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A song from October: Sigrid - “Sucker Punch”

Written by Kaisa Laurimaa

Sigrid Raabe aka Sigrid is a Norwegian singer-songwriter. In the beginning of October she released her newest single “Sucker Punch”.

The song is energetic and positive — lyrics- and music- wise. At first it sounded a bit different, but the more you listen to it, the more you find Sigrid there. “Sucker Punch” is fresh and literally like a punch in your face with its energy. The song was written with Warren and Martin Sjølie in a studio called Ocean Sound Recording, that’s in Sigrid’s hometown Ålesund. This song has heavier production than other Sigrid’s songs. Raabe has said about the new approach: “There's something new, something fresh I haven't done before. So I would still say like, this is definitely myself, but just in a different way. I like it. I like discovering new things.” On the side note, what’s better than hearing that artist likes discovering new things in music, as opposed to doing the same safe thing.

Lyrics-wise Sigrid is singing about trying to find excuses to stay away from something that’s actually good. And even after all the trying, she inevitably comes back to it. Late October brought us video of “Sucker Punch”. The video shows singer in rapidly changing environments — track and field stadium, on top of different items — car, bunch of computers, piano and tires. One second she’s in an office, then in a party and then in a grocery shop. Sigrid’s energy is immeasurable, also the video is fast-paced and shares a great vibe.

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A song from September: Christine and the Queens - “The Walker”

Written by Sara Arumetsa

Christine and the Queens is the stage name for French artist Hélöise Letissier, who recently released her second full length effort Chris followed by her 2016 debut Chaleur humaine. Even though the new album is released under the moniker Christine and the Queens, Letissier actually adopted a new persona for the album - Chris. In an interview to NME, Letissier explained "it had to be Chris at some point because I was bolder and stronger and had more muscle,” adding that “I had to make it visible and really blatant for people that something changed in me, and I was actually getting stronger.” The change in Letissier is strongly present on the new album, compared to her debut, Chris shows more bravado and machismo, demands more space and is harsher and more confident in exploring themes such as sexuality, desire, and satisfaction.

The album follows in the popular vein of 1980’s influenced contemporary pop and RnB, with taking note from giants such as Prince and Michael Jackson, whose influence is visible both in the sound and in the way they, too, easily manoeuvred between different theatrical guises. In the context of the entire album, third track “The Walker” symbolises a moment of vulnerability, it’s delicate, but at the same time, in contrast, Letissier allows herself some violent images. In that sense the song is a sugar pop coated rebellion, a rebellion in which Letissier affirms herself, her queer identity, and quoting the song itself, how she “chose to talk / with some violent hits, violent blossoms akin.” However, the lyrics make clear that there is pain and hurt beneath the shimmering musical surface and beneath the tough personal surface. The light and shimmering surface is emphasised by the synth-pop akin to new romanticism and by the delicate backing vocals and howls. Lyrically, the walking metaphor perfectly illustrates that in order to get to Chris, in order to “get stronger,” Letissier had to go through a journey and suffer some punches along the way.

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Album review: The Boondocks - How to Build a Love Bomb

Written by Sara Arumetsa

Label: Self-released Release date: October 8th, 2018 Facebook | Spotify | Soundcloud 

How to Build a Love Bomb is the third full-length release from the Estonian indie-rock group The Boondocks, following their debut effort USB (2014) and sophomore release Thriller (2016). The overall feel of the album traces back to the 1960’s rock music sound. The nostalgic yearning is felt both in the methodology of songwriting and in the sound itself. Album’s title – How to Build a Love Bomb – also gets at the spirit of the era, referring to the love revolution (hippie movement, sexual liberation, etc.) and to the Cold War, to the prevailing sense that the world could end at any given moment.

The songwriting on the album is very band-oriented, the focus seems to be on the groove and how the groove could be enhanced with different elements, e.g. guitars and keyboards serve rather a rhythmic role as opposed to a melodic role. This does not, however, imply that there are no extended instrumental sections on the album, there are, and these are actually moments where there’s more experimentation – both with rhythm and tone – going on. Also, not to forget, there are actual solos on the album. Speaking of instrumental sections, “St Bougie’s” outro with its tasteful bass groove is an especially well executed example of what I am trying to describe. The bass groove never develops into a solo – however, the fills are beautiful! -, but instead keeps a solid foundation on top of which guitar, voice and percussion can experiment. 

On the sound side of things, the guitars are heavily reverberated, the bass guitar has a low end tone and comes off somewhat muted, and organ sound is prevalent on the keyboard department. Vocals are relaxed and lazy, while at the same time providing enough melodic movement. The album has a very optimistic and upbeat sound, but the matter is further complicated by the deeper melancholy expressed in Villem Sarapuu’s voice and lyrics. The lyrics themselves are quite abstract and could accommodate many different readings. One of the repeating themes, however, is a sense of leaving an unhealthy environment (or an unhealthy relationship) and changing oneself in spite of obstacles. Subsequently, the subject matter here seems to be the tension between (romantic) relationships with others and the relationship one has with oneself, and how we sometimes need to sacrifice the relationship with the other to remain in a healthy relationship with ourselves.

Albums intro track “The Backdoor Method” addresses the need to “change the outfit,” but it remains unclear if the narrator is forced to go through the change, or it’s his internal desire as the outfit no longer fits with the new mindset. “Ultimate Couple” expresses a desire to leave earth and its “gravity,” which could be read as a desire to break free from all that is weighting us down (foreign expectations, etc.). Gravity is also implicitly referenced on the track “St Bougie” as a force, which is “pulling” the narrator “back to [...] solitude.” This offers another reading of “gravity” – that which forces us to remain the same, hinders positive change. On albums finale “Bystanders,” the narrator shows maturity to choose the role of a “bystander” as opposed to being in a relationship, which does not work. In a deeper sense, then, album’s title How to Build a Love Bomb could be read as an actual question in a need of an answer: how to build effective communities and relationships with others in a world of “gravity” and actual bombs.

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A Song from August: boygenius - “Me & My Dog”

Written by Sara Arumetsa

(Photo by Lera Pentelute)

boygenius is an American supergroup freshly formed by singer-songwriters Phoebe Bridgers, Julien Baker, and Lucy Dacus, who all already have noteworthy solo careers. The band has so far released three singles from their self-titled debut EP, which is set to be released on November 9th. As each of the songs is anchored by a different band member - and as such, each song has a strongly distinct presence - it might be tricky to consider boygenius a cohesive formation. However, through the shared space of writing and performing, and through the generosity of collaboration (via allowing each other to take space on the EP), the lead singles all have a strong sense of collective-hood running through them. And this is such a beautiful thing to witness.

Bridgers led “Me & My Dog” is a slow-burning ballad with its slow pace and fragmented storytelling. The song starts with a clean electric guitar on top of which Bridgers performs an emotionally potent vocal delivery, which interestingly, shows vulnerability through its apathy. The song has nostalgic undertones as it draws influence both from American folk tradition and from early 2000’s emo ballad form. The song slowly builds up by adding another guitar, bass guitar, drums and banjo to the mix, eventually exploding into a full band three-part vocal harmony set shared by Bridgers, Baker, and Dacus. The gut-wrenching intensity of hearing their voices together is beautiful and thrilling, but at the same time, deeply saddening. The ache – the trauma of a casual break up – is presented with such strong emotional language and dense instrumental texture (just listen to the raw force with which the guitar is strummed!), which is hard to shake off.

Lyrically, Bridgers shows a level of dismissiveness towards the break up, “I’m fine now, it doesn’t matter,” while at the same time maintaining great emotional vulnerability, “I never said I'd be all right,” she sings while adding “Just thought I could hold myself together.” The song also draws on images of self-harm and behaviours associated with eating disorders with the line “I wanna be emaciated.” Chronology of the events remains ambiguous as Bridgers shifts between perspectives and seasons. The song starts with a memory of a “great day” and transitions into crying at the love object’s “show with the teenagers.” In other words, the break up could have happened last night or a year ago. In that sense, the song shows both signs of rawness and of perspective. As such, “Me & My Dog” is a break up ballad with which many can relate to, and I’m sure boygenius’ upcoming EP will contain many similar communal moments of emotional struggle.

