I augusti startade Röyksopp en remixtävling för att locka fram den extra potential som de ansåg att låten Tricky Tricky hade. Denna novembersöndag tänkte vi därför bjuda på inte mindre än två dansanta remixer på Röyksopps sommarhit Tricky Tricky (ja alla spåren på Junior var ju sommarhits). Beyond Deep och Horror Shower har skapat två ganska olika remixer av samma låt och vi gillar båda två. När den senare har ett mer rent minimalistiskt sound är den senare en dansgolvsdänga i högklassig electrostil.

Ladda upp med Beyond Deeps remix och dansa loss till Horror Showers är vårt tips. Eller välj den du gillar bäst och nöj dig med den.

Röyksopp – Tricky Tricky (Beyond Deep Remix)

Röyksopp – Tricky Tricky (Horror Shower Remix)

Check out the Röyksopp Official website here

Fever Ray’s Karin Dreijer Andersson has released some of the greatest videos that we’ve seen this year. In what I believe to be the fifth video from her debut self-titled release we don’t find the spook factor that has been her general theme in the previous videos but find more of an apocalyptic setting.

This isn’t one of the greatest songs off the album and in turn it’s not the greatest video either. As much as I don’t like to be scared I do enjoy the paranoia  feeling of having to look over my shoulder when I watch the previous videos.

Les mots manquent à l’appel face à cette étrange réalisation. Que se passe t-il donc dans la tête de la Suédoise Karin Dreijer Andersson (The Knife) pour nous assourdir d’aussi ténébreuses compositions ?

Et pourtant, l’envoûtement est total, la drogue vous prend par les oreilles et vous entraîne dans d’incroyables hallucinations auditives. Fever Ray évoque d’anciens comptes africains, des sonorités noires, des effluves d’une Asie ancienne et disparue. C’est un mélange troublant, une alchimie de cendres qui a l’odeur du givre, des nuits terrifiantes. Dieu, qu’il fait froid, quand est-ce que la pluie s’arrêtera ? Les frissons perdurent, les ténèbres vous enveloppent et vous restez scotchés face à cette musique inqualifiable tant elle trouble par son caractère tribal, son animosité, ses cérémonies mortuaires, ses évocations cauchemardesques.

Il est vrai, qu’à la première écoute, non-attentive, Fever Ray a de quoi laisser perplexe mais laissez vous conquérir par 50 minutes d’hypnose et découvrez un des meilleurs albums de cette année 2009.

Un clip tout aussi étrange et envoûtant.

Some Days Are Better Than Others is a movie coming out which features Carrie Brownstein from Sleater-Kinney and James Mercer from the Shins. The thing is, it looks pretty darn good. Check out the trailer here.

Mew is straight-up awesome. And they, too, can act.

Fool’s Gold released a video for “Suprise Hotel” a while back, but have a newer version that is way more fun.

The Röyksopp video for “This Must Be It” is… well, you can pick your own adjective. But it features Karin Dreijer Andersson and despite the loincloths, is a pretty badass track.

If you haven’t picked up In And Out of Control by The Raveonettes yet, quit being a silly-billy and get on that.

Here’s a video from Asobi Seksu for “Transparence” from the Hush album released early this year.

Por: Mome

Así es, los bombones de Röyksopp van a hacer una escala en la Ciudad de México el 21 de noviembre para presentar su nueva producción Junior, y de paso, deleitarnos con algunas de las canciones de sus discos pasados.

Röyksopp saca un nuevo sencillo que es This Must Be It, en la que colabora la cantante Karin Dreijer Andersson aka Fever Ray, que se puede conseguir en el disco Junior o en su versión de sencillo, que incluye las remezclas de Thin White Duke, Rex The Dog, Apparat, Danton Eeprom, Florian Meindl, LehtMoJoe, Maxime Dangles, Moguai, Pete Herbert y The Bloody Sisters (TBS).

Les dejamos el video dirigido por los directores suecos Filip y Andreas Nilsson, quienes han dirigido videos para The Knife y Peter, Bjorn & John.

