Tag: Stockholm Sweden

The Bland is a rising Swedish indie pop/folk act that can trace its origins back to when its five members met serendipitously while traveling through New Zealand as teenagers. Feeling an instant musical simpatico, the members of the band promised to keep in touch and reunite when they returned home. Upon their return to Sweden, the band’s frontman Axel Öberg rented a big house, so that the members of the band could live and work together. That living space had an ad-hoc rehearsal space — the basement.

Although they didn’t initially have big career plans, they wrote a number of songs, which they returned in their home studio, Röda Paradise, a red wooden hut in Southern Stockholm — and for money, they tagged along with a friend’s band, selling milkshakes at music festivals. In between sets they played music to entertain themselves. But little did they know, their folk pop sound caught the attention of a small, local production company, a company that managed to run one of their homeland’s music festivals.

With the release of last year’s Beautiful Distance, the members of the Swedish folk pop project started to built up a growing international profile with captivating and critically applauded live shows across Scandinavia and Europe that included stops at Hamburg‘s Reeperbahn Festival and others across the international festival circuit. Building upon a profile, the members of The Bland are currently working on their forthcoming album, La Hata Vitoye, a concept album that tells a Romantic tale of an imaginary bar and town by the name of La Hata Vitoye. The band created a detailed historical background for the town that goes back to the 1300s, then created characters and situations and wrote detailed stories, which they then wrote accompanying music to them.

The album’s concept story begins at La Hata Vitoye, a tiny bar, located by the coast. As the band explains, the bar and its town, is the sort of place where caravans and traveling entertainers take refuge after long periods of touring and traveling. It’s the sort of place that returning travelings tell stories about — stories that seem way too good to exist in real life. But every character within this world brings something new to the story. As the world begins to hear more about the town, it starts to grow — and dramatic events occur to develop the town’s destiny. The album’s latest single, album title track “La Hata Vitoye” is an exuberant, breezy and mischievous track that draws equally from Tropicalia, Afro pop and Latin music, centered around a euphoric hook. While sonically recalling a deliriously upbeat Graceland-era Paul Simon, that exuberance is actually a bit deceptive in light of the pandemic. In many ways, the song evokes the chance encounters, the late nights in some sweaty and dark club, dancing to a band or a DJ that has the room rocking, the friends and regulars you’d encounter at your bar, your favorite club or what have you and so on.

.“When we were on tour in Germany last February, we heard about the first Corona cases,” The Bland’s frontman Axel Öberg explains. “Over the next few months, as a practicing doctor in Sweden, I saw how social isolation harmed people. With ‘La Hata Vitoye’ we want to try to look at life differently again, to come together and share a positive attitude towards life. This place called La Hata Vitoye, which we are talking about, will become a real actual place at our own festivals next summer. And we can’t wait to meet as many as possible there. If the situation permits.”

Marble Mammoth · Have The Sun Lick Your Mind

Led by Tobias Bergholm (singer and guitarist), the Stockholm-based indie rock act Marble Mammoth features members who have played in acts like The Unisex and have collaborated with the likes of MC5s Mike Davis and The Hellacopters‘ and Imperial State Electric’s Nicke Anderson. With the release of 2017’s self-tiled, debut EP and a handful of singles including “Wrecked Ship,” “Glitter Amongst Gravel” and others, the Swedish quartet received attention nationally and internationally for crafting a sound that draws from riff driven classic rock and melodic psych rock.

Released earlier this month through Klorofyll Records, Marble Mammoth’s latest single “Have the Sun Lick Your Mind” is centered around an arrangement of twinkling keys, a bluesy and shimmering guitar line, a soaring hook and a propulsive rhythm section. Continuing a run of Brit Pop-tinged psych rock, “Have the Sun Lick Your Mind” may be the most expansive and ambitious songs they’ve released in their growing catalog — but at its core, the song is decidedly upbeat. “Have the Sun Lick Your Mind’ is about healing, abotu starting over and about feeling hope for the future, even thought it might look dark at the moment,” the band’s Tobias Bergholm explains.

