sound & art by J.G.W

Posts tagged “Kalligrammofon

“Patient, Friend” New single!

TroubledMorrows_front_72dpi

In February my new LP entitled “Troubled Morrows” sees the light of day on kalligrammofon, but you can already listen to
the track “Patient, Friend” over at soundcloud.

The album was recorded in 2009-2010 and is much lighter in tone than my
latest releases, and revolves around/handles themes of dread, angst and anticipation of amongst other things fatherhood.
Vocals, fingerpicked guitar and acoustic drones…it’s by far the most accessible album I’ve made I think. I hope you like it.

bild-73


impulses and obsessions

hello friends.

Fall is here and with it beautiful walks, endless rain and dreaded premonitions of a slushy, cold
and long swedish winter. Let’s not despair…

(live-setup for trio-gig, October 2012)

There’s a bunch of of stuff in the works right now, I’m slowly getting a few releases together, and hopefully they will
see the light of day within the next few months.

The Dränkstenen 10″ is still delayed but will hopefully be released sometime during the winter/spring on the Vintermusik label. Also coming out here is a 12″ reissue of my friend Peter Brodericks Ten Duets tape.
Don’t sleep on this if you want it, they’re sure to sell quickly!

A 60 min cassette made up of recordings made before and during my trip to Utrecht earlier this year will be released by the great new label Awkward Formats. The title is “I Have A Heaven Ending And Weaving Thin Threads Of Darkness From The Light That Was Given” and it’s made up of various recordings of me playing the violin, piano, pump-organ and various e-bowed string instruments. All of it processed through tape echos, delays and various homebuilt boxes, recorded and re-recorded on to cassette-tapes and then used as the basis for improvised live-mixes with live processing and tone-generator jamming. Really pleased with how this all turned out, both sound-wise and visually.

Here’s a short sample:

Some words on the release from Awkward Formats:
“In “I Have A Heaven Ending And Weaving Thin Threads Of Darkness From The Light That Was Given” slow sad drones built on pump-organ and various strings brighten and dim gradually across an hour-long cassette housed in an engraved wooden box containing a printed note and photographs by Henrik Landén. The sounds were created for and during a weekend of concerts in Utrecht in September 2012.”

Also in the works is a 12″ entitled “Troubled Morrows” which will be released via Kalligrammofon.
This is not part of the same narrative as “Née or Heart Attack Money” but something new.
Artwork is being made by the fantastic Johannes Brander!

Johannes and me also have a duo called Heathers/Hollows and our debut double cassette release
“Staring At The Invisible World” has been delayed and delayed throughout the year but it is
getting really close to an actual release now! Don’t fret, it’ll be here soon!
Sample “Rain Water Poison”, the first track from side C of the release below:

Me and my band Scraps Of Tape are currently working on album #5, and some other goodies
are in the works as well. Keep your eyes open! We’ll also be playing a gig in Copenhagen at BETA
on November 30th, and we’ll be playing a bunch of new stuff mixed in with all the good ol’ hits.

Nice words from various places about the Blessings-tape “Bittervatten”.
It’s selling out so be quick if you haven’t gotten your copy yet.

From The Elementary Revolt:
Blessings is a three piece hardcore, punk, crust band from Sweden who formed early this year.  Blessings feature members of Scraps Of Tape, Anchor, Fä, and the Swedish indie rock band Chester Copperpot.  Blessings play an absolutely punishing style of music that incorporates elements of hardcore, punk, and crust within their sound.  Blittervatten is the band’s debut seven song LP, which features seven songs total lasting a little over the twenty eight minute mark.  Overall, these 7 songs make for a dark, omnious, and downright nasty listen.  I can’t begin to describe how good this album is.  Do yourself a favor, pick up a copy of the cassette, if you live in Europe.  Blessings is a must listen for fans of Martyrdod, Wolf Brigade, Cursed, and Rot In Hell.  Highly recommended!  Enjoy!

From Toxicbreed’s Funhouse:

Blessings are a new project from Sweden with members of Anchor and Scraps Of Tape.  This is one of the most promising debut releases I have heard all year, 7 songs of crusty and dark heavy hardcore. Highly recommended.

From Fuck Yeah Metal Punk:

Sometimes there are albums that you need some time to digest, to fully understand. Sometimes there are albums that click right away and are highly addictive. Blessings’ Bittervatten belongs to the second case. Really, it’s truly amazing. The songwriting is pretty diverse, The vocals are fantastic, and the production is perfect and takes everything to a whole new level of harshness (the guitar sounds like it was processed through sandpaper, giving a nice Noise Rock vibe). As highlights, i would like to point out track 5, with a total Gaahl-era-Gorgoroth worship intro, and track 6, which is, so to speak, something else (it’s more doom-y and the vocal work is one of the best i’ve heard so far).

Don’t sleep on this!

Thanks also to Johannes and the fantastic Peeter Uuskyla who invited me to play a set
with them at Galleri Magnus Winström in Gothenburg during Kulturnatta last friday.
I had a blast!!

peace.

photo by Sara Winther


November 2009

Hey.

Me and the family went to Stockholm the other weekend (14-15th Nov) to attend the Ny Musik För Hållbar Utveckling-Festival at Kulturhuset.
The line-up of artists and bands were really spectacular and I had a really nice time.

