Tuesday, December 22, 2009

Now I'm looking for you or anyone like you


It is with sincere joy that I have re-found Koop Island Blues while listening to, of all things, France Inter Radio, yesterday. It came on and instantly haunted me like an old ghost. I knew I'd heard that before. With no up-to-date radio archive due to strikes, I quickly scrambled to Google up the lyrics, found it to be Koop. After about 30 repeat listens, clearly I was smitten. I realised I'd heard it before on an advert. Not able to get this out of my head I thought of what it could be. I haven't actually watched the telly since Sweden, at least not enough to see ads. And then it dawned on me, it was on a Swedish ad...and then, A-HA! The lightbulb went off and it all came back! Hiding from the terrorizing Borlänge heat I'd seen an ad for Dexter in Swedish and remarked on the song, quite lovely juxtaposed against this ad for a serial killer. Ironically gorgeous. And that voice sounded familiar. I scribbled it down in a note and packed it into my suitcase, came home and searched desperately, no luck, and still none, apparently that ad is hard to find, but it always remained in the back of my mind. But I know for a fact now that it was Koop Island Blues. And for some reason, it's these stupid little things that make this song even more special and exciting to have finally re-found.
Otherwise I still recommend Koop highly. Ane Brun sings on this song in particular, hence the familiar voice. Always lovely. And Koop themselves are a bit of a wonderkin. Because I could not say it better, their last.fm bio:

"Uppsala, Sweden (1995 – present)

Koop is the Swedish electronic jazz duo of Magnus Zingmark and Oscar Simonsson from Uppsala, Sweden, formed in 1995. Though the music may sound as if it is played by a tight jazz group, it is actually sample-based. Thousands of small clips of drums, strings, horns, and choirs are taken from old records and puzzled together into new songs. This time consuming production process is one of the reasons Koop’s albums are released 4-5 years apart.

The group’s 3 albums all feature guest vocalists. On their latest, “Koop Islands”, the singers are Yukimi Nagano, Ane Brun, Hilde Louise Asbjornsen, Rob Gallagher and Mikael Sundin. Also contributing to the percussion, solos, and bass are Mattias Ståhl, Magnus Lindgren, Karl Frid, Nils Berg, Martin Höper, Ola Bothzén, Dan Berglund and Mats Lindfors.

Live, Koop transforms into a 7-9 piece swing orchestra including 1-3 singers. The lineup varies from time to time.

Koop prefers to label their music
“romantic swingtronica”.
Koop Islands, the group's third album, is a 1930's musical romp with updated lyrics and vocals. Romantic swingtronica is the perfect term. I don't know whether to sex someone to this, or swing dance.

Friday, December 18, 2009

I'm a talented artist but my heart's not in it.

"It was the day after we had gone to the beach. I had gone to the office as usual in the morning, but by noon I was so feverishly inspired that I took a trolley and rode out into the country. Ideas were pouring into my head. As fast as I jotted them down others came crowding in. At last I reached that point where you abandon all hope of remembering your brilliant ideas and you simply surrender to the luxury of writing a book in your head. You know that you'll never be able to recapture these ideas, not a single line of all the tumultuous and marvelously dove-tailed sentences which sift through your mind like sawdust spilling through a hole. On such days you have for company the best companion you will ever have--the modest, defeated, plodding workaday self which has a name and which can be identified in public registers in case of accident or death. But the real self, the one who has taken over the reins, is almost a stranger. He is the one who is filled with ideas; he is the one who is writing in the air; he is the one who, if you become too fascinated with his exploits, will finally expropriate the old, worn-out self, taking over your name, your address, your wife, your past, your future. Naturally, when you walk into an old friend in this euphoric state he doesn't wish to concede immediately that you have another life, a life apart in which he has no share. He says quite naively--"Feeling rather high today, eh?" And you nod your head almost shamefacedly.