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A song from July: Covet - “falkor”

Written by Sara Arumetsa

On July 13th, Californian math-rock trio Covet released their sophomore effort effloresce. Even though the whole record is beautiful and worth a listen, in this column, I am only going to focus on track no. 5 “falkor.” The technical stream of math-rock has a danger of coming off inaccessible, but this is not the case with “falkor,” which flows emotionally, almost achingly. One of the factors in achieving this is most definitely the energy output by the band, which for Covet is quite frankly unparalleled. The interplay between guitar, drums and bass creates a beautiful synergy. The rhythm section does not only offer a commentary to the guitar, but actually plays an equally important role in creating the overall mood and landscape. The bass melodies enter into a conversation with the guitar, offering beautiful results as can be heard on multiple sections on the song.

Although the band keeps busy, there’s a sense of intimacy, which provides a way to connect to the song even as lyrics are absent. The main attraction here appears to be the varied palette of different moods and the juxtaposition of ambiance and groove, where the former disrupts the flow of the latter. With a total run of almost 8 minutes, and with a minimal use of repetition, there’s a lot happening on the track. The appeal comes back to energy, of course. Even the so called “quiet” sections are played with such audible internal pull that it’s hard not to get lost in the groove, and I believe a sense of losing your way is actually helpful in enjoying the sonic and wild landscape of “falkor.”

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SWEET SPOT FESTIVAL Tallinn, Estonia II day, 28.07.2017

Photographed by Kaisa Laurimaa

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SWEET SPOT FESTIVAL Tallinn, Estonia I day, 27.07.2017

Photographed by Kaisa Laurimaa

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Album review: Now, Now - Saved

Written by Sara Arumetsa

Label: Trans-Records Release date: May 18th, 2018 Facebook | Spotify | Soundcloud | Bandcamp

Saved, the latest offering from American indie-pop outfit Now, Now, is in its essence an exploration of desire, sexuality, youth and flirtation. In comparison with the group’s previous full length effort Threads (2012), the new album feels different. Saved is more pop than rock, and its rather synth- than guitar-oriented, its atmosphere is warm and production polished. Even though the band now ventures in more electronic terrains, their pace has remained slow on Saved with songs tempos ranging from mid to slow. This means that even though the album shows romantic 80’s sensibilities, it’s not a dance pop record, and hence attracts with its clever hooks, drama-packed content, steady progressions, and instrumental and vocal tension.

KC Dalager’s voice is breathy, singing as if exhaling, she is proudly presenting a lack of force in her singing, or to be more precise, in her entire presence. There’s a captivating quality to her performance, Dalager shows that there’s a certain confidence in her awkwardness, an enjoyment of the tension she creates with on the one hand restraining her voice, but on the other hand lyrically putting it all out there. Interestingly, Dalager’s voice brings my attention to the body: the physicality that produces the voice in the first place. Voice is breath, and breath demands force, which demands labor. In the words of poet Wislawa Szymborska, Dalager “labors heavily so that” her weighty confessions “may seem light.”

The use of religious symbolic shows how there’s a redemptive quality to young love. For example, in the record’s title track “Saved,” Dalager is comparing her lover to a “holy mother” and to a “saint,” eventually concluding in a religio-romantic declaration “Oh my God, I’m saved.” On the same track, Dalager, however, shows how being left “fucked up” is deeply connected to being “saved.” With that she creates a beautifully tensioned juxtaposition, which characterises being in love: feeling safe and at the same time feeling in danger. In other words, that which can save you, can inherently destroy you. This nuanced tension also shows that Now, Now still leans toward the dark subject matter that defined Threads. Namely, the interconnectedness and interdependence of people, and how it can be a blessing and a curse at the same time.