Halloween is less than a week away and party preparations are being finalized. Booze? check. Munchies? check. Playlist?…Playlist?…Bueller? Don’t worry, Fever Ray’s Karin Dreijer Andersson has your back. And who better? The reigning Queen of Everything Eerie probably lives for this time of year when everything that she’s done is seen as beneficial rather than just weird.

Resident Advisor has collaborated with Andersson to present you a playlist that will be perfect for your Halloween bash this weekend. The mix features Shackleton, Suicide, Zola Jesus, Burial Hex, Bruce Haack, Amadou & Miriam, Neil Young and Krause Duo. Although it seems like an odd mix, the hour long track flows beautifully.

the knife ın eşsiz sesi karin dreijer andersson dan yeni bir proje…

http://www.myspace.com/feverray

http://feverray.com/

http://rapidshare.com/files/201106291/frfr.rar

May 2009, Gigwise 9/10

Fever Ray 'Fever Ray'

The first few droplets of sound seem expectant but afraid, a curious repetitive beat hovering slowly while a delicate synth purrs and curls up underneath. There’s a sense of early morning, of emerging from a restless night, with all the promise and fragility of a new day. “After the night when I wake up / I’ll see what tomorrow brings” comes that familiar, disembodied voice.

Fever Ray is the solo outing of the Knife’s Karin Dreijer Andersson and it’s appropriate that ‘If I Had a Heart’, the album’s opening track, feels slightly hesitant to emerge into the sunlight. After the incredible success of the Knife’s third album, Silent Shout, Dreijer took time out from the band she and her brother Olof Dreijer had dedicated a decade to and went about creating Fever Ray in the months surrounding the birth of her second child. The Knife’s chilling electronics have sometimes felt like the mystery between sleep and awake, but this time she has fully entered the realm, choosing the actual exhausted moments of her new parent self to document when reality and imagination tease each other.

As Dreijer herself puts it, “Half of what the songs are about is the subconscious, ideas of things happening. A lot of it is like daydreaming, dreaming when you’re awake, but tired; a lot of stories come from that world. I try to write when I‘m in that state – I’m very bad at remembering later, so I have to do it right away.”

The result is astounding. Fans of Dreijer’s previous work will recognise many of the hallmarks of the Knife – certainly the textural instrumentalism, lifting chimes and crow-black, ghostly vocals – but where the Knife choose to shift between slivers of enchantment and intimidating mischief, Fever Ray is a much more solemn affair; broody and cold, restless and hungry.

Like sleep exhaustion itself everything seems in slow motion. ‘If I Had A Heart’, ‘Keep the Streets Empty for Me’ and ‘Dry and Dusty’ crawl and snake around you, all whispering synths and warm, temptuous beats. On ‘Concrete Walls’ Dreijer adusts the pitch of her voice to such a depth it’s released as a slow, yawning plea for rest, begging for the TV or radio to lull her to sleep.

The dream-like state is beautifully explored on the startling ‘When I Grow Up’, Dreijer providing childlike fantasies over the throbbing, oozing melody (“When I grow up / I want to be a forester / Run through the moss on high heels”) before luscious chimes descend to the quivering finale.

Fever Ray so chillingly embodies the twisting consciousness in which Dreijer has so delicately immersed herself, that it feels at times almost invasive to listen in – and enjoy – such dangling emotion. Yet throughout there are also moments where you recognise Dreijer’s endearing satisfaction and awe with the enjoyment motherhood brings. “Dangling feet from window frame / Will they ever reach the floor” she coos on ‘If I Had A Heart’, while the delicious ‘Seven’ describes the urban bond between old friends. “I’ve got a friend who I’ve known since I was seven … We talk about love, we talk about dishwasher tablets, illness / and we dream about heaven”.

A wave of voices on the majestic ‘Coconut’ usher you to Fever Ray’s close and there’s a suggestion that Dreijer has also finished her journey, allowing herself to finally “Lay back with a big cigar”. In the end you feel just as exhausted, but like waking from an intense dream you instantly want to re-explore everything, and it reminds you of the line in Peter Pan where Tinkerbell says, “You know that place between sleep and awake, the place where you can still remember dreaming? That’s where I’ll always love you, Peter Pan. That’s where I’ll be waiting”.

Widzisz zdjęcie, oglądasz film, słuchasz płyty albo czytasz książkę i nagle żołądek zaczyna się kurczyć. Bo ona jest taka piękna, bo powiedziała coś tak fascynującego, bo jej głos dotarł do samego środka. A jeśli w dodatku jest inteligentna i ma poczucie humoru? Wtedy chyba mamy problem. A właściwie ty masz problem.

Bo zazwyczaj ona jest hetero. I na nic prośby, groźby, modlitwy i czary. Tak już pewnie zostanie. I co wtedy? Wtedy można stworzyć listę. Bo listy to rzecz, którą lesbijki lubią najbardziej.

OTO MOJA DZIESIĄTKA KOBIET, KTÓRYM NIC BY SIĘ NIE STAŁO, GDYBY BYŁY LESBIJKAMI:

10. Monika Olejnik

Może niekoniecznie piękna, przynajmniej nie według tradycyjnych kanonów urody, ale za to piekielnie inteligentna. Politycy się jej boją; właśnie za ten intelekt. Niezwykle asertywna. Do niedawna prawie nieobecna w mediach. No i ta jej legendarna słabość do butów! Uosobienie kobiety, która wie, czego chce. a jak już czegoś chce, to na pewno to osiągnie. Byłaby świetna ambasadorką środowiska LGBT w Polsce. Jaka szkoda!

9. Katie White

Ważniejsza połowa brytyjskiej grupy The Ting Tings. Niebanalna uroda, niebanalny głos, niebanalne poczucie humoru i wyjątkowy talent. Ale to wszystko nic! Chodzi o ten taniec, o to dziwne podrygiwanie na koncertach. Zobaczcie i oceńcie. Zapewniam, że będziecie chciały jeszcze i jeszcze…

8. Charlize Theron

Kobieta-kameleon. I nie chodzi mi tylko o tę pamiętną charakteryzację w filmie “Monster”. Chodzi o wszystko. Nie rozumiem, jak można bez przerwy tak się zmieniać, a jednocześnie zawsze intrygować i zachwycać. Najważniejszy jednak jest fakt, że jest wierną sojuszniczką środowisk LGBT. Ostatnio przyznała nawet, że nie wyjdzie za mąż bo… nie czułaby się dobrze z tym, że korzysta z przywileju, którym nie może się cieszyć homoseksualna część społeczeństwa. Kończę, bo te motyle w brzuchu

7. Agnieszka Holland

Najlepsza polska reżyserka, jedyna, która zrobiła wielką międzynarodową karierę. Trochę jakby “po męsku”, nie bojąc się trudnych tematów i niebanalnych wniosków. Ktoś mógłby powiedzieć, że to wybitna Polka. Ja powiem tylko, że to wybitna kobieta.

6. Katarzyna Nosowska

Za charyzmę. Za to, że od tylu lat nieustannie sprawia wrażenie, że wszystko jej wisi. Za neurotyczność. I za ogromny, przeogromny talent. I za to, że chce jej się słuchać nie tylko wtedy, gdy śpiewa. I za to jeszcze, że nie bywa w telewizji.

5. Uma Thurman

Która z nas nie chciałaby mieć Panny Młodej po swojej stronie? Ja bardzo! Quentin Tarantino ogłosił, że powstanie trzecia część “Kill Billa”. Uma będzie się mścić po raz kolejny. A ja po raz kolejny wyjdę z kina zakochana i z mocnym postanowieniem zapisania się na kurs sztuk walki.

