Review of Alice Boman’s EPII
Just shortly after her endearing new EP, Alice Boman recorded this cover of “Red Eyes” live on a Swedish national radio set. “Red Eyes”, an energetic stand-out on one of my favorite albums so far of the year, is here stripped bare of everything except for the piano and Boman’s ever so intimate vocals. Enjoy her graceful version below.
If you own a physical copy of Alice Boman’s debut EP, then “Over” is old news. The track – possibly the most beauitful on the EP – has so far only been available on the vinyl edition of Skisser. Today, “Over” is rereleased digitally since it is set to follow “What” as the second single of Boman’s forthcoming sophomore EP, aptly titled EPII. It’s out on June 3 via Adrian Recordings in Scandinavia (pre-order on vinyl here), Happy Death in UK/Europe (pre-order on vinyl here) and The Control Group in North America (pre-order on vinyl here).
“What”, Alice Boman’s latest single is a real beauty. It’s the first glance at Boman’s upcoming EPII, the follow-up to Skisser, her delicate debut EP that was never meant to fall on any other ear but her own. Fortunately, and thanks to Malmö label Adrian Recordings, it did, and the response has been overwhelming since.
When listening to Boman, I always seem to feel that life slows down for a moment, as if hypnotized by an otherworldly creature that pours her wisdom over me. “It’s not all what it seems”, she sings on “What” over her familiar homespun piano chords. Her lyrics are direct and don’t leave much room for alternative meanings, but despite, or perhaps because of it, every whispered word she utters sound purposeful and sincere. Her music has the ability to bolster whatever heartrending emotion her listener feels, while at the same time being wholly comforting.
I keep coming back to Boman, and her music is indeed remarkably sincere and singular. The elusory feelings that Boman’s music transmit seems to grow stronger with each song she pours on us, and I can already see her as the most important folk-songstress to come out of Sweden in years. And despite my early concerns that Boman could never repeat the haunting authenticity of Skisser, it thankfully seems as her bare-skinned approach to songwriting and arrangement remains just as gracefully intact on “What” as it did on Skisser.
The last festival I’ll be attending this summer is the two-day Hemma Hos Fesitval (basically meaning “Home At” Festival), held partially outdoors, partially indoors at the STPLN venue in my hometown of Malmoe. This is the first year of the festival, and the purpose is to present some of the most innovative and fascinating upcoming acts in the region.
My attention is devoted to the acts found below, but if you want a closer look at the rest of the line-up click here.
Alice Boman is arguably the most fascinating new artist to emerge out of my hometown of Malmö, and possibly from the whole of the Swedish indie scene. Her music sounds old – like an overlooked folk recording from the 40’s or 50’s, but stylistically it’s nearer to the unvarnished aesthetics of the female songwriters of the late 60’s. Her aptly titled debut EP Skisser (means “Sketches” in Swedish) blends folk and country with a touch psychedelica, on where her intimate and vulnerable vocals evoke associations buried deep inside our collective memory. The way these recordings embody a timeless charm is due to the manner they were recorded. The EP is a set of stripped down bedroom takes that were never meant to see the light of day. Thankfully, it somehow got past on to Adrian Recordings (home of some of the biggest indie names of southern Sweden; This Is Head, MF/MB, Familjen, to name a few) and the label eventually chose to release it. The naked rawness and edgy sound of these recordings are beautiful precisely because of its lo-fi simplicity and there is no doubt that Alice Boman has recorded a magnificent, elusively draped EP, not telling of its time, no place to call home, unbound of today, yesterday and tomorrow. (click here for the original post on Alice Boman)
With a name like Summer Heart it’s not hard to imagine that the one man project of David Alexander creates music that evokes warm cloud free days swathed in romantic nostalgia. His music stays in the boundaries of homespun lo-fi textures, filled with pensive synth lines and Balearic guitars, largely in the vein of Air France, The Radio Dept, Korallreven or any other sepia-filtered Swedish synth-pop act. A month or so ago, I featured the lovely “Beat of Your Heart”, as well as the equally wistful “Milano”. Two tracks that will hopefully be featured on Summer Hearts follow-up to last year’s promising debut album, About A Feeling. (the original posts on Summer Heart can be found by clicking here)
I’ll also be attending these following three acts that sound promising but haven’t heard much from: