Interview: Jakob Olausson.

01 Dec 2011 — Henning Lahmann

When the debut LP of Swedish songwriter Jakob Olausson, Moonlight Farm, was released by De Stijl Records in 2006, it encountered a cohort of distinguished music critics that was eagerly anticipating any record that could at least loosely be linked to the still prevalent "New Weird America" scene in underground pop music. And it surely did not disappoint anyone: Having been dubbed a "modern classic" by no one less than David Keenan himself, Moonlight Farm received more or less unanimous acclaim. Next week, five years after his debut, Jakob Olausson will finally drop his sophomore record Morning & Sunrise, another collection of eight rusty - if cleaner - folk gems, again an utterly brilliant effort that this time however does not seem to be at risk of getting sucked into any kind of hype maelstrom, which after all can only be to the artist's benefit. A few days ago I've had a little email chat with Jakob about his musical output. Read it below and take an exclusive listen to the breathtaking album track "Keep the Sky from Falling". NFOP: When did you start making music - and if there’s a reason, why? Jakob: I picked up the guitar as a teenager. My grandfather had bought me and my brother a guitar when we were kids, but it took me a few years before I, sparked by my growing interest in music, dusted it off and wanted to learn how to play myself. I started to record on a boom box some years after that, and released a tape in '97. Later graduated to a 4-track and then onto my trusty 8-tracker. NFOP: Your first album "Moonlight Farm" virtually came out of nothing and received a tremendous amount of praise - had you expected something like that? Jakob: I had no expectations at all. I was just happy to have my music out on a label I really liked. And it was a nice surprise that people actually were moved by the record. NFOP: A lot of critics have linked your music to the “freak folk” or “New Weird America” scene of the mid-noughties in the States. In which way do you feel attached to that scene? Jakob: I haven't really thought of that. It's nothing that keeps me awake at night. I'm probably too old to care about ”scenes” made up by writers. It's way more interesting with people who create their "own universe kind of scene" than the ones buying into every new thing. But maybe I'm just cynical. NFOP: Apart from modern fellows, which musicians inspire you most? Jakob: Maybe more inspired on a personal level by currently living humans. I don't get much musical inspiration from modern music, quite the opposite. Apart from maybe some hip hop. I get most thrills from cheap bargain bin records, and classic stuff like Dylan, Beatles, Neil Young and maybe even more so bands who tried to sound like them but on a really small budget. And of course TONS more. I listen to a really wide range of music. NFOP: Quite a lot of fuss had been made about the fact that you lived in rural Sweden and were a beet farmer by day. Would you say that this circumstance informs your music substantially? And, has any of this changed since the release of “Moonlight Farm”? Jakob: Since the release my first LP, I've moved to a bigger city. Mostly due to practical circumstances. I wouldn't say that it changed my life very radically. I still spend most of my spare hours at home. Playing guitar or recording, or making/eating good cheap food. I don't go out that much. NFOP: If you compare “Moonlight Farm” and “Morning & Sunrise”, what did you want to change, and in which way have things musically changed eventually in the time-span between both albums? Jakob: Recording ”Moonlight Farm” was a whole lot of trying out the possibilities of recording to eight tracks. I feel more confident singing now than I did before. The new record has bass and drums on most tracks, and I think it just sounds better. The two records sound pretty different. My interest and knowledge in recording, equipment and technics has really grown over the years. And it will be more apparent on the next record. Of course it's still all analog chain. NFOP: What’s next for you as regards touring and recording? Jakob: I record all the time. Lately a lot of quick instrumental stuff, too. Like a weekly exercise. I have a whole lot of songs im working on. It'd be stupid of me to talk about next releases as it'll most likely take quite some time till it'll be out anyway. And I hope to do some touring next year. There's been some talk. We'll see...I take it as it comes. I never take stuff for granted. Would be fun though! Morning & Sunrise is out December 6 on De Stijl Records. Jakob Olausson - Keep the Sky from Falling (exclusive)

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When the debut LP of Swedish songwriter Jakob Olausson, Moonlight Farm, was released by De Stijl Records in 2006, it encountered a cohort of distinguished music critics that was eagerly anticipating any record that could at least loosely be linked to the still prevalent "New Weird America" scene in underground pop music. And it surely did not disappoint anyone: Having been dubbed a "modern classic" by no one less than David Keenan himself, Moonlight Farm received more or less unanimous acclaim. Next week, five years after his debut, Jakob Olausson will finally drop his sophomore record Morning & Sunrise, another collection of eight rusty - if cleaner - folk gems, again an utterly brilliant effort that this time however does not seem to be at risk of getting sucked into any kind of hype maelstrom, which after all can only be to the artist's benefit. A few days ago I've had a little email chat with Jakob about his musical output. Read it below and take an exclusive listen to the breathtaking album track "Keep the Sky from Falling". NFOP: When did you start making music - and if there’s a reason, why? Jakob: I picked up the guitar as a teenager. My grandfather had bought me and my brother a guitar when we were kids, but it took me a few years before I, sparked by my growing interest in music, dusted it off and wanted to learn how to play myself. I started to record on a boom box some years after that, and released a tape in '97. Later graduated to a 4-track and then onto my trusty 8-tracker. NFOP: Your first album "Moonlight Farm" virtually came out of nothing and received a tremendous amount of praise - had you expected something like that? Jakob: I had no expectations at all. I was just happy to have my music out on a label I really liked. And it was a nice surprise that people actually were moved by the record. NFOP: A lot of critics have linked your music to the “freak folk” or “New Weird America” scene of the mid-noughties in the States. In which way do you feel attached to that scene? Jakob: I haven't really thought of that. It's nothing that keeps me awake at night. I'm probably too old to care about ”scenes” made up by writers. It's way more interesting with people who create their "own universe kind of scene" than the ones buying into every new thing. But maybe I'm just cynical. NFOP: Apart from modern fellows, which musicians inspire you most? Jakob: Maybe more inspired on a personal level by currently living humans. I don't get much musical inspiration from modern music, quite the opposite. Apart from maybe some hip hop. I get most thrills from cheap bargain bin records, and classic stuff like Dylan, Beatles, Neil Young and maybe even more so bands who tried to sound like them but on a really small budget. And of course TONS more. I listen to a really wide range of music. NFOP: Quite a lot of fuss had been made about the fact that you lived in rural Sweden and were a beet farmer by day. Would you say that this circumstance informs your music substantially? And, has any of this changed since the release of “Moonlight Farm”? Jakob: Since the release my first LP, I've moved to a bigger city. Mostly due to practical circumstances. I wouldn't say that it changed my life very radically. I still spend most of my spare hours at home. Playing guitar or recording, or making/eating good cheap food. I don't go out that much. NFOP: If you compare “Moonlight Farm” and “Morning & Sunrise”, what did you want to change, and in which way have things musically changed eventually in the time-span between both albums? Jakob: Recording ”Moonlight Farm” was a whole lot of trying out the possibilities of recording to eight tracks. I feel more confident singing now than I did before. The new record has bass and drums on most tracks, and I think it just sounds better. The two records sound pretty different. My interest and knowledge in recording, equipment and technics has really grown over the years. And it will be more apparent on the next record. Of course it's still all analog chain. NFOP: What’s next for you as regards touring and recording? Jakob: I record all the time. Lately a lot of quick instrumental stuff, too. Like a weekly exercise. I have a whole lot of songs im working on. It'd be stupid of me to talk about next releases as it'll most likely take quite some time till it'll be out anyway. And I hope to do some touring next year. There's been some talk. We'll see...I take it as it comes. I never take stuff for granted. Would be fun though! Morning & Sunrise is out December 6 on De Stijl Records. Jakob Olausson - Keep the Sky from Falling (exclusive)

Premiere: Vittoria Fleet - “Kissing Cousins”.

01 Dec 2011 — Henning Lahmann

Listen to the title track of Vittoria Fleet's new EP Kissing Cousins, out next Monday via the group's bandcamp. The project, which recently relocated from London to Berlin, is really onto something here, splendidly blending some Homogenic-era Björk vocalisation and late noughties Berlin maximalist big beat (you get the idea) into pretty exciting future pop. Read more → Listen to the title track of Vittoria Fleet's new EP Kissing Cousins, out next Monday via the group's bandcamp. The project, which recently relocated from London to Berlin, is really onto something here, splendidly blending some Homogenic-era Björk vocalisation and late noughties Berlin maximalist big beat (you get the idea) into pretty exciting future pop.

Altered Zones: An Obituary.

30 Nov 2011 — NFOP

Whatever time zone you live in, tomorrow you’ll wake up to a world that's just become a little less awesome. Altered Zones is gone, brought down and killed by unknown dark forces whose identity we can only suspect. But whatever reason was ultimately crucial to make the decision over at the Pitchfork mothership to shut the internet's greatest place for underground pop music, and apart from the fact that in hindsight, a lot of signs had pointed in this direction for quite a while already, AZ will be missed terribly, among the fellow blogosphere as well as the whole independent music community. And, let us say just this, it was a bad decision, and it's gonna be interesting to watch Pitchfork struggle to regain the readership for bold and amazing music, cause at the end of the day we imagine it must be rather tough to first outsource the great stuff to wholeheartedly focus on this, and then to try to get back where you once had been, a place, we'd like to add, Fact, Dummy, The Fader, and probably even Vice and a few others have never left. On the other hand of course, maybe this is where you always wanted to be. But let's leave it at that. About Altered Zones, of course you've also always been a pain in the ass, like the older, painfully cool kid that was hanging around on the schoolyard, smoking (even weed!), being friends with all the skaters and musicians that were all ignoring us as long as they were getting your attention, and every time we asked one of the girls out they always already had a date with you. So yeah we kinda hated you, but of course, only because we desperately wanted to be at least nearly as cool as you. Our thanks go out to all our friends over at AZ for almost two years of constantly amazing work, and in particular to Emilie Friedlander and Ric Leichtung for making it all possible each and every day. You were the dopest competition we could've ever dreamed of. Read more → Whatever time zone you live in, tomorrow you’ll wake up to a world that's just become a little less awesome. Altered Zones is gone, brought down and killed by unknown dark forces whose identity we can only suspect. But whatever reason was ultimately crucial to make the decision over at the Pitchfork mothership to shut the internet's greatest place for underground pop music, and apart from the fact that in hindsight, a lot of signs had pointed in this direction for quite a while already, AZ will be missed terribly, among the fellow blogosphere as well as the whole independent music community. And, let us say just this, it was a bad decision, and it's gonna be interesting to watch Pitchfork struggle to regain the readership for bold and amazing music, cause at the end of the day we imagine it must be rather tough to first outsource the great stuff to wholeheartedly focus on this, and then to try to get back where you once had been, a place, we'd like to add, Fact, Dummy, The Fader, and probably even Vice and a few others have never left. On the other hand of course, maybe this is where you always wanted to be. But let's leave it at that. About Altered Zones, of course you've also always been a pain in the ass, like the older, painfully cool kid that was hanging around on the schoolyard, smoking (even weed!), being friends with all the skaters and musicians that were all ignoring us as long as they were getting your attention, and every time we asked one of the girls out they always already had a date with you. So yeah we kinda hated you, but of course, only because we desperately wanted to be at least nearly as cool as you. Our thanks go out to all our friends over at AZ for almost two years of constantly amazing work, and in particular to Emilie Friedlander and Ric Leichtung for making it all possible each and every day. You were the dopest competition we could've ever dreamed of.

9mary: “In A Manner Of Speaking cover”.

30 Nov 2011 — Tonje Thilesen

With an unstoppably growing amount of so-called "singer-songwriters" appearing from every single corner of the monstrous musicsphere these days, it has become a difficult task to pick out the ones that truly stands out. However, those who actually do will be discovered sooner or later, as we have countless examples of per this day. The young and innocent 9mary aka Flo Morrissey from London is, dare I say, one of these very examples I think we might hear more about in a not so distant future. I literally stumbled across her soundcloud page by a complete coincidence a few months ago, and all though so far almost only consisting of cover songs and short "test" tracks recorded together with her brother, her massive, Feist-esque voice quickly had me realize that there is something very unique about this girl. The link to her cover of Sarah Suskind's "Lovin's For Fools" was immidiately posted on our facebook wall, but in lack of information about her, a write-up was unfortunately slightly delayed. Today, another song finally found its way to her little 'cover vault', this time of Tuxedomoon's "In A Manner of Speaking". We simply can't wait to hear the girl's own songwriting, as she recently announced that a physical release is already on its way. Listen to the magic yourself: Read more → With an unstoppably growing amount of so-called "singer-songwriters" appearing from every single corner of the monstrous musicsphere these days, it has become a difficult task to pick out the ones that truly stands out. However, those who actually do will be discovered sooner or later, as we have countless examples of per this day. The young and innocent 9mary aka Flo Morrissey from London is, dare I say, one of these very examples I think we might hear more about in a not so distant future. I literally stumbled across her soundcloud page by a complete coincidence a few months ago, and all though so far almost only consisting of cover songs and short "test" tracks recorded together with her brother, her massive, Feist-esque voice quickly had me realize that there is something very unique about this girl. The link to her cover of Sarah Suskind's "Lovin's For Fools" was immidiately posted on our facebook wall, but in lack of information about her, a write-up was unfortunately slightly delayed. Today, another song finally found its way to her little 'cover vault', this time of Tuxedomoon's "In A Manner of Speaking". We simply can't wait to hear the girl's own songwriting, as she recently announced that a physical release is already on its way. Listen to the magic yourself:

Ensemble Economique: “Vanishing Point”.

