releasing songs along the way, before finding his current home in Gothenburg, Sweden. The sparse northern landscapes and minimalist aesthetic of the Scandinavian lifestyle have affected his work, and his mini-album “VIII” to shows a more textured nuance to the writing.

His latest single “Give Me Light” continues this artistic trajectory, placing ethereal vocals in an atmospheric setting drawing comparisons to Elliott Smith, Dustin Tebbutt and Bon Iver.

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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.

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.”