Signe Svendsen "Hvem vil ikke elskes igen" (2022)

Hvem vil ikke elskes igen

udgivet: 14. okt. 2022

format: vinyl (LGLP2201) / digital (10 x File, FLAC)

[vurdering: 4 / 5] [3,86]

producer: Lars Skjærbæk

selskab: Lydia Gramophone - nationalitet: Danmark

Udvalgte numre: 1. "Tiden" - 2. "Du fik hendes øjne" - 3. "Hvem vil ikke elskes igen" - 4. "Sig at solen rejser sig" - 6. "Ville give dig alt" - 7. "Hun sagde det" - 9 "Lydia" - 10. "Uden aftale"

5th studiealbum af Signe Svendsen følger lidt mere end 2½ år efter Det forlyder (jan. 2020). Albummet er som alle hendes udgivelser produceret af Lars Skjærbæk, som også medvirker som instrumentalist på guitar, mandolin, synthesizer og som korsanger - hans yngre bror Troels spiller bas, og Lars' datter Sofie Juliane er ligeledes med på kor. Albummet er blevet til i selskab med en tæt række kendte musikere, som også inkluderer multi-instrumentalisten Christoffer Møller, som i øvrigt ofte har dannet musikalsk partner med Skjærbæk i deres roste producer-duo Mahler & Bir. Signe Svendsens eget selskab Lydia Gramophone er i øvrigt opkaldt efter hendes bedstemor, som også er centrum for den stærke "Lydia" (sang #9), hvor Svendsen gendigter noget af den barske skæbne bedstemoren gennemlevede.

Hvem vil ikke elskes igen følger i Svendsens melankolsk-stilede folk og ballade-orienterede singer / songwriter udgivelser. Svendsens pen er gennem årene blevet skarpere, og sangene her står mere personligt skarpt og passer virkelig flot i det musikalske udtryk der manifesteres her, og albummet fremstår ganske enkelt som Svendsens hidtil bedste. Det er et album uden overflødigt fyldstof og efter min mening, kandiderer det til årets bedste danske udgivelse.

Stor anbefaling.

[ Gaffa.dk 4 / 6, Politiken, BT 5 / 6 stjerner ]

Illeborg & Lysdal "Hjertekamre" (2004)

Hjertekamre

release date: 2004

format: cd (APCD 60067)

[album rate: 3,5 / 5] [3,48]

producer: Jens Lysdal

label: ArtPeople - nationality: Denmark

Track highlights: 1. "Hjertekamre" - 2. "Kan ikke huske" - 3. "Den mælkehvide måne" - 5. "På må og få" - 9. "Alt kan gå i stå" - 11. "Paradis"

Collaboration album by the two folk and singer / songwriter soloists Laura Illeborg and Jens Lysdal. Admittedly, neither have taken up much space in my music collection, as I have always found it difficult to listen to Danish contemporary soft folk which mostly comes with bonds to a schlager genre I associate with kitch and an indefinable ingredient of something non-professional, which of course is completely ungrounded and also is an undeserved criticism. I have no idea from where that has its foundation, but when consciously approaching music you tend to reject, for whatever reason and all because of a judgemental position, not to forget (ugly) double-standards - meaning: the poorest reasons of all, then you should instead try to be more open-minded and focus on a want to dig out an understanding of the obvious qualities that many others see so easily.

The sudden death of Laura Illeborg early October this year made me curious about her music, as I simply had no idea of what she had produced. Illeborg only lived to be 55 years of age but she has made a solid list of releases in what I understand is a varied discography. Initially, she performed as backing vocalist on various releases for a vast number of artists from all genres and styles, and from 1996 as soloist - her debut album is Lyv mig natten lys (1996) - as collaborator, and featuring vocalist, she has long gone ensured her name in Danish music history. Jens Lysdal is likewise an artist who started out accompanying others, primarily as guitarist and backing vocalist, after which he initiated a solo career with A Matter of Time (1995). Lysdal is a multi-facetted musician with roots in jazz, folk, country, and everything in between and close by, and in company with Illeborg the two showcase a wide repertoire in a soft corner of contemporary Danish folk. And I do enjoy it. The album contains 11 songs of which nine have lyrics by Illebord and music by Lysdal. Track #8 is co-written by Lysdal, and the end-track is exclusively credited Lysdal, who also performs as multi-instrumentalist and as producer. Stylewise, you could label it ballads with elements from jazz, pop, and folk, and it's music arranged with a classic set of minimal instrumentation, focusing on vocal, electric (jazz) guitar, bass, percussion and a small doze of keyboard. It's music made with melancholy as a centre point but balanced with a lightness running through the whole album. Some songs stand more alone as quiet vocal performances, while others engage with more tempo without being uptempo arrangements.

