Anna von Hausswolff has said she is celebrating life and his existence on this disc.
The fact that she is using the church organ was trying to convey something divine, as if she is trying to bridge the gap between man and nature, between life and death.
It may sound pretentious, but Anna von Hausswolff succeed in principle to convey the sense of majestic tones that the theme requires. While production, with the church organ in the foreground, has been growing also has her singing has grown. When her voice is heard for the first time ten minutes into the disc, the song “Deathbed”, it feels as if the sky rocketing. Anna von Hausswolff allows the music to fill the whole spectrum, from the sublime to the brittle.
From anxious Silverbullit influences of “Sova” to drone-influenced electronica in “no body”. If the debut album “Singing from a grave” was a great collection of beautiful pop songs that are “Ceremony” in many ways a more complete experience. The monumental first single “Mountain crave” is already one of the best songs.
In “Ceremony” you’ll also find the story of Anna von Hausswolff grandfather and his struggle against death, and few have portrayed the life and death as well as Anna von Hausswolff doing here.
NIKLAS ALICKI/TT SPEKTRA
There really is only one Anna Von Hausswolff. We can thank our lucky stars that we got at least one.
There are people with the same kind of curiosity, with a similar talent, but they are also often older (Anna von Hausswolff 25 years) and more careful and not play with themselves as inputs in the same way.
For example, how she did not begin singing until ten minutes into this disc. And then she does it with a voice that is like a super power, stronger than steel. Before that, it sounds like Eduard Artemyevs soundtrack to Solaris. This is related to the instrumentation to do: pipe organ that is mixed with electronic and electro-acoustic instruments. What does lead to popular music, or at least to the music with its roots in popular culture, is mostly a formality: the repetitive and melodic apparent harmony, the length of the tonal figures, etcetera. And single Mountains Crave emerging as the third track, 15 minutes into the disc, is a spot on pop song in line with other clockwork and timeless: Hounds of Love, keep the streets empty for me, and falling to name a few.
Why do I seem fixed at this time, at intervals, is that this really is a challenging album, but it’s worth the time it takes to get into it. For me it happened in the middle of the third through listening, at the height of Red Sun about. The song of perhaps half of the songs, and a song that is completely elastic as well. Not that it is a question of röstekvilibrism, rather, von Hausswolff a singer who is recognized as long as possible, and suddenly hiss and roar, and bend the notes with absolute control. And the instrumental parts are sometimes long chunks of organ and slide guitar, sometimes quite distinct pop-melodies.
She sings mostly in English, and it could be perceived as a bit irritating to the work of this self-mercy and experimental dignity should be filtered, when the mother tongue and the most direct should be Swedish.
But strangely disturbs me. It largely depends on the voice, but also that these texts actually contain more than is usually the case when the Swedes change the language. This approach reminds a little bit about how, especially Norwegian black metal artists can switch languages without feeling artificial. It has to venture to do. Because this is a brave album, made with a completely open mind, with the necessary tunnel vision as well nigh all the others lack, or do not dare to rely on.