4. Tina Fey

Twórczyni najinteligentniejszego serialu telewizyjnego XXI wieku – “30 Rock”. Scenarzystka, która udowodniła, że komedia może być śmieszna, a nie żenująca. Posiadaczka humoru, który poraża lekkością i wyrafinowaniem. Wystarczy zresztą obejrzeć jej genialną parodię Sary Palin. To właśnie Tina Tey. Kobieta do pokochania. A mówiłam już, że jest naszą ambasadorką w świecie heteroseksualnym? Zawsze o nas pamięta, często o nas mówi, zazwyczaj domaga się dla nas praw. A mówiłam już, że do pokochania?

3. Karin Dreijer Andersson

Najbardziej niesamowity głos współczesnej sceny muzycznej. Jedna z najbardziej niesamowitych osobowości. Nie boi się prowokować przetworzonym śpiewem i dziwacznym wyglądem. Do niedawna nikt nie wiedział, jaka jest. Teraz wiadomo już, że jest piekielnie piękną kobietą. Jej teledyski to sztuka, a koncerty to teatr. I to taki teatr, który nikogo nie pozostawia obojętnym. Jednych przeraża, innych zachwyca. Ja nie mogłam spać.

2. Nigella Lawson

Chyba każda z nas wzdycha po kryjomu do Nigelli. Wdzięk, styl, seksapil… A do tego to oblizywanie palców, to ugniatanie, mieszanie, przecieranie… Nigella gotuje po to, by ją oglądać. Wcale nie po to, by jeść! Dlatego wydaje bez przerwy nowe DVD ze swoimi programami, a w książkach kucharskich te mniejsze zdjęcia przedstawiają jedzenie, a te większe – ją. Ech, idę do kuchni.

1. Jennifer Beals

Nie muszę nic mówić, prawda? Której z nas nie śniła się Bette Porter? Która z nas nie pokochała na nowo garniturów i koszul z żabotem? Która wreszcie nie przewijała w kółko scen z Tiną? Nie widzę rąk w górze. Tak myślałam.

Somehow I missed this song when it first came out. Wow, amazing combination of childlike lyrics that veer into sinister territory.

Beautiful sky
My car and me leave town for a while
You are a yellow surprise
Noticing water is friendly sometimes
But you could have waited…

There is a fairytale-like quality to both The Knife and Fever Ray. Fairytale as in the original Grimm tales, not the sanitized Disney version, (although Fever Ray is stranger and more out there than Grimm). The version they would tell children before they ventured into the forest. Something to put the fear of the air and night into them. Fear with the beauty remaining, joined together in some strange marriage.

Either way, I love this song.

Do you ever find yourself wondering “What if, temporally, intellectually, spatially, and otherwise, the speed of progress and development of intellect and craft is pre-determined?  What if the world has been on a steady and unavoidable trajectory towards Monsanto and Lady Ga Ga since the Big Bang?”  I mean, we’ve all read books, seen moves, watched shows, or otherwise let our minds wander around the idea that the appearance of all these people places and things is perhaps spontaneous, but that the fundamental essence of its occurrence was unavoidable, right???

Ok, so maybe if Thomas Jefferson hadn’t fathered a bastard child with his house maid, maybe if Pee Wee Herman hadn’t been caught jacking off in that theater, and if I had written in my diary every single day for a year like I’d said I would way back when I was 9, Lady Ga Ga as we are aware of her today could have been avoided altogether.  But, I mean, can we all agree that “the Essence of Lady Ga Ga” was going to shit all over our lives right about this historical point in time no matter what we did to stop it?  Especially now that we have the hindsight perspective of what the fuck else was going on at the same time?  WE BROUGHT IT ON OURSELVES, MAAAAAAN!  Or did we?

Listen, kids.  I don’t do drugs.  I depend heavily on my friends to do them for me and then tell me what they ’saw’ (or what it did to their ability to NOT shart their pants.  Ahhhh drug/poop/puke stories.  Always funny!).  But I do sit and stare at things.  And I also love to watch music videos.  Well, videos of any kind, really.  Today I encountered a music video that made me think: what if the world we occupy now were exactly the way it is… but totally different?  But in a familiar way…

I’m sure you’re thinking I’m making no sense right now.  Maybe in your head you’re right.  All I’m saying is this:  WATCH THIS VIDEO.  (RE-)FALL IN LOVE WITH ROYKSOPP.  (RE-)FALL IN LOVE WITH KARIN DREIJER ANDERSSON.  And for the love of God, (re-)fall in love with outdoor grilling, drum kits, dudes in ankle socks, and camper trailers.