Laura Illeborg performs with her strong original vocal, and she obviously masters the slow intimate parts as well as more uptempo pop variants. No wonder, she has a long record as featuring vocalist in the studio, and together, Illeborg and Lysdal appear like a strong duo. In Illeborg's discography, the album follows what may be regarded as her national breakthrough, the album Lidt in Love (2002), and it's succeeded by the well-received album God vagt (2007).

Hjertekamre is a solid and well-executed album in the soft corner of folk that should appeal to fans of jazz, ballads, and folk.

Søren Huss "Vi fik mere end vi kom for" (2024)

Vi fik mere end vi kom for

release date: Apr. 5, 2024

format: cd

[album rate: 3,5 / 5] [3,58]

producer: Søren Huss & Christian Balvig

label: Universal Music Group - nationality: Denmark

Track highlights: 3. "Sensommerdrøm" - 4. "Et støvet loop i inderste rille" - 5. "Langt ude, langt oppe, langt nede og langt, langt væk" - 7. "Kinddans" - 8. "Lyden af os under ét tag" - 10. "Stoledans"

5th studio album by Søren Huss following 4½ years after Sort & hvid til evig tid (Sep. 2019) is despite the time span an album of a familiar style. His 2019 album was in a way a final statement that his songs are eternally bound to both dark [sort] and light [hvid] sentiments. Some critics had early on directed some criticism to his blue-toned melancholic soundscape and Huss also made attempts in writing positive and lighter songs but he has made it clear that his musical tone is one of many blue notes. In that regard this only follows suit with his previous albums. It's music filled with harmony, light tones and uplifting moments AND it's nevertheless soothing with melancholy.

The musical expression is far from that of Saybia - only the vocal is familiar but that's how Huss primarily comes out on his own. All songs are credited Huss, and his backing band is a mix of stable instrumentalists. Guitarist Lars Skjærbæk has been aboard on the most recent three albums and bassist Morten Jørgensen and drummer Jesper Elnegaard have both been stable musicians on all of Huss' solo albums.

Vi fik mere end vi kom for ['We Got More Than Expected'] is by no means a poor collection of new songs, and in that regard it's a most fitting title in that it's also an excellent description of the album. The title is taken from track #5, which appears as the central song of the album. Huss stays on a safe path - he certainly has visited these roads before and some of the songs could easily be followed by older material without anyone finding it a disturbing change. Huss has never been afraid of narrating about his personal life and about existential crisis. He has found himself in a depressive state, which appears to be central to these ten new songs, and that theme is far from new to fans of his discography. That said, it's a return to his more minimalist songwriting as you'll find it on his first two solo albums. It's still an original sound with influence from folk rock and a whole world of balladry with a subtle touch of jazz. It's music for solitude, for rainy days and for attentive listening, and once you have accustomed and adjusted your expectations, it's like a cleansening bath in Autumn leaves.

[ Gaffa.dk 5 / 6, Politiken, Ekstra Bladet 4 / 6 stars ]

Cornelis Vreeswijk "Cornelis' Bästa" (1985)

Cornelis' Bästa, compilation

release date: 1985

format: 2 cd (2010 reissue)

[album rate: 4 / 5]

producer: various

label: DB Records - nationality: Sweden

Best of compilation by Dutch-Swedish troubadour Cornelis Vreeswijk is the only compilation released during his lifetime. The album was originally released as a triple vinyl album on the Norwegian DB label. The album is a mighty fine collection, although, it still feels insufficient. A 2003 2 cd-only compilation with the same title but a different release issued by Metronome appears as a better choice in representing his best material; however, in the case of Vreeswijk with his vast repertoire of songs, any compilation would come out as insufficient but if you only want one album this isn't bad at all.

Vreejswijk deserves this type of recognition, although, his studio albums are preferred over the many compilations. His status as singer / songwriter and a genuine Nordic troubadour puts him on the shelf among the best.