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Seven questions (Sweet Spot Festival edition): Andres Kõpper

To wrap up these Spot Festival edition Q&A posts we have one more artist to present. It’s Andres Kõpper aka NOËP, an Estonian artist, whose indie-electro-pop music is spreading all over the world lately! His music is so catchy and charming, it’s easy to forget about everything else when hearing NOËP live! So go and enjoy the music this Friday at Sweet Spot Festival.

NOËP at Sweet Spot Festival: Friday 27.07 at 20:0 @C-Stage Pada

You can find NOËP on: Facebook | Spotify | Soundcloud | Webpage

Interviewed by Kaisa Laurimaa

(Photo by Anette Apri)

1) Last song that was stuck in your head?

Last song that was stuck in my head was “OMG” by Camilla Cabello.

2) What are you listening to at the moment? 

Right now it’s silence (I spend a lot of free time in silence). But “Late August” by Erki Pärnoja is open on Spotify.

3) Last album/song you bought?

Sadly I haven’t bought anything since the streaming platforms took over. 

4) Next concert you're going to attend?

Probably Sofi Tukker tonight.

5) Most interesting band/artist in Estonia at the moment? Why?

Haha, most interesting would most probably be Nublu. What a phenomenon. Don’t even know who the guy is.

6) Music that always calms you down?

Bon Iver.

7) A song that makes you want to dance?

“Hey Ya” by Outkast.

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Seven questions (Sweet Spot Festival edition): Erik Bodin

Little Dragon is a Swedish band, who is also performing at Sweet Spot Festival this week! Their music genre is marked “electronic, soul synthpop” on their Facebook page, but “Dreamy, rhythmical, shifting, moody rainbow sounds” has been mentioned as well. If you don’t know what moody rainbow sounds sound like, you better go see them this Friday! But before that, read on to find out what Little Dragon’s drummer Erik Bodin answered to our Seven questions! 

Little Dragon at Sweet Spot Festival: Friday 27.07 at 18:45 @B-stage

You can find Little Dragon on: Facebook | Spotify | Soundcloud | Webpage

Interviewed by Kaisa Laurimaa

1) Last song that was stuck in your head?

Drake - “Passionfruit”.

2) What are you listening to at the moment? 

To my kids screaming for my attention.

3) Last album/song you bought?

Roy Of The Ravers and their album 2 Late 4 Love.

4) Next concert you're going to attend? 

Probably my daughter’s Dance school show.

5) Most interesting band/artist in Sweden at the moment? Why? 

Sir Was. He is an old friend of mine, who decided to go deep into his love for lo-fi funk music. There is no better place to be.. it sounds very good to my ears!

6) Music that always calms you down?

King Krule - “Czech One”.

7) A song that makes you want to dance?

Ross from Friends - “D1RT BOX”.

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Seven questions (Sweet Spot Festival edition): Silver Ulvik and  Sandra Ashilevi

Ashilevi is an Estonian four-piece band, who delivers music that is difficult to classify under one style. But it’s been said to be inspired by soul, funk, R&B and blues, which gives you a good idea of their creation. Their music has such a smooth vibe and suits perfectly to this summer time. Ashilevi is one of the opening acts of Sweet Spot festival, so be sure to head to the festival early in the afternoon next Friday!

Ashilevi at Sweet Spot Festival: Friday 27.07 at 15:00 @C-Stage Pada

You can find Ashilevi on: Facebook | Spotify | Soundcloud

Interviewed by Kaisa Laurimaa

(Photo by Felix Laasme)

1) Last song that was stuck in your head?

Sandra Ashilevi: Frank Ocean - “Solo.

Silver Ulvik: Don Ulvik - "One Step Closer".

2) What are you listening to at the moment?

Sandra: I had a chance to see and hear LP live at Pohoda Festival in Slovakia, so she is the one I've been listening for the last days.

Silver: Silence.

3) Last album/song you bought?

Sandra: I mostly stream music from Spotify, so I can say that I buy music monthly. :)

Silver: I pay spotify bill every month...hard to say. :)

4) Next concert you're going to attend?