For the record, Burning Man can fucking die for all I care.  In case all y’all got thinking that I want to constantly be transported to another fucking universe, MAAAAAN, I don’t.  I just want to sit and stare and wonder from the comfort of my own non-clay mud, raver-bead-free, E is for effort not for tripping balls, warm and cozy castle-apartment.  So there.

Bon, il faut reprendre les bonnes habitudes, après une folle période d’abstention. Et là, aucun post sur Michael Jackson ça ne sert à rien, il est mort (et enterré d’ailleurs).

Mais plutôt le nouveau clip de Röyksopp avec Karin Dreijer Andersson, avec des batteries, du camping et des paillettes. This Must Be It:

J’aime beaucoup ce clip, et la fin donne vraiment bien à partir du gros bedonnant qui donne le rythme pour les zombies musicaux. (Ca a l’air étrange comme ça, je sais). Maintenant j’attend avec impatience le nouveau single, encore un, Tricky Tricky avec un concours de remix.

En bonus, voilà un remix de This Must Be It par LehtMoJoe:

Röyksopp – This Must Be It (LehtMoJoe Remix)

Ant.

Having only listened to Fever Ray a few times and thinking it was pretty sub par at first, I was feeling a bit…eh, about going to Fever Ray last night. Even I knew that this was a show not to be missed, that the  mystical and ethereal creature that is Karin Dreijer Andersson surely could not disappoint in both a live show and a live performance. I slapped myself out of my temporary petty stupor, got myself a ticket, and found myself getting a bit giddy about going to a show that totally was going to make us trip like we was all up on that acid.

At the end, I looked at the time and saw they only played for 60 minutes. In normal circumstances, I’d be a bit angry. I mean, Telefon Tel Aviv was 60 minutes but was only 20$ and it was awesome. So, I let it slide. THIS was 30$, one hour, and I CREAMED MY PANTS. The sound in Métropolis was OK, my earplugs made it waaaay better. To be honest, I don’t even think Bell Centre could have handled that much bass. I feel so bad for everyone that didn’t have ear plugs because I’m sure the hair follicles will need at least a few weeks to recover from the nuclear war that was just ensued on our bodies. This show was amazing. The lighting, the costumes, and the music, the entire package was just incredible, fluid and created a certain ambiance, a certain atmosphere that I don’t think can be reproduced again. I couldn’t help but dance like I was in Zion. I couldn’t help but close my eyes just to absorb more in the dark, because my powers have been heightened here, the dark, the natural habitat of the Fever Ray.

Live in Show: Fever Ray
@ Métropolis; 01 10 09; POP MTL

I got there after work and a spliff to arrive just on time. I love when that happens. The room, being on of the bigger venues here in MTL, was completely filled with dense fog. Already, one had the allusion of walking into a forbidden forest. Eerie, cold, moist, and with always with company.

Immediately two green lasers highlight the span of the room as “If I Had A Heart” starts up. The band is barely visible except for their face paint and their strange costumes. The lasers keep blazing. I see this odd creature which resembled the outline of the aliens in The Fifth Element and knew it was Karin and her crazy self. She shakes her staff. She shakes her white gloved hands as if to say, “don’t you see?!”.

There were no other lights but the unfailing blinkering of Victorian lamps, the occasional lasers from above. For nearly the entire concert, as she went through “Seven”, “I’m Not Done”, “Triangle Walks” and nearly all her album tracks…the band was in complete mystery. Safely hidden in the smoke, behind their masks and instruments. And in a way, so were we. Invited we were, into this realm of paganism, tribalism, realism, the entity that is Fever Ray. They were the centre of the circle, and we just felt and listened. The performance complimented the music so well, what they’re trying to do in their music, what they’re trying to say, it was all represented in the minimalism, the consistency of using no strobe lights, just  lasers and ancient lamps lighting just enough to see their silhouettes and their enthusiasm.