The Highlights:
Henrik Olsson & Daniel Karlsson
Originalljudet
Viking Jews
Skeppet

There was also some really awesome exhibitions going on from Koloni, Mother and Hockey Rawk.
Since we had to go home early on sunday afternoon I missed out on a few things I’d really would’ve liked to see, Altar of Flies
and other goodies, too bad.

I performed live as Tsukimono playing tracks from my two kalligrammofon-records as well as one new track, and I exhibited some of my drawings. First exhibition in quite a while.

 

I’ve also posted some tracks under the alias “Thee Gutted String” on myspace: http://www.myspace.com/theeguttedstring

I hope this finds you well.
.jgw.

 


First H.A.M-review!! Finally…

Hello!
Since releasing the album “Heart Attack Money” earlier this year I’ve from time to time been scanning the internet for a review or two, but alas…to no avail.

So, today I finally found one…over at a page I actually often read, The Silent Ballet.

I worked really hard on this album and it has a lot of deep meaning to me, mainly the thing that I listened to Billie Holiday more than anything, over and over and over and over again, while I for 2 years travelled in my car almost daily between 3 different cities quite far apart in Sweden, and I’m really glad someone finally took the time to listen to it.

Here’s the review:

Tsukimono – Heart Attack Money


Score: 3/10

Billie Holiday’s 1941 hit, “Gloomy Sunday,” tells the tale of a person in mourning who is contemplating suicide. Due to numerous anecdotal stories of people listening to the song and launching themselves from rooftops, the BBC banned the tune, which eventually became known as “The Hungarian Suicide Song.” Gloomy is Sunday, with shadows I spend it all, my heart and I have decided to end it all. The song is beautiful, heartfelt, and golden. Upon hearing this tune sampled on Tsukimono’s track of the same name, I was transported to the land of wistful nostalgia – that is, until I realized that the sample was repeating, and would continue to repeat for five minutes of an eight-minute song, until all the resonance, all the majestic melancholia, had been bleached from its bones, leaving only a husk of what was once the most dangerous song in all existence. This killed the album for me, absolutely killed it - pun intended - because by the time the song was over I felt the urge to jump from the Empire State Building, to shoot myself in the head, to do anything to escape from this tedious, endless loop.

A successful album can’t have such a spiky annoyance protruding from its digital grooves. And so I looked for something else to salvage. “I Am Going” is the next track that juts out, due to a seemingly inexhaustible supply of high-pitched trills, rusty boat squeaks, and hospitalized ring tones. This is another experiment, one that might have worked better had there been an underlying blueprint, a sense of purpose, or even a promotion of the sub-melodies from the distant background to the fore. Alas, no – and this is the middle piece of an oddly conjugated trilogy (“I’ve Got to Go,” “I Am Going,” “I’m Gone”). You’re only as good as your best sample, and this one is piss-poor.

Once these tracks are removed (easy to do when one has a digital copy), the album begins to sound a bit better. But I have already started down the Bizarro road of reviews, choosing not the tracks to highlight, but those to excise. And that’s where things get a bit dicey. I enjoy the piano playing on a few cuts, but the distorted vocals keep popping up to ruin them, most notably on “My Heart Has An Ache, It’s as Heavy as Stone,” featuring a sample from the 1933 jazz standard, “I Cover the Waterfront.” Once again, I am confronted with an echo of something much, much greater, chopped up, tamed, reduced. Not even Moby would have mistreated a classic in such a way. I wanted to find my grandmother’s old Victrola, leaf through her 78’s, and immerse myself in authentic despair, rather than the manufactured and processed.

Sure, there are moments on this album that fail to offend: a couple lean tracks, glistening with the occasional keyboard note, time-stretched melodies whose silences are filled by tentative drones. And “Get Gone” gets the balance right, with just the right amount of rain falling into the cracks of the piano pavement, and a much quieter sung sample, a word, perhaps two, impossible for this reviewer to identify. This piece, as well as the pleasingly abrasive closer, “Hands Over a Key,” are the foundations upon which this Swedish composer is advised to build.

The overall problem – and yes, we have encountered this all too often – is the buckshot of Tsukimono releases, sixteen in the last four years alone. Take just one track from each of these releases, perhaps even leaving out a few, and the culling could reveal a choked beauty struggling to bloom. But the problem specific to this release is that there are some songs whose definitive renditions can never be topped, and these cuts respond poorly to half-hearted mastication. Many sound artists have plundered back catalogues in order to comment on prior pieces, or have integrated them with reverence or irony into larger compositions. Neither force is called into play here. Heart Attack Money is instead a reminder that greater music existed once, and while its distorted echo can still be heard, we’d rather have the real thing.
- Richard Allen
___________________________________________________________________

It’s actually not as bad as Richard here thinks, trust me. Everyone’s entitled to their opinions, but I must say that the Moby-comment was a bit harsh, ouch Richard!

Soon: “Gotta Sing, Gotta Dance” 7″ (finally!)
“Tell Each Other Ghost Stories” Split with Dwayne Sodahberk

Also some live-shows coming up in Stockholm and Gothenburg. More info soon!

love, j

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