Sandra: Sweet Spot Festival! There are so many great artists and bands there. I'm looking forward to Little Dragon, London Grammar, Avoid Dave etc.

Silver: Guns 'n' Roses...uuujeee!!! [Performed in Estonia 16th July]

5) Most interesting band/artist in Estonia at the moment? Why?

Sandra: Lexsoul Dancemachine because they deliver energy, that is not very common in an Estonian band.

Silver: I'm sure there are many, but I've been kind of introvert lately... or more than lately.

6) Music that always calms you down? 

Sandra: Bon Iver - “Perth”.

Silver: Oh Wonder - "Livewire".

7) A song that makes you want to dance?

Sandra: Whitney Houston - “I Wanna Dance With Somebody”,

Silver: Gregor Salto & KiT - "Otro Dia".

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A song from June: Death Cab For Cutie - “Gold Rush”

Written by Sara Arumetsa

Last month, American indie-rock heroes Death Cab For Cutie announced the title of their ninth LP Thank You for Today and released the lead single “Gold Rush” off the album. This is Death Cab’s first record since the departure of founding member Chris Walla, who left the band shortly after recording their eight studio album Kintsugi.

Stylistically the song differs quite a lot from the mellow indie-rock that the band has been sporting, while, ironically, staying very familiar and true to Death Cab’s charm. The psychedelic feel the band is charting is derived from Yoko Ono’s song “Mind Train,” from which a sample is featured on “Cold Rush.” The sample actually forms the bedrock of the song and therefore influences the overall mood and feel of the track quite a lot. 

Lyrically Ben Gibbard is dealing with feelings of alienation and separation as he sees his hometown change. Gibbard notes that he has misunderstood temporality as he sings “I've ascribed these monuments / A false sense of permanence,” and illustrates our reluctantness to accept change with lyrics such as “It didn't used to be this way / Stay the same.” Same sentiment is put forth on the music video, which shows Gibbard walking along the busy street, with each step getting temporally closer to the present day. As such, both the video and the song are manifesting change, movement and becoming that we’re all subjected to. 

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Seven questions (Sweet Spot Festival edition): Tõnu Tubli

It’s summer and summer is time for festivals! This year first ever Sweet Spot Festival takes place in Tallinn on 27th-28th July. The lineup is very promising and the location is exciting, so I personally can’t wait! But before the end of July is here, we wanted to introduce you some musicians playing at that festival. First up is Tõnu Tubli from Trad.Attack! This band always finds a way to surprise and give you a better experience at their show than last time. 

Trad.Attack! at Sweet Spot Festival: Friday 27.07 at 20:00 @A-Stage 

You can find Trad.Attack! on: Facebook | Spotify | Website | Instagram

Interviewed by Kaisa Laurimaa

(Photo by Maris Savik)

1) Last song that was stuck in your head? 

Childish Cambino - “This is America”.

2) What are you listening to at the moment? 

Discography of Floating Points.

3) Last album/song you bought?

John Coltrane - The Lost Album.

4) Next concert you're going to attend?

North Sea Jazz Festival. :) 

5) Most interesting band/artist in Estonia at the moment? Why?

I guess currently I would say that Puuluup is creating something new and exiting with their special charm. 

6) Music that always calms you down?

If I feel a bit blue I listen to Chet Baker, when I’m exhausted I put Arvo Pärt through the speakers, but all-in-all jazz makes me calm. :) 

7) A song that makes you want to dance?

Haha, actually I enjoy beats that are a bit broken or have a nice polyrhythmic underline. Or when Pino Palladino plays the bass. 

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A song from May: Lykke Li - “utopia”

Swedish singer-songwriter Lykke Li is back with new music after 4 years. “utopia” is the third preview and finale song of Lykke Li’s latest album so sad so sexy.

“utopia” has a special soothing tone and calm melody. It’s simple, but holds a great depth in it. Lyrics for this song are heartwarming. It seems Lykke Li is talking about a perfect world for a mother and a child. Or maybe describes what motherhood already is - utopia. “I see, I see, I see the dream in your eyes and I want it. It’s burning bright like a fire from a comet. If there’s a bomb in your heart I’ll disarm it. If you want it then I want it”. The lyrics represent unconditional love and being fully supportive to your kid.

