Anna Von Hausswolff ¨Dead Magic¨ Full...ladislav&zivanovic

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Anna Von Hausswolff ¨Dead Magic¨ Full...ladislav&zivanovic/+Anna von Hausswolff's 'Dead Magic' Goes to Dark Places but Offers Paths Out of the Darkness...On Anna von Hausswolff's Dead Magic the darkness is deeper and the light is brighter than in anything in popular music today./+Shining a light into the darkness is one of the oldest tasks of art in the Western tradition. On Dead Magic, the fourth full-length record from Swedish singer/songwriter Anna von Hausswolff, the listener will encounter sustained moments of darkness and experience immersion in tense, enigmatic, and unnerving sonic environments that evoke the kind of distressing emotions hinted at by the album's overall aesthetic presentation. But the music is also generously shot through with powerful beams of beauty and mystery and conveys a richness in harmony and melody through which, at times, one cannot fail to feel uplift and relief.

Dead Magic wears a surface of bleak experimental rock music and moody cinematic soundscapes. The two longest songs exceed 12 minutes, and they rise, fall, swell, glow like embers, and fade. Drumming, where it appears, is used more in the orchestral rather than the rock style, rarely locking into syncopation but added for emphasis and the generating of tension and drama. It's as though there is a sinewy network of emotional turbulence, anguish, and worry that pulses from within the music.

But the real wonder and power of Dead Magic, taken as a whole, is not how von Hausswolff taps into themes associated with darkness and decay, nor even that she pauses over them for long periods – and certainly in this vein a partial musical lineage may be traced back to experimental rock and post-rock like Swans and to doom metal like Skepticism and Earth – but it is that she is equally adept at finding beauty where beauty is rare. Dead Magic goes into to dark places but also offers paths out of the darkness./..Najuočljiviji alati za von Hausswolffa su njezina dva glavna instrumenta: njezin glas i orgulje. Oboje je pomažu izdvojiti od bilo koga drugog u suvremenoj glazbi i oboje podupiru emocionalni jezik Dead Magica. U dva najduža djela albuma - "Istina, sjaj, pad" i "Ružno i osvetoljubivo", u 12, odnosno 16 minuta - ona se divlje, ali virtuozno prebacuje s korištenja glasa za usmjeravanje jednostavnih, lijepih melodija na upotrebu to za komunikaciju bez riječi bez riječi.Na primjer, u prvoj od ove dvije pjesme postoji jednostavna, ali upečatljiva melodija valcera koja se pojavljuje kao središnji dio i osjeća se nježno i spasonosno, poput ispraćaja prije nego što netko nestane u prostranoj tišini. U ovom načinu relativno konvencionalnog pjevanja usporedbe s Kate Bush i Joannom Newsom možda bi bile prikladne, ali u drugim će trenucima ekvivalentne ili odgovarajuće referentne točke napustiti slušatelja. "Ružni i osvetoljubivi" ekspanzivno se kotrljaju poput Dead Can Dancea ili Loreene McKennitt sve dok von Hausswollfov glas zvučno i dramatično ne otvara pjesmu, samouvjereno preoblikujući raspoloženje i smjer. U nevjerojatnom "Tajanstvenom nestajanju Electre" ona pjeva u potpunosti u nekakvoj paničnoj toni, a kulminira katarzičnim izljevom očajnih, elokventnih osjećaja. To je jedno od najsnažnijih glazbenih djela koje sam čuo u neko vrijeme./There is a correspondence between her use of the pipe organ and the emotional shadings of Dead Magic. The instrument has a long history and a prominent place in traditions associated with devotional music. The album was recorded in a Danish cathedral – Marmorkirken, "The Marble Church" as she notes on her website. In the Western European devotional tradition, the pipe organ has been utilized to exude sound, to fill a space, and to immerse and to hold the performer and the listener together fully in a shared experience. That dynamic and experience are ideal for sacred and secular purposes, to wonder at the beauty, to feel consolation for the frailties of a fallen condition, and to aspire for redemption.+A presumed sensitivity to this tradition helps to explain in part why the darkness and the light of Dead Magic are both deeper and brighter than is typical in popular music formats. Another part of the explanation is that she exhibits technical skill in the composing, arranging, and performing of these songs with their array of emotional and textural contrasts, all of which increase with vitality on subsequent listens. Undoubtedly there are other elements to account for the magnetic appeal of this record. But to paraphrase the Swedish writer Walter Ljungquist in a poem circulated by von Hausswolff, the listener should ultimately endeavor to find the center of Dead Magic for themselves.+I have no copyright or copyright ,DVD///+Album,
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