Kategorie: CD-Reviews | Genre: Artpop/Pop | Heft: Jahrgang 2013, eclipsed Nr. 152 / 7-8-2013 | VÖ-Jahr: 2013 | Wertung: 8/10 | Label: City Slang | Autor: ST
Already the cover captures. It shows a section of the pipes of a church organ. More precisely, the organ of the Annedalskirche in Gothenburg. Their pipes look ancient, made as they did before time. The narrow sections of the four organ pipes look like accesses to a dark rock labyrinth - ominous. The introduction to this record is also ominous: the prelude "Epitaph Of Theodor" sinks to the listener, heavy, oppressive. The swell chords of the organ and the thick synthesizer layers imitating the organ sound set the tone for the one-hour album. The organ is the fixed point of "Ceremony". The other instruments are grouped around their dominant sound: electric guitar, piano, drums/percussion, zither, clavioline. Only the singing, which begins for the first time after ten minutes, is on an equal footing with the tones that spring out of the "Dicken Berthas" of the organ. This is by the 26-year-old Swedish Anna von Hausswolff, who presents her second record with "Ceremony". With a few exceptions, the John Cage admirer also plays all keyboard instruments on the album, which is a clear departure from the more spotted, nature-loving songs of "Singing Of The Grave" (2010). While the predecessor was still hesitant in parts, "Ceremony" is a fear-free, self-confident artistic statement that plays with the fears of those who listen to it. There are the uncomfortable song titles like "Deathbed" or "Funeral For My Future Children". And there's always the misty organ surf that claps its way from all sides. Besides the explicitly drony songs there are also almost light-footed ones like "Mountains Crave", "Liturgy Of Light" or "Sova". "Ceremony" is a great success and Anna von Hausswolff is an extraordinary young musician.
Top Track: Ocean
