* KB, Malmö 2006 · 01 · 13
* Sticky Fingers, Göteborg 2006 · 01 · 14
Olof Martinsson (bass) and Christoffer Andersson (piano) have joint to the live band! Long time ago, Olof had played with Per Blomgren and me some time ago in our old project, Plastic Soul that we started at Gymnasiet (High School). By the way, Johan Duncanson another member of Plastic Soul, is singing with Radio Dept.
I thought in Christoffer too because we had gone to the same Folkhögskola in Skurup.
Kram / Hug
02. (09) Alf - "Manchester Man"
03. (NY) Timo Räisänen - "Fear No Darkness, Promised Child"
04. (08) Christian Kjellvander w/Nina Persson - "Roaring 40's"
05. (02) Arctic Monkeys - "When the sun goes down"
20. (NY) Sandy Mouche - "Spiderweb Suit"
02. (03) Timo Räisänen - "Fear No Darkness Promised Child"
03. (04) Arctic Monkey - "When the Sun Goes Down"
04. (01) Dub Sweden - "We're so Loud"
05. (NY) We Are Scientists - "The Great Escape"
09. (20) Sandy Mouche - "Spiderweb suit"
02. (03) Arctic Monkeys - "When the sun goes down"
03. (16) Firefox AK - "Madame, Madame!"
04. (NY) Hard Fi - "Cash machine"
05. (NY) Danko Jones - "Baby hates me"
12. (09) Sandy Mouche - "Spiderweb suit"
Winter is good too but now I have a cold again and only a little bit of my voice works, and today I will try to record in the studio with a Norwegian group and tomorrow I have two gigs so that´s a bit difficult :o)
I hope you are fine!
I guess there's a devastating excellency in your music. I only heard a few songs (7) (being rather far from Sweden means, among others, not reaching your albums), and I totally rejected an - already unspecific - label like "indie". It's not particularly "indie", it’s rather organic and emotional which are the attributes of any good music, regarding the stream. It has a strange way of being exquisite, unexpected, straight, uncomplicated and sophisticated - all at the same time. The melange totally strikes you. I sat down and realized something really strange: that your voice (I am refering to you, dear Helena!) seems to be a sort of...ehm...how shall I put it?...a sort of airy/watery medium in which Martinique's voice floats...An uterus if you want. A sort of container for Martinique's voice that only moves around drawing gentle (but well-defined!!) lines. It's not a matter of combining or blending two kind of voices so it's pointless to discuss whether they fit. It's not about fitting together, but about containing each other.
It's also strange how you made me put aside any kind of usual "measurement" tools. As coming from gessle's music, I would say that, at gessle, you can easily say what fits and what doesn't, what's coherent and “who” is the coherence spoiler, what drags him down and what pulls him up; but here, at sandy mouche, you have to give up analyzing. It's not about coherence and it's not about melange either. Your way of dressing doesn't even have to deal with your lyrics, you can go from an extreme to another, you can wear a cowboy suit and come on stage riding a horse, the very essence of sandy mouche is not altered. I don’t know if it comes from your talent only, maybe it also comes from your approaching daily life (that’s also a talent, I assume!); many artists are getting personal, but that’s far from being the shortest way to a really good music. So I guess it’s more about your being like a filter-paper that filters the reality in a certain way. It must be Helena’s beliving in elfs that really makes the music getting out of you in a certain airy way. Oh, and something more: I guess I could notice, here and there, usually very well-hidden under gentle sounds, some really dramatic shades. And that’s why I said above that your music aslo has something organic and painfully strong, not only dreamy and tender and sweet. It says everything about the tragic and yet imponderable feeling of life!
Well, there is much more to say. But I do stop here, it’s too much coming at once.
Thanking you for living this way,
That was a stunning piece of art itself, the thoughts you´ve written down! It feels like you have really understood where we want to reach, even though we have a lot of more development to do in future records to get closer to the goal. Like you share our vision in some way :o)
Thank you for listening with so interested and patient ears to our music. Then it feels like we are allowed to give you what we have to offer.
Have a lovely weekend!
So when I said you’re artful, I was actually expressing my amazement when realizing the fact that you’re NOT only making a difference (which can be quite easy from a certain point on), but building a perspective of your own in a very coherent manner; I think it’s non-sense to talk about your music as opposing to the “main-stream” (whatever would that mean) since I do not hear in Sandy Mouche any definite breaking-ups with the good old pop; it’s rather about re-thinking and re-filtering its elements – something that any creator, regardless the stream, should do in order to become 1. plausible, 2. original and 3. (if the wind is auspicious) lovable by others’ ears.
Since you said that a lot of improvement should be done in your future albums, I imagine you also have more mesmerizing arrangement ideas to bring out (I confess I got totally fascinated by the ones you’ve already sorted out).
You said I have a partient ear. But that’s not true at all; I am not patient, I am just careful and totally committed to the sounds I like. I naturally become a very careful listener to all the things that previously struck me out of the blue. Then all the later efforts become my most pleasant obligation. So Sandy Mouche struck me right from the start. All the other musical impacts in the latest 2 years are miles away from this. So thank you again for your being artful.
ps: I do get stunned (yet grabbed) by some very dark shades I sometimes sense in your songs; it’s like a paradoxical “grey sunshine” subtly irradiating around.
But I don’t know if it’s really (or only) about getting more mature musically. It’s like you (Helena) and Martinique, after testing your human and musical skills of blending voices and personalities in your first album, each of you have been trying all along your second album to emphasise the other’s musical and human presence; it’s like each of you has now his and her very own musical standing point and tries to contribute at the general coherence of the album through his and her very personal musical abilities and human experience. It’s like you grew on each other without the entangling efforts that seem quite clear in “White Lucky…”. The song “Une Histoire” seems to hang between the two worlds; it sounds like making the linkage from one stage to another. I love it!
So “…and poems…” album gained in profound coherence while losing the surface smoothness of the “White Lucky…”. Martinique’s voice from “Le Mistral” reminds me of the great steady voice of the latest Françoise Hardy and your (Helena!) voice from all songs reminds me of no one else except of yourself. All my efforts to compare you with some other singer have constantly failed!! Hallelujah!!!
And oh, I guess I hear a lot of 70’s-75’s pop vibe in your latest work…As I said in another comment somewhere below (that you didn’t reply to…was I too unspecific and complicated?), it’s non-sense to oppose your music to the good old main-stream pop, since it’s rather about re-filtering and re-defining some of its classic elements.
Anyway, have a great weekend. I do believe in your music and I still have that great feeling of unexpectedly getting in touch with something I simply adore.
Have a splendid day.
I think you are right! Have a fine day yourself :o)
Virtual hug from me to you
What a long way to go for Gessle 'til he managed to do things the way he does them nowadays... And how suspicious (yet caring and favorable) my eye/ear is when it comes to his future approach of his own inspiration impulses!... And having said that, how I admire your ferm, unfluctuating way of expressing your music from A to Z!