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┌────────┐
────┤ Info ├─────────────────────────────────────────────────────────────────
└────────┘
Artist | Anna Von Hausswolff
Title | The Miraculous
Genre | Indie Format | Album
Source | CDDA Time | 49:26
Label | Pomperipossa Records Store | 2015
Catalog | PRCD001 Rip | 2015
Bitrate | 237 kbps Size | 87.91 MB
Freq | 44.1 kHz Encoder | Lame 3.98.4
┌────────┐
────┤ Tracks ├─────────────────────────────────────────────────────────────────
└────────┘
01. Discovery 8:45
02. The Hope Only Of Empty Men 3:10
03. Pomperipossa 2:12
04. Come Wander With Me / Deliverance 10:49
05. En Ensam Vandrare 2:55
06. An Oath 3:01
07. Evocation 3:07
08. The Miraculous 9:59
09. Stranger 5:28
┌────────┐
────┤ Notes ├─────────────────────────────────────────────────────────────────
└────────┘
Anna von Hausswolff is a critically acclaimed singer, songwriter, and
pianist from Sweden who made her Top Five hit album debut with Singing from
the Grave in 2010. Born on September 6, 1986, in Gothenburg, Sweden, she is
the daughter of world-renowned sound artist Carl Michael von Hausswolff.
She made her performance debut in 2008. Her performance at the Way Out West
Festival in Gothenburg the following year established her as an
up-and-coming talent on the Swedish alternative music scene. In association
with the independent label Kning Disk, von Hausswolff made her commercial
recording debut with the "Track Of Time" EP in 2010.
With "The Miraculous", Swedish singer, songwriter, and keyboardist Anna von
Hausswolff has delivered an album as different from 2013's celebrated
Ceremony as that was from 2010's "Singing From The Grave". On "Ceremony",
Hausswolff discovered the sonic possibilities of the cathedral organ. Her
four-octave vocal range rose above compositions that wove classically
tinged Gothic art pop and skeletal post-rock that touched on Sweden's
gloomy operatic and folk traditions. Sometimes gentle and dreamy, and just
as often moody and droning (sometimes inside the same tune), she has
created an iconoclastic brand of indie music.
On "The Miraculous", Hausswolff doubles down on the organ. The instrument
she's using here is an enormous 9,000-pipe Acusticum Organ designed by
Gerard Woehl. Its vast tonal and instrumental possibilities include sounds
for glockenspiel, vibraphone, celeste, percussion, and indefinable
high-pitched shrieking sounds that extend the upper reaches of the Western
harmonic system (these pipes are partially submerged in water). Vocally,
Hausswolff moves effortlessly through her range, but she also employs
guttural throat and body sounds, as well as skittering, glossolalic
vocalizations (a la Diamanda Galas and Jarboe). For her, the voice becomes
an integral instrument in her sound.
The relatively brief, almost funereal "The Hope of Only Empty Men" has a
rhythm created from the organ's swirling pulse accentuated by a kick drum
and whispering cymbals with industrial noise spinning above. Her monotone
singing offers an emotionally devastating lyric, but the restrained melody
remains unaffected because her voice barely rises above the sonics. In
contrast, "Pomperipossa" is a short, melodic, tender Gothic love song that
reveals the enduring influence of Kate Bush. "Come Wander with Me" is
stunning. Over nearly 11 minutes, the music moves through droned-out Gothic
blues (think Desertshore-era Nico), crushing doom metal, early King
Crimson-esque prog-industrial noise rock, Swedish folk, and something
approaching Byzantine chant. Its nerve-cracking guitars, bashing
processional drums, layered percussion, and waves of feedback are all
fueled by her earth-quaking organ.
Hausswolff's voice is equally extreme. It shifts wildly between alto and
soprano, delivering an apocalyptic lyric when words don't suffice. This is
excess-laden extreme music at its grandiose best. The ten-minute title
number couldn't be more different: It begins on a brooding, sub-baritone
organ drone; it very gradually lightens in color and timbre with gentle
dissonances and timbral shifts. When she begins signing - four minutes in -
treated backing vocals shade her own tender, passionate, multi-tracked
performance. The cut's mood is altered from balladic to liturgical, from
duskily ethereal to brightly lit, and the effect is transformative.
Closer "The Stranger" is a cinematic folk-rock song; it's like a tune in a
spaghetti western soundtrack produced by Lee Hazlewood with glockenspiel,
harp, and cymbalom sounds crisscrossed with guitars and subdued percussion.
As a composer, singer, and sound sculptor, Hausswolff is in full control on
"The Miraculous", balancing harshness and intimacy, heaviness and airy
melancholy. It's an uncompromising view, but it's also welcoming.
┌────────┐
────┤ Group ├─────────────────────────────────────────────────────────────────
└────────┘