29 Nov 2011 — Henning Lahmann

One of the most thoroughly anticipated releases has finally arrived this week, Ensemble Economique's new full-length Crossing the Path, By Torchlight, out now on Dekorder. The title alone should convince you to drop everything and run to the next vinyl dealer but let us nevertheless add that the follow-up to last year's stellar Not Not Fun LP Psychical adds six more brilliant pieces of oppressive cinematic soundscaping to Brian Pyle's already more than impressive oeuvre. Take "Vanishing Point": a slow-burning, gently meandering yet also constantly threatening score for every introspective trip you could possibly be afraid of, undeniably beautiful but at the same time painfully unsettling, serving as a reminder that we'll never know if we're still here in only seven minutes' time. Crossing the Path, By Torchlight is available via Boomkat. Ensemble Economique - Vanishing Point Read more → One of the most thoroughly anticipated releases has finally arrived this week, Ensemble Economique's new full-length Crossing the Path, By Torchlight, out now on Dekorder. The title alone should convince you to drop everything and run to the next vinyl dealer but let us nevertheless add that the follow-up to last year's stellar Not Not Fun LP Psychical adds six more brilliant pieces of oppressive cinematic soundscaping to Brian Pyle's already more than impressive oeuvre. Take "Vanishing Point": a slow-burning, gently meandering yet also constantly threatening score for every introspective trip you could possibly be afraid of, undeniably beautiful but at the same time painfully unsettling, serving as a reminder that we'll never know if we're still here in only seven minutes' time. Crossing the Path, By Torchlight is available via Boomkat. Ensemble Economique - Vanishing Point

Video: The Proper Ornaments - “Who Thought”.

29 Nov 2011 — Henning Lahmann

Watch the video for the delicious jangle pop jam "Who Thought" by London-based outfit The Proper Ornaments, the duo formed by Max Claps and Veronica Falls guitarist James Hoare. The track will be part of their forthcoming self-titled EP which is out next week on No Pain In Pop. The video was directed by Nyco Dyszel. Pre-order the 12 inch now over here. Read more → Watch the video for the delicious jangle pop jam "Who Thought" by London-based outfit The Proper Ornaments, the duo formed by Max Claps and Veronica Falls guitarist James Hoare. The track will be part of their forthcoming self-titled EP which is out next week on No Pain In Pop. The video was directed by Nyco Dyszel. Pre-order the 12 inch now over here.

The New Lines: “La Réciprocité”.

29 Nov 2011 — Henning Lahmann

Not even a single month after unleashing their recommended debut LP All That We See And Seem via The Great Pop Supplement (you may stream the whole thing here), New Jersey psych-pop group The New Lines have already prepped a successor, an EP named Witches' Milk that's about to be dropped by our favorite tape label Moon Glyph. Though lacking a proper chorus, with its warm, appealing bassline, reverberated organ quiver and pleasing horn section interludes, and most of all Hewson Chen's deep and unagitated croon, the mildly psychedelic throw-back piece that's "La Réciprocité" might actually be the band's finest pop song to date, and I shouldn't forget to mention that this means something when talking about this as yet rather underappreciated group. Witches' Milk comes in an edition of 150 and is up for order now over here. Read more → Not even a single month after unleashing their recommended debut LP All That We See And Seem via The Great Pop Supplement (you may stream the whole thing here), New Jersey psych-pop group The New Lines have already prepped a successor, an EP named Witches' Milk that's about to be dropped by our favorite tape label Moon Glyph. Though lacking a proper chorus, with its warm, appealing bassline, reverberated organ quiver and pleasing horn section interludes, and most of all Hewson Chen's deep and unagitated croon, the mildly psychedelic throw-back piece that's "La Réciprocité" might actually be the band's finest pop song to date, and I shouldn't forget to mention that this means something when talking about this as yet rather underappreciated group. Witches' Milk comes in an edition of 150 and is up for order now over here.