Track-By-Track zum dritten Album der Sängerin aus dem norwegischen Haugesund…
Soeben ist die erste international veröffentlichte Platte der Norwegerin Susanne Sundfør erschienen. Hier sind ihre exklusiven Kommentare zu den zehn neuen Songs – im Original und gänzlich ungebügelt…
I was at my parent’s house, I had just gotten my Rhodes, and was just testing it, and the chorus came all of the sudden, and I remember thinking: Yeah, I guess this could be a song or something. I had watched Twin Peaks and was amazed by the intro tune, so I copied it, and made my own little intro to the song and to the whole album.
I was really pissed off with a girlfriend, and I wanted to make a song where I could explain what was annoying about her. So I compared her to Lilith, and that’s pretty much what the song is about
…is pretty much a breakup song, but I wanted to write it in a perverse and violent way. Sometimes it feels like you are devouring your loved ones instead of nuirising the relationship. Like you are a spider catching people in your web.
IT’S ALL GONE TOMORROW
This was originally a song I wrote when I was 17, and then I changed a lot of the lyrics and also rearranged it with beats and strings. I made it first on my guitar, I’m very happy that version was not the one that ended on the album!
KNIGHT OF NOIR
This is also an old song that I refreshed into something quite different, both musically and lyrically.
This song was the hardest one to produce, because we were unsure about whether it should be very electronic or mostly acoustic. I think we ended at somewhere between!
AS I WALKED OUT ONE EVENING
The title is from a fantastic poem by W.H. Auden, and I wanted the song to be sort of a meditational track on the album.
This was the first song I finished that I knew was gonna be on the album, and at this point I was pretty sure what kind of themes I wanted lyrically. I was in a state where I found it difficult to feel independent, so I guess this song kind of explains that situation.
This song was originally a ballad, but when we started recording it in the studio, we added a beat and bassriff which contributed to a weird mixture between a sad lullaby and an upbeat production.
…is a love song, and I wanted to mix in religious elements, so the song is written to be a hymn.
THE COVER ARTWORK
The cover artwork is by Kristin Austreid, and the photos are taken from an exhibition we did together in Bergen in 2009.
A History Of Now
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