How can you make another person understand what is really happening inside you? If I were to break a leg he would drop everything. But if your heart is breaking with joy--well, it's a bit boring, don't you know. Tears are easier to put up with than joy. Joy is destructive: it makes others uncomfortable. "Weep and you weep alone,"--what a lie that is! Weep and you will find a million crocodiles to weep with you. The world is forever weeping. The world is drenched in tears. Laughter, that is another thing. Laughter is momentary--it passes. But joy, joy is a kind of ecstatic bleeding, a disgraceful sort of super-contentment which overflows from every pore of your being. You can't make people joyous just by being joyous yourself. Joy has to be generated by oneself: it is or it isn't. Joy is founded on something too profound to be understood and communicated. To be joyous is to be a madman in a world of sad ghosts."

"Sexus", Henry Miller, 1949

I've got nothing to say

You talk way too much.


Friday, December 4, 2009

Six To Eight Black Men


It's December and in the spirit of the newly-upon-us holiday season, I bring to you my favourite Christmas tale. I guarantee you've never heard this one before!

"A heartwarming tale of Christmas in a foreign land where, if you've been naughty, Saint Nick and his friends give you an ass-whuppin'."
-Esquire Magazine

"I've never been much for guidebooks, so when trying to get my bearings in a strange American city, I normally start by asking the cabdriver or hotel clerk some silly question regarding the latest census figures. I say silly because I don't really care how many people live in Olympia, Washington, or Columbus, Ohio. They're nice enough places, but the numbers mean nothing to me. My second question might have to do with average annual rainfall, which, again, doesn't tell me anything about the people who have chosen to call this place home.


What really interests me are the local gun laws. Can I carry a concealed weapon, and if so, under what circumstances? What's the waiting period for a tommy gun? Could I buy a Glock 17 if I were recently divorced or fired from my job? I've learned from experience that it's best to lead into this subject as delicately as possible, especially if you and the local citizen are alone and enclosed in a relatively small space. Bide your time, though, and you can walk away with some excellent stories. I've heard, for example, that the blind can legally hunt in both Texas and Michigan. They must be accompanied by a sighted companion, but still, it seems a bit risky. You wouldn't want a blind person driving a car or piloting a plane, so why hand him a rifle? What sense does that make? I ask about guns not because I want one of my own but because the answers vary so widely from state to state. In a country that's become so homogenous, I'm reassured by these last touches of regionalism.


Guns aren't really an issue in Europe, so when I'm traveling abroad, my first question usually relates to barnyard animals. "What do your roosters say?" is a good icebreaker, as every country has its own unique interpretation. In Germany, where dogs bark "vow vow" and both the frog and the duck say "quack," the rooster greets the dawn with a hearty "kik-a-ricki." Greek roosters crow "kiri-a-kee," and in France they scream "coco-rico," which sounds like one of those horrible premixed cocktails with a pirate on the label. When told that an American rooster says "cock-a-doodle-doo," my hosts look at me with disbelief and pity.


"When do you open your Christmas presents?" is another good conversation starter, as it explains a lot about national character. People who traditionally open gifts on Christmas Eve seem a bit more pious and family oriented than those who wait until Christmas morning. They go to mass, open presents, eat a late meal, return to church the following morning, and devote the rest of the day to eating another big meal. Gifts are generally reserved for children, and the parents tend not to go overboard. It's nothing I'd want for myself, but I suppose it's fine for those who prefer food and family to things of real value.


In France and Germany, gifts are exchanged on Christmas Eve, while in Holland the children receive presents on December 5, in celebration of Saint Nicholas Day. It sounded sort of quaint until I spoke to a man named Oscar, who filled me in on a few of the details as we walked from my hotel to the Amsterdam train station.


Unlike the jolly, obese American Santa, Saint Nicholas is painfully thin and dresses not unlike the pope, topping his robes with a tall hat resembling an embroidered tea cozy. The outfit, I was told, is a carryover from his former career, when he served as a bishop in Turkey.


One doesn't want to be too much of a cultural chauvinist, but this seemed completely wrong to me. For starters, Santa didn't use to do anything. He's not retired, and, more important, he has nothing to do with Turkey. The climate's all wrong, and people wouldn't appreciate him. When asked how he got from Turkey to the North Pole, Oscar told me with complete conviction that Saint Nicholas currently resides in Spain, which again is simply not true. While he could probably live wherever he wanted, Santa chose the North Pole specifically because it is harsh and isolated. No one can spy on him, and he doesn't have to worry about people coming to the door. Anyone can come to the door in Spain, and in that outfit, he'd most certainly be recognized. On top of that, aside from a few pleasantries, Santa doesn't speak Spanish. He knows enough to get by, but he's not fluent, and he certainly doesn't eat tapas.


