Tag: Gothenburg Sweden

Live Footage: Up-and-Coming Danish Duo Mavoureen Performs “Bliss” at Tapetown Studios’ Spot Festival Special

Over the past couple of years, I’ve written quite a bit about Aarhus, Denmark-based recording studio Tapetown Studios and their longtime partnership with Sound of Aarhus. Together, the studio and the website have invited national, regional and internationally recognized touring bands to stop by Tapetown for a live session, which they film and then distribute to all of your favorite social media and streaming sites. During the live series’ history, they’ve invited British indie rockers Ulrika Spacek, Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his The Fresh & Onlys, renowned British psych rockers The Telescopes,  Malmo, Sweden-based punk rock act Sista Bossen, Copenhagen, Denmark-based indie rock quartet ONBC, up-and-coming, Los Angeles-based post punk rock act Moaning, Oslo, Norway-based punk trio  Dark Times

Tapetown Studios recently teamed up with Drowned in Sound and the folks at Spot Festival for another series of live sessions in which three internationally touring acts were invited to Tapetown to perform. The second act invited to Tapetown was the mysterious Danish post-punk duo Mavoureen. The act is putting the finishing touches on their forthcoming full-length debut, an effort recorded at Echo Canyon Studios with Sonic Youth’s Steve Shelley contributing drums. Interestingly, the act performed the blistering, Nirvana-like “Bliss,” a song that frenetic and furious track that features fuzzy power chords, howled vocals, thunderous drumming and a mosh pit friendly hook. Much like its predecessor, play this one as loudly as humanly possible. 

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Live Footage: Oslo’s Dark Times Performs “Give” at Tapetown Sessions’ Spot Festival Special

Over the past couple of years, I’ve written quite a bit about Aarhus, Denmark-based recording studio Tapetown Studios and their longtime partnership with Sound of Aarhus. Together, the studio and the website have invited national, regional and internationally recognized touring bands to stop by Tapetown for a live session, which they film and then distribute to all of your favorite social media and streaming sites. During the live series’ history, they’ve invited British indie rockers Ulrika Spacek, Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his The Fresh & Onlys, renowned British psych rockers The Telescopes,  Malmo, Sweden-based punk rock act Sista Bossen, Copenhagen, Denmark-based indie rock quartet ONBC, up-and-coming, Los Angeles-based post punk rock act Moaning and Stockholm, Sweden’s Les Big Byrd among a growing list of others.  

Tapetown Studios recently teamed up with Drowned in Sound and the folks at Spot Festival for another series of live sessions in which three internationally touring acts were invited to Tapetown to perform. One of the invited acts was the Oslo, Norway-based trio Dark Times. Comprised of Ann Kristen Traaen (guitar, vocals), Sebastian Rusten (baritone guitar) and Rikke Fjell Jørgensen (drums), the Norwegian act quickly amassed a profile within their hometown’s underground scene for crafting a unique blend of punk, noise rock and fuzzy guitar pop. Since their formation, the band has been praised by the likes of NME and BrooklynVegan for their live shows — and interestingly, they became the first Norwegian act to be profiled in Maximum Rocknroll. 

Building upon a growing profile the act’s 2014 full-length debut Give, which was released through Sheep Chase Records was nominated for a Norwegian Grammy (Spellemannprisen). They also played SXSW back in 2017 and released their sophomore full-length album in 2018. 

The members of the acclaimed Norwegian indie act played a 10 song, 30 minute set — but the recently released video for the sessions is the feral and blistering “Give.” Centered around fuzzy power chords, thunderous drumming and howled vocals, the song will remind some listeners of Fever to Tell-era Yeah Yeah Yeahs and classic 90s grunge. Play this one as loud as possible. 

I’ve written quite a bit about the acclaimed, Swedish Grammy-winning,  Gothenburg, Sweden-based singer/songwriter Sarah Klang, and as you may recall, with the release of “Sleep,” and “Strangers,” Klang received praise across the blogosphere for crafting heartbreaking and achingly sad material that meshed Americana, country and pop and was frequently compared to  Roy Orbison and Jeff Buckley.

Building upon a growing profile, Klang released her critically applauded full-length debut Love In The Milky Way last year, which she supported with touring across Germany, Denmark, Norway, Sweden and the US. Adding to a breakthrough year for her, she also played sold-out shows at Gothenburg Concert Hall and Stockholm’Södra Teatern.

The Gothenburg-based singer/songwriter and JOVM mainstays highly-anticipated, forthcoming sophomore album is slated for release later this year and the album was written and recorded during what was arguably one of the busiest years of her young career. The album’s slow-burning and swooning, Dolly Parton meets Carole King-like first single “Call Me,” was centered around twinkling piano, a shimmering string arrangement and Klang’s achingly tender vocals — and as the Swedish JOVM mainstay explained in press notes, the song was “about the love that only happens once. It might not last for long, but you’ll remember it forever.” The album’s second single, the slow-burning and spectral “Endless Sadness” was centered around shimmering and twangy bursts of steel pedal guitar, twinkling organ and a soaring hook, which made it the perfect setting for what I think is one of the most gorgeous and heartbreakingly saddest voices I’ve come across in recent memory.

The album’s third and latest single “New Day Coming” effortlessly meshes 70s troubadour pop and AM Rock with Dolly Parton-like country as it features an uncannily period specific arrangement consisting of a shimmering stringiest arrangement, twinkling piano, strummed guitar and a soaring hook, and it’s roomy enough for Klang’s aching vocals to express hope that in the fact the most difficult and darkest periods don’t last forever — that a bright new day and a new start are often just over the horizon. While continuing a spectacular run of gorgeous singles, Klang’s latest single may actually be the most hopeful of her growing catalog — while rooted in hard-fought, lived-in experience.

 

New Video: JOVM Mainstays Beverly Kills Release an 80s Rom Com-Inspired Visual for Swooning and Anthemic “In This Dim Light”

Over the past year or so, I’ve written a bit about the Gothenburg, Sweden-based indie rock quartet Beverly Kills, and as you may recall with the release of singles like “Fourteen,” “Melodrama,” and “Dreamless” the band quickly received attention across the blogosphere and elsewhere for a shimmering, anthemic hook-based 4AD Records era take on dream pop. In fact, last year was a huge year for the rising Swedish dream pop quartet: they were named one of the Best Swedish Indie Debuts of 2018” by HYMN, received a Gaffa Awards nomination for Breakthrough of the Year, and played a Viva Sounds Festival showcase in their hometown.

Building upon a growing profile, the band played several by:Larm Festival sets opening for Agent bla, Moaning and Vasterbron earlier this year — and they signed to Australian indie label Hell Beach and Swedish label Welfare Sounds, both of whom released “Revellers” earlier this year. The Gothenburg-based dream pop quartet and JOVM mainstays have been rather busy this year as they promptly followed the release of “Revellers” with the limited edition double single vinyl “In This Dim Light”/”Melodrama,” which was released last month. “In This Dim Light” continues a run of shimmering and anthemic singles — but unlike their predecessors, the song conveys the tumultuous and desperately urgent quality of young love. 

Directed by Jakob Ekvall, the recently released video features the band playing at a high school prom in front of a rom full of young people, who are trying to navigate the turbulence of being a teenager — and that of being in a relationship. Most of the video focuses on a prototypical nervous and anxious nerd, who shoots his shot and eventually wins the attention of the prom queen. With the heavy use of pastels and some clearly 80s-like outfits, the video seems indebted to John Hughes films and other classic 80s films. 

Over the past couple of years, I’ve written a bit about the acclaimed  Gothenburg, Sweden-based singer/songwriter Sarah Klang. With the release of “Sleep,” and “Strangers,” Klang received praise across the blogosphere for crafting aching and heartbreakingly sad material that some critics compared to the likes of  Roy Orbison and Jeff Buckley — although interestingly enough, the Gothenburg-based singer/songwriter has publicly cited Barbra Streisand and ambient electronica as major influences on her work.

Building upon a growing profile, Klang released her critically applauded full-length debut Love In The Milky Way last year, which she supposed with tours across the US, Germany, Denmark, Norway and Sweden. Adding to breakthrough year, Klang played a sold-out shows at Gothenburg Concert Hall and Stockholm’Södra Teatern — and she won a Swedish Grammy.

Written and recorded during one of the busiest year’s of Klang’s young career, her forthcoming sophomore full-length album is slated for release later this year. Now, as you may recall, “Call Me,” the album’s slow-burning, Dolly Parton meets Carole King-like first single was centered around twinkling piano, shimmering strings and Klang’s achingly tender vocals — and as Klang explained in press notes, the song was “about the love that only happens once. It might not last for long, but you’ll remember it forever.” And as a result, the song’s narrator expressed a bitter and swooning despair and begrudging acceptance over the loss of her love.

Continuing in a similar vein as its predecessor, the album’s second and latest single “Endless Sadness” is centered around a slow-burning and hauntingly spectral arrangement featuring bursts of steel pedal, twinkling organ and a soaring hook is a perfect setting for one of the most unique and saddest voices in contemporary indie music. And much like its immediate predecessor, the song is infused with a deeply bitter sense of despair and loss.

 

 

With the release of singles like “Fourteen,” “Melodrama,” and “Dreamless” the Gothenburg, Sweden-based indie rock quartet Beverly Kills quickly received attention across the blogosphere last year for a shimmering, 4AD Records era take on dream pop, complete with rousing and enormous hooks. Adding to a big year for the Gothenburg-based quartet was named one of the “Best Swedish Indie Debuts of 2018” by HYMN, received a Gaffa Awards nomination for Breakthrough of the Year, and played a Viva Sounds Festival showcase in their hometown. Later this month, the band will play several by:Larm Festival sets for Agent bla, Moaning and Vasterbron.

Building upon a rapidly growing, buzz-worthy profile, the band recently signed to Australian indie label Hell Beach and Swedish label Welfare Sounds, both of whom have released the band’s latest single “Revellers” will further cement the band’s reputation for crafting 4AD Records-inspired guitar pop with enormous hooks — but the song arguably features one of the tightest rhythm section playing I’ve heard from the band yet.

Hell Beach and Walfare Sounds will be releasing a limited edition double single vinyl record “In This Dim Light”/”Melodrama” in late April.

 

 

 

New Video: Acclaimed Swedish Singer Songwriter Sarah Klang Releases Swooning and Sensual Visuals for “Call Me”

With the release of “Sleep,” and “Strangers,” the Gothenburg, Sweden-based singer/songwriter Sarah Klang began receiving praise across the blogosphere for crafting heartbreakingly sad material that some critics compared favorably to the likes of Roy Orbison and Jeff Buckley, and others — although interestingly enough, Klang has publicly cited Barbra Streisand and ambient electronica as major influences on her work. Building upon a growing national and international profile, Klang released her critically applauded full-length debut Love In The Milky Way last year, which she supported with a tours across the US, Germany, Denmark, Norway and Sweden. Adding to a breakthrough year, Klang played a sold-out hometown show at the Gothenburg Concert Hall and three sold-out nights at Stockholm’s Södra Teatern — and she nominated for a Swedish Grammy for Alternative Pop Album and P3 Guld Award for Best Live Act.

Slated for a Fall 2019 release, Klang’s forthcoming (and still untitled) sophomore, Kevin Andersson-produced full-length album was written and recorded during an extremely busy year — and the first single from those recording sessions is the slow-burning and heartbreaking single “Call Me.” Centered around an arrangement featuring twinkling piano, a shimmering string section, a soaring hook and Klang’s aching vocals, the song manages to recall both 70s AM rock and Dolly Parton ballads simultaneously, the song as Klang explains in press notes “is about the love that only happens once. It might not last for long, but you’ll remember it forever. ” And as a result, the song’s narrator expresses a swooning despair and bitter acceptance over the loss of her love, mixed with a bit of hope that she’ll know that feeling once again.

The recently released video made by Nadim Elazzeh and Mathilda Adolfsson Näslundis is shot with a hazy, dream-like and old-timey  quality while further emphasizing swooning and sensual Romanticism of the song with Klang looking lost in a nostalgic reverie. 