 

 

 

New Video: Acclaimed Swedish Folk Duo First Aid Kit Tackle a Beloved Willie Nelson Classic

Acclaimed Stockholm-based sibling folk duo First Aid Kit — Klara and Johanna Söderberg   can trace the origins of their career to growing up in a rather creative household — their father was a member of the Swedish pop rock act Lolita Pop and their mother taught cinematography. As children the Söderberg Sisters loved performing, often giving concerts using a jump rope as a pretend microphone. Klara wrote her fist song when she was six. 

When Klara was 12, a friend introduced there to Bright Eyes and it led her to Johnny Cash, Bob Dylan, Leonard Cohen, The Carter Family, The Louvin Brothers, Townes Van Zandt, Gram Parsons and Emmylou Harris. That same year, she received a guitar as a Christmas present and quickly learned to play it.

Johanna Söderberg grew up listening to a wide range of music including Britney Spears and German techno; however, watching O Brother, Where Art Thou and listening to the film’s soundtrack changed her life: both the film and the soundtrack inspired her to sing “Down in the River to Pray” with her sister. Fascinated and impressed by how they sounded together, they started to get more serious, eventually busking in the Stockholm metro and in front of liquor stores. 

As the story goes, Klara came up with the band name when she was 13. She was looking through a dictionary and found the term “first aid kit,” and thought it best descried what she wanted her music to be. As they were getting more serious about being a band, the Söderberg Sisters began writing their own original material inspired by Devendra Banhart, CocoRosie and others. 

In 2008, they began to receive attention across the blogosphere for their cover of Fleet Foxes’ “Tiger Mountain Peasant Song.” And since 2008, the Söderberg Sisters have managed to receive international acclaim — they’ve been nominated for two Brit Awards for Best International Group while releasing four critically applauded albums, four EPs which include 2018’s Ruins and Tender Offerings EP, as well as a number of singles and covers. 

Recorded close to a decade ago and unreleased until recently, the acclaimed Swedish duo recorded a straightforward yet gorgeous cover of Willie Nelson’s beloved 
“On The Road Again.” And while marking the first bit of material from the duo since the release of the aforementioned Ruins and Tender Offerings, their latest single adds to a growing list of covers. But more important, proceeds from the single will be donated to Crew Nation, a charitable fund created by Live Nation to help those working backstage, who have lost work this year as a result of pandemic-related lockdowns and quarantines. Of course, interestingly enough, because of the lockdowns and quarantines, Nelson’s classic feels more relevant and hits much deeper and differently than ever before. I’m longing for live shows, travel and adventures; of the new friends I’d meet; of the new food I’d have; the new things I’d see and know.

As we speak, I think of being with some newfound friends in Montreal and how we passed along a bottle of beer while we were walking from dinner to a showcase; of an older woman crowd surfing during Corridor’s set at Le National; of chatting with a group of incredibly Midwestern women in between sets at The Wood Brothers and Nicki Bluhm at The Vic Theatre; of randomly running into a new festival friend in an airport bar and cheering to our safe travels home; and of so many more things I can’t do and miss so much. The video adds to that dull and constant ache I feel lately — but while capturing the Söderberg Sisters (who are absolutely adorable, by the way), their backing band and crew goofing off on the road, playing in front of enraptured fans and more. 

“We’re excited to release our version of ‘On The Road Again’ by Willie Nelson. We recorded this cover a couple of years ago and recently found it while digging through the archives,” the Söderberg Sisters explain in a statement. “The song is a country classic, it feels like we’ve known it forever. Because of the situation with COVID, sadly, the theme of the song has never felt more relevant than it does today. 

We made a video for the song using cellphone footage from our tours throughout the years. Going through all those videos made us emotional. It made us realize how much we appreciate being able to roam freely around the world. How much we love the feeling of playing live for people, in the flesh. How much we miss our incredible band and crew. 

All the proceeds from the streaming of the song will go to Crew Nation. So much of the magic happens behind the stage. It’s easily taken for granted, but without our touring and venue crew live music wouldn’t be possible. It’s important that we help them out right now. 