While our Santa flies on a sled, Saint Nicholas arrives by boat and then transfers to a white horse. The event is televised, and great crowds gather at the waterfront to greet him. I'm not sure if there's a set date, but he generally docks in late November and spends a few weeks hanging out and asking people what they want.


"Is it just him alone?" I asked. "Or does he come with some backup?"


Oscar's English was close to perfect, but he seemed thrown by a term normally reserved for police reinforcement.


"Helpers," I said. "Does he have any elves?"


Maybe I'm just overly sensitive, but I couldn't help but feel personally insulted when Oscar denounced the very idea as grotesque and unrealistic. "Elves," he said. "They're just so silly."


The words silly and unrealistic were redefined when I learned that Saint Nicholas travels with what was consistently described as "six to eight black men." I asked several Dutch people to narrow it down, but none of them could give me an exact number. It was always "six to eight," which seems strange, seeing as they've had hundreds of years to get a decent count.


The six to eight black men were characterized as personal slaves until the mid-fifties, when the political climate changed and it was decided that instead of being slaves they were just good friends. I think history has proven that something usually comes between slavery and friendship, a period of time marked not by cookies and quiet times beside the fire but by bloodshed and mutual hostility. They have such violence in Holland, but rather than duking it out among themselves, Santa and his former slaves decided to take it out on the public. In the early years, if a child was naughty, Saint Nicholas and the six to eight black men would beat him with what Oscar described as "the small branch of a tree."


"A switch?"


"Yes," he said. "That's it. They'd kick him and beat him with a switch. Then, if the youngster was really bad, they'd put him in a sack and take him back to Spain."


"Saint Nicholas would kick you?"


"Well, not anymore," Oscar said. "Now he just pretends to kick you."


"And the six to eight black men?"


"Them, too."


He considered this to be progressive, but in a way I think it's almost more perverse than the original punishment. "I'm going to hurt you, but not really." How many times have we fallen for that line? The fake slap invariably makes contact, adding the elements of shock and betrayal to what had previously been plain, old-fashioned fear. What kind of Santa spends his time pretending to kick people before stuffing them into a canvas sack? Then, of course, you've got the six to eight former slaves who could potentially go off at any moment. This, I think, is the greatest difference between us and the Dutch. While a certain segment of our population might be perfectly happy with the arrangement, if you told the average white American that six to eight nameless black men would be sneaking into his house in the middle of the night, he would barricade the doors and arm himself with whatever he could get his hands on.


"Six to eight, did you say?"


In the years before central heating, Dutch children would leave their shoes by the fireplace, the promise being that unless they planned to beat you, kick you, or stuff you into a sack, Saint Nicholas and the six to eight black men would fill your clogs with presents. Aside from the threats of violence and kidnapping, it's not much different from hanging your stockings from the mantel. Now that so few people have a working fireplace, Dutch children are instructed to leave their shoes beside the radiator, furnace, or space heater. Saint Nicholas and the six to eight black men arrive on horses, which jump from the yard onto the roof. At this point, I guess, they either jump back down and use the door, or they stay put and vaporize through the pipes and electrical wires. Oscar wasn't too clear about the particulars, but, really, who can blame him? We have the same problem with our Santa. He's supposed to use the chimney, but if you don't have one, he still manages to come through. It's best not to think about it too hard.


While eight flying reindeer are a hard pill to swallow, our Christmas story remains relatively simple. Santa lives with his wife in a remote polar village and spends one night a year traveling around the world. If you're bad, he leaves you coal. If you're good and live in America, he'll give you just about anything you want. We tell our children to be good and send them off to bed, where they lie awake, anticipating their great bounty. A Dutch parent has a decidedly hairier story to relate, telling his children, "Listen, you might want to pack a few of your things together before you go to bed. The former bishop from Turkey will be coming along with six to eight black men. They might put some candy in your shoes, they might stuff you in a sack and take you to Spain, or they might just pretend to kick you. We don't know for sure, but we want you to be prepared."