“Utopia’s” sentimental video shows Lykke Li with her mother, when Li was a toddler, but also features current Li with her son. Li has summarised the video with note in the description box “MOTHER TO MOTHER TO MOTHER. Utopia is all my mother ever wanted for me and all I ever want for him”. The single and the video for it were released on Mother’s Day, emphasising the song’s subject. The video has a homemade and cosy vibe, that goes so well with the music.

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Odd Hugo 10th birthday of Tartu Uus Teater 24.05.2018 Tartu Uus Teater, Tartu (Estonia)

Photographed by Kaisa Laurimaa

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A song from April: Olafur Arnalds - “re:member”

Written by Sara Arumetsa

In the beginning of April, Olafur Arnalds released a beautiful new track titled “re:member.” “re:member” is such a fitting title for this song - for Arnalds, it marks a certain re-turn to composition, a coming back, which is, paradoxically, compared to his previous work, punctured with a sense of newness and freshness. But the sabbatical from writing was not eventless as during this time Arnalds created a new compositional tool called Stratus, which forms a critical part of the charm – it’s freshness and newness – of “re:member.” 

Stratus is essentially a software, which Arnalds co-created with his friend and sound designer Halldór Eldjárn. The software basically plays two independent synthesizers or pianos simultaneously. A composer/performer would simply have to input certain notes on a midi-keyboard and Stratus would create certain generative rhythmic and melodic sequences based on the algorhythms programmed into the software. The best way to describe Stratus would be to think of it as an open-ended feedback cycle. This means that its main benefit seems to be compositional: it creates an instant feedback loop for the composer, where every artistic choice has a direct consequence in a form of another choice made by the program, which in return creates a reaction in the composer, etc.  This should, in essence, open up more creative possibilities as the composer would no longer be limited with simply their own creative processes, but completely new, previously unimaginable ways of playing with music would come into being.

How Stratus transforms the sound is quite phenomenal. On “re:member” it creates a sensation of hearing raindrops. These melodic drops are presented in a careful interplay and as a result create a very unique melodic and percussive texture. Even though the piano melody forms a rather irregular rhythmic sequence - and the sheer amount of melodic movement itself is in a way overwhelming - it still has a very calming effect as the notes come together in a beautiful harmony. The further use of a string quartet, bass and digitally programmed beats only extend the calm the track cultivates. With “re:member” Arnalds is teaching us a useful paradox – sometimes more movement can mean more stillness, and more stuff can mean more room.

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A song from March: CHVRCHES - “Never Say Die”

Written by Sara Arumetsa

“Never Say Die” is the third offering from Chvrches’ upcoming LP Love Is Dead, which is due to be released on May 25th. The band noted that this is lyrically their most direct and politically engaging record to date, along with incredibly thrilling singles “Get Out”, “Enemy” and “Never Say Die”, this makes it a highly anticipated release.  

The song starts with soft synth arpeggios, which create a dreamy setting for Lauren Mayberry’s vocals. The downtempo and steady flow of the verse reminds of Chvrches’ 2016 single “Warning Call”, but the vocal performance sets the song apart from its predecessor. In the pre-chorus the synth lines get more robust and anxious; and the bass drum here adds a certain anticipation towards the chorus, which turns out to be explosive – incredibly slow, but very energy-packed. In fact, I think this is the loudest Chvrches have ever gone, charting drama and disappointment in their breathless delivery.

The song has a beautiful duality to it – light and heart-aching verses are in deep contrast with the dark, chaotic and loud choruses -, and same has been expressed by Mayberry. In a statement she noted that “Never Say Die” is her favourite song off the record because “it really leans into the juxtaposition of what we do - the mixture between the dark and the light.” Interestingly, the song ends with a fade out, a technique the band used on multiple songs on their debut The Bones of What You Believe (2013), but not once on their sophomore Every Open Eye (2015).