Tag: Swedish Grammy

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. 

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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.

 

Initially members of Swedish melodic punk/dark pop collective Vånna Inget, Karolina Engdahl (vocals/bass) and Tommy Tift (guitar) can trace their latest musical project, the Malmo, Sweden-based post-punk quartet True Moon to a mounting frustration with what they felt was an increasingly sanitized and homogeneous Scandinavian music scene. “Karolina and I are bored with the Swedish music scene at the moment,” Tift explains in press notes. “It feels like everyone has the same blueprint, like there’s an industry rulebook now for how bands must sound. We wanted to do something different. With the last Vånna Inget (2013’s critically acclaimed, Swedish Grammy-nominated Ingen Botten) we got more and more into dark wave and new wave, so we felt we wanted to explore than more.”

“We were listening to artists such as Joy Division, Killing Joke, Siouxsie and The Banshees, The Sisters of Mercy, The Mission and early Cure,” Tift notes. “There is a purity and honesty and integrity to that music that’s missing from the current scene. Those bands weren’t making music to be pop stars or rock stars, it is pure expression and pure art, and that’s the aesthetic we were pursuing.” Once the duo settled on the band’s overall aesthetic, they recruited  Frederik Orevad (drums) and Linus Segerstedt (guitar) to complete the band’s lineup.
The Malmo, Sweden-based quartet’s self-titled full-length debut was recorded by producer Jari Haapalainen, known for his work with Ed Harcourt and The (International) Noise Conspiracy live to analog tape at Tift’s Studio Motion with the producer and band actively aiming for a raw, unpolished feel and sound reminiscent of Martin Hannet’s legendary work with Joy Division — and in a similar fashion to those legendary recordings, the members of True Moon recorded their debut album’s material in single takes, which gives the album’s material a forceful immediacy; in fact, Engdahl completed the vocals for the album in about 90 minutes.
Slated for an April 28, 2017 release through Lovely Records, the band and their label recently released the album’s first single “Sugar,” and while sonically speaking the song — to my ears, at least — sounds like what would happen if Siouxsie and the Banshees had covered Joy Division, complete with a roaring and rousingly anthemic hook, and an undeniably forceful, almost primal and explosive “you-were-there” immediacy that sets them apart from they countrymen and from their counterparts internationally.