This is the reward for living in Holland. As a child you get to hear this sto-ry, and as an adult you get to turn around and repeat it. As an added bonus, the government has thrown in legalized drugs and prostitution--so what's not to love about being Dutch?


Oscar finished his story just as we arrived at the station. He was a polite and interesting guy--very good company--but when he offered to wait until my train arrived, I begged off, saying I had some calls to make. Sitting alone in the vast terminal, surrounded by other polite, seemingly interesting Dutch people, I couldn't help but feel second-rate. Yes, it was a small country, but it had six to eight black men and a really good bedtime story. Being a fairly competitive person, I felt jealous, then bitter, and was edging toward hostile when I remembered the blind hunter tramping off into the Michigan forest. He might bag a deer, or he might happily shoot his sighted companion in the stomach. He may find his way back to the car, or he may wander around for a week or two before stumbling through your front door. We don't know for sure, but in pinning that license to his chest, he inspires the sort of narrative that ultimately makes me proud to be an American."


"Six to Eight Black Men" by David Sedaris from the book "Dress Your Family In Corduroy And Denim", 2004

Thursday, December 3, 2009

I'm a realist, I'm a romantic, I'm an indecisive piece of shit.

"In thinking about this moment now, I am tempted to use the traditional language of love. I want to talk in metaphors of heat, of burning, of barriers melting down in the face of irresistible passions. I am aware of how overblown these terms might sound, but in the end I believe they are accurate. Everything had changed for me, and words that I had never understood before suddenly began to make sense. This came as a revelation, and when I finally had time to absorb it, I wondered how I had managed to live so long without learning this simple thing. I am not talking about desire so much as a knowledge, the discovery that two people, through desire, can create a thing more powerful than either of them can create alone. This knowledge changed me, I think, and actually made me feel more human.

Then, without any warning, we both straightened up, turned towards each other, and began to kiss. After that, it is difficult for me to speak of what happened. Such things have little to do with words, so little, in fact, that it seems almost pointless to try to express them. If anything, I would say that we were falling into each other, that we were falling so fast and so far that nothing could catch us. Again, I lapse into metaphor. But that is probably beside the point. For whether or not I can talk about it does not change the truth of what happened. The fact is, there never was such a kiss, and in all my life I doubt there can ever be such a kiss again."

"The Locked Room", Paul Auster, 1986

Tuesday, December 1, 2009

Blossoms Falling

Blossoms Falling

Blossoms Falling

Forget Me Not

And I sat by the side of you
Tracing a line from your lips to your shoulders
Seemed to me like you knew
When you smiled with that beautiful smile...
Like a cloud of blossoms falling
I should say I love you, I want to, I want to
Closing my eyes and I fell asleep

Monday, November 30, 2009

Madeleine Jonsson



Every now and then it is through simple ways you find some of the most promising talent. "Here, listen to this, it's my girlfriend's sister," so says my friend, Viktor. You never expect much, but you listen to be polite. However, Miss Madeleine Jonsson is a delightful surprise. A raw, drowsy and smooth voice combined with eery, atmospheric music and contrasts between sweet and dark lyrics. Think Alessi's Ark or Joanna Newsom and you're on the right track.


De temps en temps, c'est par façons les plus simple qu'on trouve les talents les plus prometteurs. "Ici, écoute ça, c'est la soeur de ma petite amie," dis mon ami, Viktor. On s'attend jamais à beaucoup, mais on écoute d'être poli. Cependant, mademoiselle Madeleine Jonsson est une charmante surprise. Une voix naturelle, endormie et lisse se mêle avec la musique inquiétant, atmosphérique et les paroles qui contraste entre doux et sombre. On pense à Alessi's Ark ou Joanna Newsom.


Då och då hittar man de mest lovande nya talangerna på de enklaste sätten. "Här, lyssna, det är min flickväns syster," säger min vän Viktor. Man förvantar sig aldrig så mycket, men lysnnar i alla fall för att vara artig. Madeleine Jonsson är dock en härlig överraskning. En rå, dåsig och mjuk röst i kombinationen med kuslig och atmosfärisk musik, och kontraster mellan lättsamma och mörka texter. Tänk på Alessi's Ark eller Joanna Newsom så är du på rätt spår.

@Norrköping, Sweden
Currently recording debut EP