Out of the Woods "Birds and Beasts" (2020)

Birds and Beasts [debut]

release date: Jun. 12, 2020

format: vinyl (gatefold - OOTWLP1)

[album rate: 2,5 / 5] [2,48]

producer: Ditte Grube Barild

label: self-released - nationality:

Studio album debut by Out of the Woods aka Ditte Grube Barild who has written, arranged, recorded, and produced all songs.

I purchased this on the evening of a concert with Nanna Bech and Out of the Woods in my hometown back in 2020. I must confess that I found the performance and the music by Bech superior to this but still wanted to support two performing artists by purchasing their music. However, I do find this lacking an original tone and frankly think of it as non-inspiring. That said, Ditte Grube has produced everything on her own, which calls for much respect, but as a an original work of art, as a musical statement, I think the album suffers on several parameters. The songs and the albums as such are quite a coherent whole but also lacking colours that enables you to distinguish the single tracks from one another., and then the arrangements of it all simply call for supporting instrumentation. Not all music needs melody lines and musical hooks in a traditional sense, but if you aim to construct music in other ways, you need something else to grab the listener's attention - and this is where Birds and Beasts fail, 'cause the narratives are not strong enough, the music is too anonymous, and I guess you could say the same about the vocal performance by Ditte Grube.

Not recommended.

Elvis Costello "North" (2003)

North
release date: Sep. 23, 2003
format: cd
[album rate: 3,5 / 5] [3,42]
producer: Elvis Costello and Kevin Killen
label: Deutsche Grammophon - nationality: England, UK

18th studio album by Elvis Costello following 1½ year after When I Was Cruel is more of a solo album than most of any all his studio releases. Despite having what seems as a full orchestra of strings and brass musicians supporting him and also appearances by all of The Imposters: Steve Nieve, Pete Thomas, and Davey Faragher, the album comes out as a quiet and very ballad-like collection of vocal jazz compositions. Also, the majority of the song titles reveal an album with full attention on love ballads. Apparently, the album both reflects Costello's broken relationship with Cait O'Riordan as well as his newfound love with Canadian pianist and jazz vocalist Diana Krall, whom he married Dec. 2003.

The album bonds nicely with his two collaboration projects, the live album Deep Dead Blue (1995) with Bill Frisell as well as Painted From Memory (1998) with Burt Bacharach - and mostly with the latter by also having a full orchestra as backing band. Having said that, it's not an album that reflects his splendid ability to arrange and compose music - it's really like stretching his hands out to Krall and stating: "You know, I did all that but I can also make really soft vocal jazz and jazz pop music - really much like you do!", which some critics noted by referring to the style as closer to what Krall normally released than was the case with Mr. Costello.

Best thing here is the songwriting.

[ allmusic.com 3,5 / 5 stars ]

Signe Svendsen "Det forlyder" (2020)

Det forlyder

release date: Jan. 31, 2020

format: cd

[album rate: 3,5 / 5] [3,52]

producer: Lars Skjærbæk

label: Lydia Gramophone / I Do Records - nationality: Denmark

Track highlights: 1. "Det forlyder" - 2. "Sort / hvid" - 3. "Langsom musik" - 4. "Lys ud, lys ind" - 7. "Fugl fra min hånd"

4th studio album by Danish singer / songwriter Signe Svendsen. The album follows nearly four full years after Rift (Mar. 2016) and it's Svendsen's first on her own label Lydia Gramophone. On her own website, Svendsen points to the album as a turning point and a new beginning in her songwriting. Only downside here is a short album of eigth tracks and a total running time just a little above 35 mins.

Where the predecessor took a turn towards a simpler and more direct rock-sound Det forlyder is a slight return to more quiet alt. country and folk. The songs seems primarily with acoustic instrumentation - here and there, you hear electric guitar and keyboard but the overall sensation is one of stronger intimacy. At first you may find it closer related to her second album Kun de faldne rejser sig (2013 but the soundscape is now coloured by dobro and lap steel, and a wider vocal range.

All in all, Signe Svendsen has by now established herself as an original Danish singer / songwriter of highest quality and one to keep eyes and ears for.

Recommended.