Oh, how we wish we could get back on the road again! Hopefully we’ll see you down the road sometime soon.”

New Video: Acclaimed Scandinavian Artist Ane Brun Releases a Shimmering, Wistful, and Infectious Pop Banger

Throughout her 15+ year recording career, the acclaimed Norwegian-born, Stockholm-based singer/songwriter Ane Brun has been rather busy:  she has released 12 albums of gorgeous and cinematic folk and art pop through her own label Balloon Ranger Recordings, including her sophomore album 2005’s A Temporary Dive, which led to a Norwegian Grammy Award win for Best Female Artist; 2008’s critically applauded Changing of the Seasons, which was praised by The New York Times; 2015’s When I’m Free, which NPR’s All Things Considered called “best record yet . . . her most sonically ambitious . . .;” and 2017’s Leave Me Breathless, a collection of covers and reinterpretations of hits by Radiohead, Joni Mitchell, Nick Cave, Bob Dylan, and others.

Now, as you may recall Brun’s forthcoming — and still untitled — 13th full-length album is slated for a fall release through her own label. So far I’ve written about two of the album’s singles, the cinematic “Trust,” which featured an atmospheric arrangement of strummed acoustic guitar shimmering synths and Brun’s expressive and plaintive vocals — and the ethereal and hazy “Feeling Like I Wanna Cry,” a song that expresses a deeply heartbreaking sorrow and sense of despair, centered around an uncannily prescient awareness of the dire and uncertain times we’re currently facing.  Interestingly, while Brun’s latest single “Honey” continues a run of ethereal synth-based pop, it may arguably be the most straightforward and dance floor friendly songs she has released from the album to date. Centered around shimmering synths, skittering beats, a sinuous bass line, an infectious hook and one of the more sultry vocal performances of Brun’s career, the song is full of wistful nostalgia and love for a past — and perhaps more innocent and naive — version of one’s self. 

Brun explains that “Honey” was inspired by a cassette tape she found of her 18-year-old self talking. “Her energy struck me, and I was was filled with love for this young, and in many ways innocent version of myself — this girl talking non-stop in a boundless flow of words and emotions.” 

Directed by Stefan Ekström, the recently released video for “Honey” is split between footage of Brun listening to music on her headphones and dancing to music through the streets of Stockholm and two dance crews of young women, who battle each other to the same music, being played on an old school boombox, back in the 90s. Although there’s a sweet and loving  juxtaposition between the young women and the adult woman, you can see the girl in the woman and the women within the girls. 

Musings: A Decade of JOVM

I started this site 10 years ago today. . .

There aren’t many things in my life that I’ve done for every single day for a decade that I’ve loved as much as this very unique little corner of the blogosphere. When I started this site, I  didn’t — and couldn’t — imagine actually having readers, let alone readers across the US, Canada, the UK, the European Union, Australia and elsewhere. After all, this sort of work is deeply rewarding and yet strangely isolating.

I couldn’t have imagined the over 1,000 shows I’ve covered all across the New York Metropolitan area. I definitely couldn’t have imagined it being possible for be to cover shows for JOVM in Chicago while on a business trip for a day job; nor would I have dreamed of the possibility of covering M for Montreal last fall.

I couldn’t have imagined being a panelist on a Mondo.NYC Festival panel on PR and promotion for indie artists.

I couldn’t have imagined having a cameo in a JOVM mainstay’s video several years ago. (It’s a noticeable and prominent spot towards the end of the video, too. No one has called me up for acting gigs, so I may need more work on that. Or I need to stick to the writing and photography!)

I couldn’t have imagined photographing Patti LaBelle, Snoop Dogg, Charles Bradley  Sharon Jones, Nile Rodgers, Roky Erickson, Philip Bailey and so many others, as well as this site’s countless mainstays.