New Audio: Two From Acclaimed Swedish Indie Act Makthaverskan

Comprised of Maja Milner (vocals), Hugo Randulv (bass, guitar), Irma Pussila Krook (bass, guitar), Gusta Data Andersson (guitar) and Andreas Palle Wettmark (drums), the Gothenburg, Sweden-based indie rock quintet Makthaverskan according to the band’s Maja Milner has no real meaning — although the band name came from one of Hugo Randulv’s friends, who made it up. “The meaning is really hard to describe in English, but it’s the female form of someone with a lot of power. ‘Makthavare’ is the male version of ‘makthaverskan’ is the female version,” Milner explained. “We didn’t have any background thoughts about meaning but I think it describes Irma and me pretty well, since we both take charge and are powerful.” 

Interestingly, the acclaimed Swedish indie rock act can trace their origins back to 2008 when they released a mini CD with a collection of demos and their self-titled full-length debut through Luxury Records. Building upon a growing profile, they released “Antabus” in 2011. Since then the band has released the “Something More” 7 inch and their sophomore full-length album Makthaverskan II in 2013 and the “Witness” 7 inch in 2015. After several years away, the acclaimed band returned with the “Demands”/”Onkel” single, which was recently released through Run For Cover Records across North America. The A-side “Demands” features layers of jangling guitars, propulsive drumming and a soaring, rousingly anthemic hook — and while sonically nodding at The Smiths, the song reveals their most focused and ambitious writing in their growing catalog, underpinned by an earnestness of both feeling and purpose. “Onkel,” the faster paced B-single is centered by jangling guitars, a propulsive rhythm section and another soaring and rousing hook and manages to sound as though it were released during 4AD Records heyday. Both tracks lyrically are kind of bleak yet paired with ironically energetic and intense music that broods but also reveals a bit of hope, suggesting that things can and do get better — or at the very least, that you gain a bit of wisdom from the darker days. 

With the release of “Sleep,” and “Strangers,” the Gothenburg, Sweden-based singer/songwriter Sarah Klang began receiving praise across the blogosphere for crafting heartbreakingly sad material that some critics compared favorably to the likes of Roy Orbison and Jeff Buckley, and others — although interestingly enough, Klang has publicly cited Barbra Streisand and ambient electronica as major influences on her work. Building upon a growing national and international profile, Klang released her critically applauded full-length debut Love In The Milky Way last year, which she supported with a tours across the US, Germany, Denmark, Norway and Sweden. Adding to a breakthrough year, Klang played a sold-out hometown show at the Gothenburg Concert Hall and three sold-out nights at Stockholm’s Södra Teatern — and she nominated for a Swedish Grammy for Alternative Pop Album and P3 Guld Award for Best Live Act.

Slated for a Fall 2019 release, Klang’s forthcoming (and still untitled) sophomore, Kevin Andersson-produced full-length album was written and recorded during an extremely busy year — and the first single from those recording sessions is the slow-burning and heartbreaking single “Call Me.” Centered around an arrangement featuring twinkling piano, a shimmering string section, a soaring hook and Klang’s aching vocals, the song manages to recall both 70s AM rock and Dolly Parton ballads simultaneously, the song as Klang explains in press notes “is about the love that only happens once. It might not last for long, but you’ll remember it forever. ” And as a result, the song’s narrator expresses a swooning despair and bitter acceptance over the loss of her love, mixed with a bit of hope that she’ll know that feeling once again.

 

Live Footage: Les Big Byrd Perform “A Little More Numb” at Tapetown Studios

Comprised of founding duo Jocke Åhlund and Frans Johansson along with Frans Johansson and Martin Ehrencrona, the Stockholm Sweden-based indie rock act Les Big Byrd features a collection of their hometown’s most accomplished indie musicians.  Åhlund co-founded cult Teddybears with his brother Klas in 1991. Åhlund went on to play guitar in Caesars — and formed Smile, with Peter, Björn and John’s Björn Yttling. And in that insanely busy period, Åhlund managed to find time to write for and produce the legendary Giorgio Moroder and renowned Swedish pop artist Robyn. Johansson, meanwhile, was a bassist in Swedish Grammy Award-winning act Fireside since the early nineties and worked as a touring bassist with The Soundtrack of Our Lives.