[ Gaffa.dk 4 / 6 stars ]

Teitur "I Want to Be Kind" (2018)

I Want to Be Kind
release date: Jun. 8, 2018
format: cd
[album rate: 3,5 / 5] [3,52]
producer: Thomas Bartlett, Teitur Lassen
label: Arlo & Betty Recordings - nationality: Faroe Islands, Denmark

Track highlights: 1. "Looking for a Place" - 2. "To Be of Use" - 3. "If Your Heart's Not in It" - 6. "I Would Love You All the Same" - 8. "I Want to Be Kind" - 12. "I Have Found My Happiness"

7th studio album by Teitur follows almost five whole years after his most recent album Story Music (Oct. 2013). In the meantime, Teitur released the collaboration album Confessions (Oct. 2016, released on Nonesuch) with American composer and conductor Nico Muhly.
I Want to Be Kind is a bit of a return to his roots in chamber pop and quiet folk rock. Except for his brief take with Story Music and his collaboration work with Nico Muhly, it's not that Teitur is notorious for making big experimental detours on his musical path, where he stays pretty much to a formula with roots in folk and leaving enough room to embrace both ballads and more rock-oriented compositions, and that's also what he has returned to here. After all, I think he sounds more confident in his songwriting than he did on the more experimental Story Music.
It's a nice collection of sometimes deep and witty songs, and as always, Teitur has a fine ear for melody.

Nanna Bech "I Could Kill You in a Thousand Ways" (2018)

I Could Kill You in a Thousand Ways [debut]

release date: Nov. 16, 2018

format: vinyl

[album rate: 3,5 / 5] [3,64]

producer: ? (rec. by Dennis Ahlgren)

label: self-released - nationality: Denmark

Tracklist: A) 1. "Never Quiet" - 2. "Lips" (live session) - 3. "One Day" - 4. "The Fool" - - B) 1. "Traffic Light" (Radio Edit) - 2. "The Town" - 3. "I Could Kill You in a Thousand Ways" - 4. "Still Here" - 5. "Lost"

Studio album debut by Danish musician Nanna Bech is a self-released album with nine compositions written, and composed by Bech and co-arranged with Dennis Ahlgren, who also contributes on guitar, bass, synths, and percussion. Aside from singing, Bech also handles piano and ukulele parts.

Musically, it's in a quieter corner of indie pop with strong influences from folk, Nordic folklore, and it could also come with a sticker labelling it as neofolk.

Bech has a delicate singing voice, which adds a destinct quality to all songs, and the arrangements are made with an ear for rhythm and melody, which allows for Bech's funny and story-telling lyrics to stand out on their own terms. The songs have a common theme of the macabre but the stories are wrapped up in serene colours, in softness, and with a lightness that all function as deliberate oppposites showing you a wink as an invitation for a smile. Frankly, I don't think this album comes with any fillers, and to pick the highlights is more than ordinarily hard, and instead of handing the listener with an album of hit song potential, it's really the whole package and the uplifting state it may settle you in that ensures this as a succesful and most recommended debut.

Now, having heard Nanna Bech live, I only wish she would grant us with more of her talent, and perhaps issue an album of songs with lyrics in Danish.

[ Gaffa.dk, Gfrock.dk 4 / 6 stars ]

Eddie Skoller "En enkel sang om frihed" (1970) (single)

En enkel sang om frihed, 7'' single

release date: 1970

format: vinyl

[album rate: 3 / 5] [2,76]

producer: John Friis

label: Philips - nationality: Denmark

Tracklist: A) "En enkel sang om frihed" - - B) "Den grå dame" (live in 2006)

Single release by Danish folk pop and entertainer Eddie Skoller (aka Edward Ralf Skoller) from his early career as folk troubadour and singer / songwriter shortly before breaking as musical and comic entertainer. The title track is a song by Bobby Darin titled "Simple Song of Freedom", not issued by Darin until '71, and here with (more or less directly translated) Danish lyrics by Skoller.

This single was part of my parents' record collection, and it's a single I knew of at age 6-10 but never really enjoyed - probably because it's touching on schlager music.

~ ~ ~

This post is part of MyMusicJourney, which enlists key releases that have shaped my musical taste when growing up and until age 14. Most of these releases come from my parents' and / or my older brother's collection.

Liz Green "Haul Away!" (2014)

Haul Away!
release date: Apr. 14, 2014
format: cd
[album rate: 3,5 / 5] [3,52]
producer: Liam Watson
label: Play It Again Sam - nationality: England, UK

Track highlights: 1. "Battle" - 2. "Haul Away" - 3. "Rybka" - 4. "River Runs Deep" - 5. "Where the River Don't Flow" - 7. "Into My Arms" - 8. "Island Song" - 9. "Little I"

2nd album by Liz Green released on Play It Again Sam. Liz is a multi-talented artist, who did all the artwork for the album as she did on her debut O, Devotion! (Nov. 2011). Aside for singing, writing and composing these songs, she's credited playing piano, guitar, organ, clarinet, and banjo.

The album takes off where the debut left us 2½ years ago. Liz keeps to her formula based on traditional British folk and singer / songerwriter material, and thank god for that, because she has such a unique voice and style, which both signals a contemporary blend and yet at the same time points decades and centuries backwards in time. This may turn out just as wonderful as the debut, but I haven't accustomed to this as her first release.

EDIT May 2015

Liz Green is quite unique, and she's really one of the most interesting modern solo artists from Britain today. This album is still mighty fine and far from a mediocre release, but I don't think it's really up there alongside her astonishing 2011 debut. And of course lesser will do.

EDIT May 2018

With a bit of concern I've read this translated Spanish interview with Liz Green where she speaks with José Vicente Bernabeu from CaféBabel [French-based online magazine] at a time when she performed in Clermont-Ferrand in France at Europavox Festival, June 2014. In the interview Green expresses no good feelings about performing with her music, in fact she states that she finds that her music doesn't work at a bigger scale and: "... the truth is, I don't know what I want to do at the moment. Right now, I just want to go home. I'm really, really tired. I haven't been home for two months and, for real, I just want to get my normal life back. Making a normal life like normal people do, and that's it. We've spent a lot of money on all this and it's not working, so I just want to go home." My guess is, Green refers to spending money on producing another album and realising the obstacles of the current music industry.

I came across the interview as I was searching for new info about Liz in hope of news of an upcoming third album, but I discovered absolutely no info about her performing live, nor about plans of new recordings, which seems odd as both of her albums were met by positive feedback but she appears to be on an indefinte hiatus since the 2014 album, or she has left the business - perhaps to concentrate on her figurative art, and with the abovementioned interview in mind simply not enjoying making music.

Now it's only some 4 years since her second album and other artists have been known to take longer breaks from the industry, so let's hope to hear new from the great Liz Green at some point in a near future.

Peter Bastian "Bastians Ballader" (2016)

Bastians Ballader
release date: Jun. 1, 2016
format: cd
[album rate: 3,5 / 5] [3,40]
producer: Peter Bastian
label: non label release - nationality: Denmark

[ PB about the album & Nikola Jankov - PB about the musicians on the album - short clip ]

Studio album by Danish clarinettist (the late) Peter Bastian is a self-realised album containing Bastian's own interpretations of Balkan music. His decision to make the album was made in the aftermath of being diagnosed with acute leukaemia in 2014. As he states about the album on his homepage (www.peterbastian.dk) "Main focus is on the tragic Bulgarian wedding ballad, but I have also chosen to play some Romanian Doinas and a Turkish Taksim. Some Danish and Norwegian folklore have also found their way [to the album]." The songs are inspired by original folk songs, but all arrangements are credited Bastian and his two Norwegian associates on the album: Gabriel Fliflet on accordion and Olav Tveitane on double bass, acoustic guitar, and cittern.
The story of the musical fascination of Peter Bastian is forever bound in modern Danish music - be it classical, jazz or folk. Although, Balkan folklore really isn't what I prefer to listen to, I simply adore this album. Through many years I have read books by and listened to Bastian - his deep insight in philosophy and music history and theory on many occasions. I have listened to the music by the jazz fusion and world band Bazaar of which he was a founding and long time member, and I have always admired his mission and ability to make difficult matters appear easier to understand.
Bastian's long time friendship with legendary Hungarian (master) clarinettist Nikola Jankov is all over this album. It's an album with a strong love for traditional folk music, and Bastian is a supreme instrumentalist. I mean, I never found the clarinet appealing in any way, but his passion and sense for sonic perfection captures my musical interest and love for music on a scale like the music by Mozart, Beethoven or Puccini.
Although, not a favourite genre, I still find this highly recommended.