What will the next decade hold? I don’t know. If you asked me that question last November, I’d probably discuss my the very real possibility of repeated visits to Canada for festivals like Canadian Music Week, Montreal Jazz Fest and M for Montreal — with the hopes of building a deeper Canadian audience. I’d talk about my interest in music from across the African Diaspora. I’d spend time talking about my interest in covering acts outside the US. I’d also speak about my interest in wanting to cover more artists across the diverse LGQBTIA+ community  — particularly those of color. I’d probably also mention my deep and abiding interest in covering women artists and women led acts.

Live music won’t be a thing for quite some time to come. And whenever it does, the landscape will be different — and something we’ve yet to envision. So far, beloved venues have been forced to close because of economics. That will continue for the foreseeable future. What will happen to bands, who no longer have a place to play, where they can hone their sound and their live show? Who knows? After watching an industry-based panel, I don’t feel particularly optimistic about things in the short term. Some of us will figure out a way to adapt and survive; others sadly, won’t.

But in the meantime, JOVM will continue. It’s only the first decade, as far as I’m concerned!

**

I also wanted to talk a bit about some of my favorite albums of the past decade. This is by no means a comprehensive list; but I think that they might give some insight into the inner world of JOVM. And

Montreal-based DJ, production and electronic music artist duo The Beat Escape — Addy Weitzman and Patrick A. Boivin — can trace the project’s origins back to a short film they collaborated on when they were both in college. “We made a short oddball work; a video piece that followed two characters through a psychedelic waking dream,” the Montreal-based said of their initial collaboration together in press notes. Interestingly, since that collaboration, Weitzman and Boivin have continued working together on a series of creative endeavors that have combined their interests in music and visual art, including a lengthy local DJ gig, which eventually led to the creation of The Beat Escape.

Released in early 2018, the Montreal-based duo’s full-length debut Life Is Short The Answer’s Long thematically and sonically found the duo returning to their origins — somnambulant, atmospheric art that feels like a half-remembered waking dream. Personally, the album’s material evokes a weird two-and-year period of international and domestic travel, in which I’d wake up in a hotel room and briefly wonder where I was, what time zone I was in and if I was even in the right place. Additionally, it evokes that weird sensation of everything being the fundamentally the same, yet different. If I’m in Grand Central Terminal, I think of Frankfurt-am-Main Hauptbahnhof and of Amsterdam Centraal Station. If I’m traveling underneath an elevated train, I’m reminded of the Chicago loop and so on.

I obsessively played Life Is Short The Answer’s Short through my time in Montreal. And now whenever I play it, I can picture specific locations, specific paths I took to get there, certain Metro stations with an uncanny precision.

Throughout the course of the site’s decade history, I’ve written quite a bit about Superhuman Happiness. The act has managed to survive through a number of different lineup changes and sonic departures necessitated by those lineup changes — and from the act’s core members following wherever their muses took them, Hands though is a joyous, mischievous yet deeply intelligent work that will make you shout and dance. Considering the bleakness of our world, this album may be much more needed than they ever anticipated.

Deriving their name from a Vladimir Nabokov short story about a traveler, who finds a place so beautiful that he wants to spend his life then but who cruelly  gets dragged back to brutal reality, the Dublin, Ireland-based act Cloud Castle Lake — currently Daniel McAuley (vocals, synths), Brendan William Jenkinson (guitar, piano), Rory O’Connor (bass), Brendan Doherty (drums), and a rotating cast of collaborators, friends and associates — received attention with 2014’s self-released debut EP Dandelion, an effort that firmly established the act’s uniquely sound: deeply influenced by and indebted to  Alice Coltrane and Pharaoh Sanders, the Irish act pairs McAuley’s tender and soaring falsetto with cinematic arrangements and expansive song structur es.

Released in 2018, the act’s Rob Kirwan-produced debut Malingerer is an ambitious, challenging and breathtakingly beautiful work that’s part film score and part cosmic meditation, full of aching yearning.

A couple of years ago, I caught the Irish act play at Rockwood Music Hall, as part of the Lower East Side venue’s monthly Communion showcase — and their set was met with awed and reverential silence.