Only one song, did this change. At once the laser show was over, the lamps got their plugs pulled. “When I Grow Up” lit the stage blue and green, lighting Karin’s face for the first time. White and painted with two concave lines, it was her and only her on stage until the song built up so much that the band had to creep out of hiding. Eventually, one of the bandmates was dousing us, baptisizing us metaphorically, with his cross staff. We were a part of this ritual, we are ridding ourselves of whatever it is when we grow up. And then, finally, a pause. The entire show was a series of fluid transitions, one into the other. For the first time in the show they paused long enough for us to cheer…a long enough time to determine it was gonna be their encore next.

They came on and then started “Coconut”. Holy. Shit. Now, the whole show was so fucking loud, so bass-y, that you might as well be at a My Bloody Valentine concert, thank GOD I had my ear plugs. But this last song, was so LOUD, so fucking strong, that I felt my ear plugs scraping for air, and literally popped OUT of my ears. My jeans rattled, I clutched my heart and gave a satisfying grunt thinking to myself, this is SO SICK. LOUDER AND LOUDER THE BASS WENT, IT WAS JUST THE BASS NOW, AND EVERYONE AROUND ME MOVED BACK, as if loud enough speakers COULD blow our clothes off. Our feet were inches away from where they were before and at one point I wondered when this mayhem was gonna stop. And finally all was silent. That was it.

A+

GO SEE FEVER RAY if you have the chance. Ugh. One of the best concerts this year for sure. Damn these Scandinavians for being so awesome. Mmmm. Witchcraft.

P.S. I heard rock royalty Win Butler from Arcade Fire was there. Hmm I think I saw him! JAJAJA je blague. Pas.

MP3: Fever Ray – Now’s The Only Time I Know

I didn’t give this song enough respect the first time around, reminds me of this one Godard movie.

Recently, I decided to check up on the Knife to see when/if they would be coming back from their self-proclaimed “hiatus”. I discovered that female half of the Knife, Karin Dreijer Andersson, put out a solo album under the name Fever Ray back in March. How I missed that I’m not exactly sure, but I’m a little miffed that I did. Her self-titled album is most excellent. It pains me to think I could have been listening to this the whole time…but oh well, there’s not much I can do about it now.

Fever Ray is dark and draining. It drags, but in a good way because it’s unique and I can’t get enough of it. I’m addicted to the dreary, ethereal quality of every track and I’m left wondering about what the hell’s in the water over in Sweden. Anchoring depressants and tasty black paint? Some sort of inky substance, for sure.

To save myself from rambling: I love the Knife, and now I love Fever Ray…I want more. The end.

As if her music wasn’t eerie enough, Fever Ray amps up the creepitude with their videos. The latest is for the song “Seven.” Oh, and if you haven’t seen any other Fever Ray videos, I recommend this one from a few months ago: “When I Grow Up”

It’s not as creepy as “Seven.” But it makes up for it by being one of the best music videos of ‘09 and for making the female undead hot again.

I’m developing a massive obsession with Fever Ray. She is so unabashedly weird you can’t help but fall in love with her. And each video she steps it up in the obscure and bizarre department: check out her previous vids “When I Grow Up” and “Triangle Walks.” She is so thoroughly esoteric that it makes me feel like I’m the only one who understands her, and that it turn makes me feel special. Like we’re communicating in some sort of fucked up video-code across the countries and oceans. I really, really,… really would like to get a drink with her.

In her latest video for “Seven”, acclaimed video director Johan Renck (professional partner and contemporary of Jonas Åkerlund) created this completely unsettling nightmare-scape of an old woman telling her life story from inside a barn filled with skittish livestock and, obviously, a duo of beard-faced men. What does it all mean? As I’ve said before, usually in reference to Björk or Tori Amos, I have no idea what it means to her. But I know it means something very special to her, and therefore I can extrapolate from that and then interpolate for myself what it means to me. And that amazing exchange, a free flow of interpretation from artist to viewer, is, to me, the highest form of art.