[ Peter Bastian plays on straw ]

Natalie Merchant "The House Carpenter's Daughter" (2003)

The House Carpenter's Daughter
release date: Sep. 16, 2003
format: cd
[album rate: 3 / 5] [3,18]
producer: Natalie Merchant
label: Myth America Records - nationality: USA

Track highlights: 1. "Sally Ann" - 2. "Which Side Are You On?" - 5. "Weeping Pilgrim" -7. "Bury Me Under the Weeping Willow"

4th studio album by Natalie Merchant is her first album release on her own independent label, Myth America Records and it has the subtitle "A Collection of Traditional & Contemporary Folk Music". It marks a substantial change in style towards traditional folk as a majority (7 out of 11) of the tracks are traditionals rearranged by Merchant. The remaining 4 tracks are covers, which means that the album doesn't contain songs written by Merchant herself.
It's a very scraped down album with only few instruments - some songs appear as vocal with strings only, and it may only appeal to people who prefer traditional folk. I don't really enjoy this much, and think of it as Merchant's roots album. Yes, Merchant has a fine singing voice, but I don't think she challenges that instrument particular well on this, which is a bit of a pity.
[ allmusic.com, Uncut 4 / 5, Rolling Stone, Mojo 3 / 5 stars ]

Sharon Van Etten "Tramp" (2012)

Tramp
release date: Feb. 7, 2012
format: cd
[album rate: 3,5 / 5] [3,58]
producer: Aaron B. Dessner
label: Jagjaguwar - nationality: USA

Track highlights: 1. "Warsaw" - 2. "Give Out" (live on KEXP) - 3. "Serpents" - 4. "Kevin's" - 5. "Leonard" - 7. "All I Can" - 9. "Magic Chords"

3rd studio album by Sharon Van Etten is a continued indie pop and singer / songwriter release which balances somewhere between slow and subtle ballads and a turn towards more aggressive / electrified indie rock with reminiscences of garage rock. Without a clear cut of two halves, the first part of the album is primarily the most electrified with the second half reflecting stronger bonds to her 2010 album, Epic.
The album may be without obvious single hits but turns out as a fine and coherent release, and Van Etten's mournful singing makes me think of Cat Power but also makes me think of Van Etten as the American PJ Harvey.
The album is a fine grower once you allow yourself to let it flourish.
[ allmusic.com 3,5 / 5, NME 4,5 / 5, Q, Rolling Stone, Spin, Mojo 4 / 5 stars ]

Sofia Karlsson "Söder om kärleken" (2009)

Söder om kärleken
release date: Mar. 4, 2009
format: cd
[album rate: 4 / 5] [3,88]
producer: Gustaf Ljunggren, Sofia Karlsson
label: Playground Music Scandinavia - nationality: Sweden

Track highlights: 1. "Du var där" (4 / 5) (live session) - 3. "Smält mig till glöd" (live) - 6. "Dina händer (Göteborg)" - 8. "Visa från Kåkbrinken" (4,5 / 5) (live) - 12. "Imma på fönstret" - 13. "Alltid dig nära" (4 / 5) (solo live)

4th studio album by Sofia Karlsson and her first album on the Playground label is her so far most apparent folk pop-shaped album comparing with her first three albums, the debut Folk Songs (2002), Svarta ballader (2005) and Visor från vinden (2007). All of these have more traditional folklore music incorporated and all were based on older lyrical sources, whereas this is her first to have more compositions with an uptempo and chorus-based music, and they also represent her first collection of songs written and composed for an album.
Karlsson has a nice beautiful singing voice with the qualities of Lisa Ekdahl only with more strength. It's a warm and very fine album. Unfortunately, she doesn't release music very often, although, she has featured as guest artist on a number of albums. Following this, she released the live album Levande in 2011 and it was not until 2014 before she presented her fifth studio album Regnet faller utan oss.