Stockholm, Sweden-based garage punk outfit Sudakistan — Michell Serrano (vocals), Maikel Gonzalez (bass), Carlos Amigo (percussion) Juan Jose Espindola (drums) and Arvid Sjöö (guitar) — have one of the most unique and perhaps most 21st Century backstories of any band I’ve ever written about: four of the band’s five members emigrated to Sweden from South America with the remaining member being the band’s only native Swede. With the release of their debut album, 2015’s Caballo Negro, the members of Sudakistan received attention across Scandinavia and elsewhere for crafting material that draws from Latin-tinged garage punk rock with lyrics sung in English, Spanish and Swedish. Interestingly, the alum is arguably hardest and most mosh pit friendly of the band’s albums to date, the album’s material found the band expanding their sound through the incorporation of non-traditional punk rock instruments — seemingly inspired by the band’s desire to make each of their individual roles to be much more fluid. . “It was much more of a collaboration between the five of us,” the band’s Michell Serrano explains in press notes. . “Things flowed differently. Carlos sings on two or three songs, and Mikael sings on one. We swapped instruments quite a lot, and because we had access to everything in the studio, we were able to use some piano, some acoustic guitar and some mandolin, too.”

Additionally, the album’s lyrical and thematic concerns draws from the band members’ everyday reality with each individual member contributing lyrical ideas. “Our first album was made over five years, rather than five months, so the themes on it weren’t as heavy as this. Now, we’re talking about a lot of the things that we’ve gone through together since we started the band, as well as personal things – like, why do I keep repeating the same mistakes. We talk about pursuing our own Swedish reality, but that’s just because we’re living in Sweden – it’s relatable in any other country, I think,” Maikel Gonzalez says in press notes.

The album’s material resonates in an age of divisiveness, xenophobia, fear mongering and strife because its an urgent and passionate reminder of what’s possible with cultural exchange, empathy and curiosity —  bold new ideas, new takes on the familiar, as well as equality for all with everyone’s story behind heard, understood and championed. One day that will happen but we will have to work our asses off to get there.

Cosima Lamberth is an emerging German-Swedish singer/songwriter, multi-instrumentalist, who can trace her passion for music and her music career to her childhood in Malmö, Sweden. Lamberth relocated to Stockholm, where she became a highly-sought after vocalist and instrumentalist, collaborating with the likes of Seinabo Sey, Miriam Bryant, Norrbotten Big Band, Genevieve Artadi, KNOWER, and a growing list of others.

As a solo artist, the Malmo-born, Stockholm-based singer/songwriter is the creative mastermind behind the emerging recording project Cosima Olu, with which she’s released an EP and a handful of singles. Building upon a growing profile, Lamberth will be releasing her forthcoming full-length debut, an effort that was written and recorded on a remote island in Stockholm’s archipelago and at Oda Studios. Sonically, the album finds the emerging Swedish artist crafting warm, organic and retro soul-inspired material that thematically guides the listener on a journey through life’s highs and lows. The album’s first single, the vibey, neo-soul “behold” is centered around shimmering Rhodes, a sinuous bass line, brief blasts of twinkling synths and Lamberth’s effortlessly soulful vocals — and while seemingly upbeat, the song’s narrator describes her difficulty in maneuvering through sorrow and moving forward with a plaintive ache.

“I wrote this track four years ago while going through sorrow and trying to find my way out of my own head,” Lamberth explains. “I felt lost and I started to reach for glimpse of light from.. whatever. After a while, I recognized that I had to go back to myself and stop seeking answers elsewhere”

New Video: I Break Horses Releases a Brooding and Lonely Visual for “Depression Tourist”

Led by frontwoman Maria Linden and featuring Fredrik Balak, the Stockholm-based indie act I Break Horses have released two critically applauded albums: 2011’s full-length debut Hearts received praise from Pitchfork, The Guardian, NME, The Independent and others for material that possessed a luxurious grandeur and 2014’s Chiaroscuro, which found Linden crafting ambitious material with a cool, self-assuredness. Building upon a growing profile, Linden and Balak toured with M83 and Sigur Ros— and U2 played “Winter Beats” before their stage entrance during 2018’s Experience + Innocence tour.