As the story goes, by 2011 Åhlund and Johansson had become increasingly disillusioned with their primary gigs and they began to collaborate with each other, frequently bouncing musical ideas off one another; the band’s founding duo quickly recruited two fellow grizzled scene vets, keyboardist Martin ‘Konie’ Ehrencrona and Caesars drummer Nino Keller to finalize the band’s lineup. 

The band’s debut, 2014’s Back to Bagarmossen EP was an atmospheric, guitar driven effort that found the quartet receiving attention from Swedish national TV. Interestingly, with a growing national profile. the members of Les Big Byrd ran into The Brian Jonestown Massacre’s Anton Newcombe at a local record store, and after hitting it off with him, the band headed to Newcombe’s Berlin-based studio to jam with him — and the end result was a handful of tracks which eventually appeared on their critically applauded Åhlund-produced full-length debut, They Worshipped Cats, an album that was a decided left turn into trippy space rock.

In the winter of 2015, 18 months after the release of They Worshipped Cats, Åhlund was looking forward to working on new material; however, unlike their debut, he was determined to bring in an outside producer to allow him to focus just on the songwriting and playing. With much of their material drawing heavily from psych rock and drone, while retaining a pop sensibility, the band recruited Spacemen 3‘s Sonic Boom (a.k.a.Pete Kember) to produce the album as the band loved his work on MGMT‘s 2010 sophomore album Congratulations.  The initial sessions with Kember quickly went awry; Kember clashed with Newcombe, who also headed to Sweden to work on some ideas for the record with the band — and Åhlund eventually found himself taking up the production role, he didn’t want and wasn’t seeking.

Burned out by the experience, the band shelved the second album for a while.  “I didn’t know it at the time, but I needed to get some distance from it,” Åhlund says in press notes. “It was only after a while that I was able to go back and realise that there was a really good album in there.” The members of Les Big Byrd spent the bulk of last year remaking and re-imaging the material in their own image — with Kember and Newcombe’s contributions being limited. Recorded between two Stockholm studios — Åhlund’s own and Ehrencrona’s Studio Cobra — the band’s sophomore album Iran Iraq IKEA derives its title from a slogan that Åhlund’s saw printed on a tie while in Berlin years earlier and wanted to use for years; in fact, Åhlund felt that it suited the album, “because it gave it all some kind of subtly poetic intrigue.” However, the album’s politics — if you really want to call it that — are rooted within the personal, As Åhlund says in press notes,  “It’s about classic topics like love and failure. And about being older and feeling like you’ve pissed your life away, It’s about regrets and wishing you’d done things another way,”

The band’s Åhlund takes up production duties again, but with the admission that maybe it was something he never really wanted to give up — and sonically speaking, the band reportedly have reinvented themselves and their sound but while retaining elements of the sound and approach that first won them national and international attention.  “I still love my krautrock, and space rock, and experimental, improvisational stuff” says Åhlund. “But I also have a strong love for psychedelic sixties pop music, and I love reverb-drenched guitar with a lot of tremolo on it. All of those things make it on to Iran Iraq IKEA, but the lines are blurred – there’s a lot of electronics, and you can’t always tell where each individual sound is coming from. Hopefully it’s suggestive, a little bit uncertain and unpredictable, at least that’s what I wanted.”

Now, if you’ve been frequenting this site over the past couple of years, you’d recall that Aarhus, Denmark-based recording studio Tapetown Studios in partnership with Sound of Aarhus have been inviting national, regional and internationally recognized touring bands to come into their studios for a live session, which they film and distribute through all of your favorite social media sites. So far they’ve inited British indie rockers Ulrika Spacek, Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his The Fresh & Onlys, renowned British psych rockers The Telescopes,  Malmo, Sweden-based punk rock act Sista Bossen, Copenhagen, Denmark-based indie rock quartet ONBC, and up-and-coming, Los Angeles-based post punk rock act Moaning.  Recently, the members of Les Big Byrd stopped by Tapetown Studios to perform the bittersweet lament “A Little More Numb.”