Nico Muhly & Teitur "Confessions" (2016)

Confessions

release date: Oct. 21, 2016

format: digital

[album rate: 3 / 5] [3,08]

producer: recorded by Saskia Coolen

label: Nonesuch Records - nationality: USA / Faroe Islands, Denmark

Track highlights: 1. "Describe You" - 4. "Small Spaces" - 7. "Nowheresville" - 8. "Coffee Expert" - 11. "Love Hits You Where It Hurts" - 14. "Time to Dry"

Collaboration album by classical American composer & conductor Nico Muhly and folk pop singer / songwriter Teitur of the Faroe Islands. The album appears to be recorded on the spot with Muhly as conductor of Holland Baroque Society Orchestra at Muziekcentrum Frits Philips, Eindhoven in The Netherlands. The two main collaborators are both credited as musical composers with Teitur as songwriter and vocalist, and most of the songs have been written especially for this album consisting of 14 compositions with a total running time at just below 48 minutes. The song "If You Wait" from Teitur's Story Music (2013) has been re-arranged and is here listed as "If You Wait a Little Longer" (track #10).

Musically, this is on the border of popular music touching on classical, or simply a neo-classical project. Teitur sings in his usual melancholic style accompanied by a full orchestra with bold focus on strings. Most but not all compositions are with lyrics but still Teitur and Muhly share composer credits on all tracks, and it's not really surprising to find Teitur in this unusual territory. He has often made use of strings and composed music of 'chamber pop' and most recently he has been experimenting with other styles, most noteworthy heard on Story Music, and now in another field here with Muhly.

Other artists have made attempts of transgressing the borders between popular music and the classical sphere - most often without much success, and Confessions is yet another example of pitfalls in that category. To me, it ressembles Elvis Costello's attempt with The Juliet Letters (1993) with The Brodsky Quartet in the way that the vocalist (from the popular culture) seems determined to continue his singing style only accompanied by classical music, and in that respect I find that Teitur fulfills his job better than Costello managed, although Costello and The Brodsky Quartet actually was met by some acclaim and eventually went on a tour to promote the album, which again was seen as an artistic and commercial success. I don't think Muhly and Teitur will be greeted with the same kind of open arms for their initative. They are simply not as famous as their British collegue, but their project does overshine the aforementioned collaboration by being more daring, or perhaps Teitur's singing style simply fits the chamber pop universe better. Anyhow, I'm not a fan of this regardless the momentarily fine moments they do produce with their colliding spheres. I know absolutely nothing about Nico Muhly and only sought the album out because of Teitur's presence, and in his discography the album falls in the lower part as his so far second least favourable album to date.

Signe Svendsen "Rift" (2016)

Rift

release date: Mar. 15, 2016

format: cd (BRCD20161)

[album rate: 3,5 / 5] [3,48]

producer: Lars Skjærbæk

label: Bear Records - nationality: Denmark

Track highlights: 1. "Rift" - 2. "Strejfer" - 4. "Min værste fjende" - 5. "Drømmerester" - 6. "Hjertet brister" - 9. "Den sidste generation"

3rd studio album from Danish singer / songwriter Signe Svendsen following 2½ years after Kun de faldne rejser sig (Oct. 2013) is like that released by Bear Records and produced by Skjærbæk, who's also credited guitars, keyboards and backing vocals. On ten new songs Svendsen thematically investigates the non-perfect in us all - 'Rift' [translates to 'tear' as in 'scratch' / 'wound'] is here that unperfect mark everyone has, physically, or hidden on the inside, but she also raises a concern for the global climate.

Stylewise, the soundscape is more influenced by rock - the arrangements have a basic rock-foundation making the songs edgier and more direct, and the song material no longer contain traces of familiar international names. Svendsen has made her so far most mature and convincing collection of original songs.

Recommended.

[ Jyllands-Posten 4 / 6 stars ]

Nick Cave & The Bad Seeds "Abattoir Blues / The Lyre of Orpheus" (2004)

Abattoir Blues / The Lyre of Orpheus
release date: Sep. 20, 2004
format: 2 cd
[album rate: 3,5 / 5] [3,34]
producer: Nick Launay, Nick Cave & The Bad Seeds
label: Mute Records - nationality: Australia

Track highlights, Disc 1 'Abattoir Blues': 1. "Get Ready for Love" - 3. "Hiding All Away" - 6. "Nature Boy" - 8. "Let the Bells Ring"
Disc 2 'The Lyre of Orpheus': 3. "Babe, You Turn Me On" - 4. "Easy Money" - 5. "Supernaturally"

13th studio album by Nick Cave & The Bad Seeds is a two-disc album - disc one titled "Abattoir Blues" (containing 9 tracks) and disc two "The Lyre of Orpheus" (containing 8 tracks). The album is the first by The Bad Seeds without Blixa Bargeld, who is replaced by British guitarist and organist James Johnston. NC&TBS is here an octet consisting of Nick Cave, Martyn P. Casey, Warren Ellis, Mick Harvey, James Johnston, Conway Savage, and with Jim Sclavunos playing drums and percussion on "Abbattoir Blues", while Thomas Wydler does this on "The Lyre of Orpheus".

Although, having the same producer as the predecessor Nocturama from 2003 the sound and style of the new double album differs considerably, at first sight, in being a more aggressive and almost garage rock album forecasting the 2008 album Dig, Lazarus, Dig!!!. It's not all uptempo aggression on these 17 tracks, and without simplifying things too much, it could be compared to a fusion of what NC&TBS have released in the past 20 years or so - there are both slow ballads, blues rock anthems, reminiscences of both art rock and post-punk, and the ever-presence of singer / songwriter material, but the overall impression is that of a fusion of styles, and I'm not totally impressed nor entirely disappointed. "Abbattoir Blues" is the rock & roll of gothic rock whereas "The Lyre of Orpheus" is the singer / songwriter part of it, and which is why there are two distinctive parts on two separate discs. The whole album may reflect the two-coined face of The Bad Seeds in more than one way. They cannot skip the aggressive punk roots, and instead of releasing an album that is either what they have been doing on the last 4 albums, or doing what they do on their 2008 album by succumbing to more steamy rock, they "simply" choose both.

However well-produced and well-orchestrated - in every aspect - this album turns out, it's a rather big mouthful to swallow. It's pretentiousness without disguise - but hasn't it always been that with Nick Cave?! Yes, only here, perhaps even more boldly, which in a way says quite a bit. One has to be in the right mood to digest this album, but it functions on many levels, and it's really impressive how they managed to assemble and record all this varied material in less than a fortnight [as producer Nick Launay explains].
The album was generally met by positive reviews, and it's included in "1001 Albums You Must Hear Before You Die" - I like it, it's goood, though, I don't find it really great, and I just find that the great songs are missing on account of lesser compositions. I won't call it essential - not even in a Nick Cave & The Bad Seeds discography context.

[ allmusic.com 4,5 / 5, Blender, Q 4 / 5, Rolling Stone 3 / 5, The Guardian, Mojo 5 / 5 stars ]

Eva Dahlgren "Petroleum och tång" (2007)

Petroleum och tång
release date: Nov. 14, 2007
format: cd
[album rate: 3,5 / 5] [3,35]
producer: Lars Halapi
label: Capitol / EMI Sweden - nationality: Sweden

Track highlights: 1. "Petroleum och tång" - 3. "Jag är inte fri" (3,5 / 5) - 6. "Skuggorna faller över dig" - 9. "Du och jag" (3,5 / 5) - 11. "Syre och eld"

12th studio album by Eva Dahlgren is like a nice combo op her two best albums En blekt blondins hjärta from '91 and her most recent album, Snö from 2005, making it a singer / songwriter folk and pop / rock release with fine ballads and more up-tempo pop songs with clear chamber pop elements.

Eva Dahlgren "Snö" (2005)

Snö
release date: 2005
format: digital
[album rate: 3,5 / 5] [3,48]
producer: Lars Halapi
label: EMI Music Sweden - nationality: Sweden

Track highlights: 1. "Så härlig är jorden" - 2. "Väntar mig brunt" (3,5 / 5) - 3. "När jag längtar" (3,5 / 5) (live) - 4. "Människors kärlek" (3,5 / 5) - 7. "Bob Hund" (3,5 / 5) - 8. "Som ett äventyr" - 9. "Det som bär mig nu" - 10. "Det allra största ljuset"

11th studio album by Eva Dahlgren is a fine return to form. After her '95 collaboration album with Anders Hillborg, she released the self-produced album Lai Lai in 1999.
Snö signals a change of style away from her rock and pop / rock image. The album is much more laid-back and more singer / songwriter founded and it's the closest she has been so far in making a more traditional folk album. As a natural consequence, most of the songs are ballads, which I think is her strongest form. "Det som bär mig nu" and "När jag längtar" were single releases - the first the perhaps most up-tempo song from the album, but really not the best. The album is in my mind one of her absolute best.