Released yesterday through Bella Union, I Break Horses’ long-awaited third album Warnings was centered around Linden’s desire to take the time to make something entirely different — crafting martial with a strong emphasis on instrumental, cinematic music.  Much of the album’s material can trace its origins back to Linden watching a collection of her favorite films on her computer with the sound muted. As she did so, she began to make her own soundtrack sketches — and those initial sketches gradually evolved int songs. “It wasn’t until I felt an urge to add vocals and lyrics,” Linden says, “that I realized I was making a new I Break Horses album.

Sonically, the album’s material consists of lush and sumptuously layered soundscapes featuring dreamy mellotrons, haunting loops, analog synths and layered vocals meant to create an immersive, dramatic tension on multiple levels. “It’s not a political album,” says Lindén, “though it relates to the alarmist times we live in. Each song is a subtle warning of something not being quite right.” Perhaps unsurprisingly, the album’s creative process was also centered around several different dramas of its own:  “It has been some time in the making. About six years, involving several studios, collaborations that didn’t work out, a crashed hard drive with about two years of work, writing new material again instead of trying to repair it. New studio recordings, erasing everything, then recording most of the album myself at home…” Linden says in press notes.

Warnings also finds Linden collaborating with producer and mixing engineer Chris Coady, who has worked with the likes of Beach House and TV on the Radio. But his experience and expertise with dense and cinematic sound wasn’t the only reason Linden recruited him to mix the album. “Before reaching out to Chris I read an interview where he said, ‘I like to slow things down. Almost every time I love the sound of something slowed down by half, but sometimes 500% you can get interesting shapes and textures.’ And I just knew he’d be the right person for this album.”

“Nowadays, the attention span equals nothing when it comes to how most people consume music,” Lindén adds. “And it feels like songs are getting shorter, more ‘efficient.’ I felt an urge to go against that and create an album journey from start to finish that takes time and patience to listen to. Like, slow the fuck down!”

Now, as you may recall, I wrote about “Neon Lights,” Warnings third single, a lush and cinematic track that managed to recall Trans Europe Express-era Kraftwerk and the Stranger Things soundtrack with a much-needed we-re-all-in-this-together air.  “Depression Tourist,” Warnings’ latest single is an eerie and atmospheric track, centered around a sparse arrangement of shimmering and ethereal synths and Linden’s voice fed through vocoder and other effects. And as a result, the song feels intimate and lonely, yet otherworldly. 

“I wanted this song to sound as if it was broadcasted from space, the loneliest place I could imagine,” Linden explains. “As I obviously couldn’t perform it up there I filmed this version in the loneliest field I could find in Malta.” Shot in black and white, the recently released live session features Linden and a synthesizer in the middle of a windswept corn field. The concept my be simple but it’s gorgeous and evocative. 

New Video: Acclaimed Norwegian Singer-Songwriter Ane Brun Releases a Gorgeous and Cinematic New Single

Over the past 15 years, the acclaimed Norwegian-born, Stockholm-based singer/songwriter Ane Brun has released 12 albums of gorgeous and cinematic folk and art pop through her own label Balloon Ranger Recordings that have included 2005’s sophomore album, A Temporary Dive, which led to a Norwegian Grammy Award win for Best Female Artist; 2008’s critically applauded Changing of the Seasons, which was praised by The New York Times; 2015’s When I’m Free, which NPR’s All Things Considered called “best record yet . . . her most sonically ambitious . . .;” and 2017’s Leave Me Breathless, a collection of covers and reinterpretations of hits by Radiohead, Joni Mitchell, Nick Cave, Bob Dylan, and others.

