If you’ve been frequenting this site over the past couple of months, you’ve likely recall that I’ve written about Swedish singer/songwriter and multi-instrumentalist Linnea Olsson. After collaborating with Peter Gabriel, Sting, Ane Brun and Maia Hirasawa., Olsson quickly established herself as a go-to cellist; however, the Swedish singer/songwriter and multi-instrumentalist has recently begun to receive international attention for her self-described cello-driven fantasy pop.

“The Weekend,” which was released at the end of last year, was a swooning track featured Olsson paired a gorgeous and lush, classical string arrangement with highly modern and ironic lyrics describing a neurotic and delusional narrator, who escapes into her own revenge fantasies. And yes, Olsson’s latest single “Hall of Tragedy” will further cement her growing reputation for crafting swooning and gorgeous pop, and for her equally beautiful and plaintive vocals; however, while “The Weekend” possesses a quirky mischievousness and an atmospheric chamber pop quality, “Hall of Tragedy” pairs that atmospheric chamber pop sound with a brooding seriousness reminiscent of Ocean Rain-era Echo and the Bunnymen.

Featuring Olsson’s stop-motion animation, the recently released animated video is according to Olsson an “apocalyptic children’s book video for grown-ups” that manages to illustrate what falling into deep, unyielding depression would feel like from the song’s narrator’s perspective. And as a result, it adds a deeply visceral and haunting feel to the proceedings.