Mountains Crave Live by Anna von Hausswolff
CEREMONY out June 17th via City Slang in EU
and July 9th via Other Music in USA.
www.annavonhausswolff.com
Directed by Mikel Cee Karlsson
Recorded and mixed by Filip Leyman
Anna Band: Daniel Ögren(guitar),Karl Vento (guitar), Christopher Cantillo(drums), Filip Leyman (synths)
Fuck Yeah! Anna von Hausswolff
www.annavonhausswolff.com
"The ceremony is over for the moment. Now let the worship begin"
-WYNDHAM WALLACE
Posts tagged pop:
Anna von Hausswolff - Deathbed
Information Denmark: Secular organ and a broken thumb 
Pale Soul
Swedish Anna von Hausswollf - who lives in Copenhagen - has entered the church, which has also fueled so much music. The 26-year-old singer, pianist and composer sit down at the organ, occasionally surrounded by guest musicians on drums, electric guitar, piano, bongos etc. and has written a pompous bloody expressive music that might best be described as gothic-romantic organpop.The redeemed with thundering voice from her own body, blown up by jernpibernes lungs, without seeming hole, just overwhelming. Because the numbers never go for the easy solutions rumble and groans, but seek - and find - a compositional substance.The album is called Ceremony - which is also a Joy Division song - and her modern expressive approach to organ ceremonial qualities opens a new range of possibilities in pop.There is room for both long instrumental passages, huge sweeping emotions, clearly loans from the theme to Twin Peaks, flighty opera singing, sudden whim of pale soul - a kind of sacred secular pop, as Anna von Hauswollf take on with strange calmness and strength.
Ralf Christensen
Deathbed live by Liveartismovies
It seems that Anna just got a new fan : )
Anna von Hausswolff “Ceremony” album preview.
Divine album by Anna von Hausswolff 5/5
☆☆☆☆☆
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
The light / dark Anna von Hausswolff | Ceremony 5/5
☆☆☆☆☆
Introduction to the Ceremony, says a lot about Anna von Hausswolff as a musician, songwriter and performer. The first track Epitaph of Theodor starts with church organ, explodes in a redemptive melody, the song comes first after ten minutes, right in the second song Deathbed with a monotone weight that is reminiscent of the American band Earth Gothic landscape dreams. Anna von Hausswolff has moved on, she explores various moods and takes in his songs in a different space. Not afraid to challenge herself and his listeners. And once you are there, inside the music, entwined by the church organ’s sound-world, engulfed by the mighty introduction, the effect is even greater when it will pop songs, ballads, every song is its own chapter in a larger story.
The album was recorded in Annedalskyrkan. But forget the biblical references. It’s a private trek. She discovered the church organ sound in a synth, but was eager to play on real organs, and with musician and producer Filip Leyman, and a few other musicians (Christopher Cantillo, Daniel Ögren, Karl Vento and his sister Maria von Hausswolff on vocals) has become a hour-long album that surpasses the debut album Singing from the grave.
It is the combination of an exceptional freedom of expression and balance of the meeting between voice and music, between different types of songs, which makes Anna von Hausswolff music unusual. Just like at Old beauty / Now you can die from the last album, it is quite obvious when she suddenly sings in Swedish in “Sova”, with classical soprano voice, or when the song is lost again, the No-body there droneklanger and spooky sound creeps up from underground. An unexpected move, sure, but everything is connected, it strengthens the whole, the various songs enrich each other.
Darkness in the titles and subtitles. But as much light. Mountains Crave is a pop song with a positive feeling. Funeral for my future children, despite the title of a tune that takes off, spins forward, the river with both living and dead. Liturgy of Light is a ballad with an electric guitar opens the window in the church and pick some more moving clouds. Instruments speak Epitaph of Daniel sneaks into a Twin Peaks-tune. I hesitate a little before the electric guitars on some songs, going into the atmospheric dream rock à la Sigur Rós, but here is a balance, counterbalance the organ, complementary colors.
Had the album been as good without the church organ? I do not think so. It happens something with the songs, listen to the Red Sun, with just vocals and organ. Deep. And the presence, in space, is total.
PM Jönsson
Photo by Casper Christoffersen
A completely open mind
5/5
http://www.kuriren.nu/noje/Default.aspx?articleid=6481458
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.
Mattias Alkberg
Photos By Casper Christoffersen
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