Brun’s forthcoming (and still untitled) full-length album is slated or a fall release through her own label, and the album’s latest single, the self-recorded and edited “Trust” is a hauntingly gorgeous and cinematic track centered around an atmospheric arrangement of strummed acoustic guitar, shimmering synths and Brun’s gorgeously expressive and plaintive vocals. “It’s a song about letting go of all doubt and just letting yourself fall into the hands of fate, and trust that it’s all going to be alright,” Brun explains in press notes. “It was first written as a romantic song, but as we’re in this state of uncertainty around the planet, I feel it has gained more meaning.” 

Before the single’s official release, Brun invited fans from around the world to join in for a pre-listening party and online chat. “Many of the people who participated were alone in their homes or with their cat or dog, a partner or their family. Some were in quarantine because they were infected with the coronavirus or because they work in healthcare,” Brun says. “What we had in common was that we were all affected by this difficult situation, and most of us were isolating from the outside world. We also felt a need to trust and meet other people. It was magical to come together like this.” The recently released video will resonate will many of us, who have been isolated and feeling alone and desperately wanting to be in touch with another person.

Lyric Video: Stockholm’s I Break Horses Releases a Shimmering and Cinematic New Single

Led by frontwoman Maria Linden and featuring Fredrik Balak, the Stockholm-based indie act I Break Horses have released two critically applauded albums: 2011’s full-length debut Hearts received praise from Pitchfork, The Guardian, NME, The Independent and others for material that possessed luxurious grandeur and 2014’s Chiaroscuro, which found Linden crafting ambitious material with a cool, self-assuredness. Building upon a growing profile, Linden wound up touring with M83 and Sigur Ros– and U2 played “Winter Beats” before their stage entrance during 2018’s Experience + Innocence tour. 

Slated for a May 8, 2020 release through Bella Union, I Break Horses’ long-awaited third album Warnings is reportedly centered around Linden’s desire to take the time to make something different — by crafting material with an emphasis on instrumental, cinematic music. As she watched a collection of her favorite films on her computer with the sound mute, she began to make her own soundtrack sketches, with those sketches gradually evolving into songs. “It wasn’t until I felt an urge to add vocals and lyrics,” says Lindén, “that I realized I was making a new I Break Horses album.”

Sonically, the album’s material is centered around lush and sumptuous soundscapes — dreamy mellotrons, haunting loops, analog synths and layered lyrics paired together to create an immersive, dramatic tension on multiple levels. “It’s not a political album,” says Lindén, “though it relates to the alarmist times we live in. Each song is a subtle warning of something not being quite right.”  Interestingly, the album’s creative process involved several different dramas on its own right: “It has been some time in the making. About six years, involving several studios, collaborations that didn’t work out, a crashed hard drive with about two years of work, writing new material again instead of trying to repair it. New studio recordings, erasing everything, then recording most of the album myself at home…” Linden says in press notes.

Warnings also finds Linden collaborating with producer and mixing engineer Chris Coady, who has worked with the likes of Beach House and TV on the Radio. But his experience and expertise with dense and cinematic sound wasn’t the only reason Linden recruited him to mix the album. “Before reaching out to Chris I read an interview where he said, ‘I like to slow things down. Almost every time I love the sound of something slowed down by half, but sometimes 500% you can get interesting shapes and textures.’ And I just knew he’d be the right person for this album.”

Adds Linden, “Nowadays, the attention span equals nothing when it comes to how most people consume music,” Lindén says. “And it feels like songs are getting shorter, more ‘efficient’. I felt an urge to go against that and create an album journey from start to finish that takes time and patience to listen to. Like, slow the fuck down!”

“Neon Lights,” Warnings’  third and latest single is a lush and cinematic track centered around shimmering synth arpeggios, a motorik groove, thumping beats, a rousingly anthemic hook and Linden’s plaintive and expressive vocals. And while recalling Trans Europe Express-era Kraftwerk and the Stranger Things soundtrack, the song has a much-needed we’re-in-this-together air. The track as Linden explains is “anthem for all of us who have ever felt like we didn’t fit in. It is trying to give a glimpse of hope to all outsiders who feel like they can’t find their way and to show the world that being a ‘misfit’ is a beautiful thing, not something to be pushed aside.”