Via Pitchfork

First project for thesis: redesign Fever Ray album art.

Există nenumărate dueturi în muzică, dar puţine îs foarte reuşite. Voci care puse una lângă cealaltă sună de parcă există ca să cânte împreună pe aceeaşi piesă. Sau cel puţin asta o fost impesia mea când am auzit câteva melodii. Aşa că le-am adunat pe toate într-un playlist/compilaţie să le împart cu lumea.

Audiţie plăcută!

he plus she equals harmony

• The National feat. St. Vincent – Sleep All Summer

Deşi este cover, varianta de faţă îmi place mult mai mult decât originalul celor de la Crooked Fingers. Vocea joasă a lui Matt Berninger completează perfect, prin contrast, vocea soft a lui Annie Clark (care-şi spune St. Vincent). Piesă perfectă pentru zilele idle de vară.

• Ane Brun feat. Teitur - Rubber and Soul

Am început să ascult Ane Brun cu A Temporary Dive, unde Rubber and Soul era în variantă solo. Mi-o plăcut, dar nu m-o atins în mod deosebit până când am auzit-o în varianta de mai sus, cu îmbunătăţirile vocale ale lui Teitur, care o completează perfect pe Ane.

• Damien Rice feat. Lisa Hannigan – Volcano

Pe lângă contrabas, Lisa îl ajută pe Damien Rice şi cu vocea. Şi bine face, că rezultatul e excelent. Cred că fără vocea ei piesa ar suna prea sec.

• Feist feat. Erik Glambek Bøe (Kings of Convenience) – How My Heart Behaves

Un dialog perfect, cântat pe două voci soft care se completează perfect una pe cealaltă.

• Audrey feat. Per Tannergård – Pocket Arms

Încă de la prima audiţie l-am perceput pe Per ca pe un soi de conştiinţă care îţi pune în faţă ceea ce nu vezi. Deosebit de frumos joc de voci.

• Jeff Buckley feat. Elizabeth Fraser – All Flowers In Time Bend Towards the Sun

Piesa asta o fost înregistrată pe când cei doi erau împreună…un soi de melodie a lor. Din păcate la puţin timp după Jeff şi-o găsit sfârşitul tragic. De văzut documentarul Jeff Buckley: Everybody Here Wants You, unde Elizabeth vorbeşte deosebit de frumos despre el şi relaţia care au avut-o.

• IAMX feat. Imogen Heap – My Secret Friend

Nu mă aşteptam deloc la combinaţia de faţă, deşi vocile amândorura au nişte tonalităţi care pe mine mă binedispun instantaneu (cred că îs singura persoană care zâmbeşte când ascultă Missile).

• dEUS feat. Karin Dreijer Andersson (The Knife) – Slow

Karin sună bine cam pe orice am auzit-o. Faptul că şi dEUS îs o trupă excelentă, că are nişte versuri foarte faine la dispoziţie şi că vocea ei dă foarte bine cu a lui Tom Barman sunt doar plusuri.

• Implat Pentru Refuz feat. Cristina (Blazzaj) – Apus

Nu îmi plac în mod deosebit nici IPR, nici Blazzaj (solistu celor două trupe are ceva în voce care mă zgârie) dar piesa asta mi se pare deosebit de frumoasă.

• PJ Harvey feat. Thom Yorke (Radiohead) - This Mess We’re In

Era trist dacă două voci care îmi plac foarte mult separat nu işeau bine combiate. Din fericire nu o fost cazu. Nu mai ştiu exact când am auzit prima data piesa, dar ştiu că am ascultat-o pe repeat zile la rând. Hipnotică combinaţie.

• The Gathering feat. Garm (Ulver) – A Life All Mine

Din nou un dialog foarte mişto între vocea gloomy a lui Garm şi cea dreamy a lui Anneke, pe nişte versuri foarte faine. O surpriză excelentă pe finalul albumului Souvenirs.