Artist: Elias & the Wizzkids
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Veering back a bit from the electronic-hinges of the past few months, Hybris has delved into that vault that is the Swedish music scene to focus on a band that has its heart set on the music of the 1950s mixed in with the indiepop/alt-country stylings of today. At only four songs, one a cover at that, it leaves the listener looking ahead to a proper album. Thr first three tracks: "The dance" (easily the best on this release), a good uptempo cover of every run-of-the-mill singer/songwriter staple "Wonderwall" and "Regret" all set a nice tempo before "Autumn leaves" mellows it all out. Perhaps switching tracks three and four would have prevented the EP from fading into silence; however, this is yet another promising band on a label that I know will put their passion behind it.
- Matt Giordano
This is a week chock full of exclusives! Besides giving you the very first taste of the new The End Will Be Kicks album and offering it up for sale on mp3 waaaaay before it's available anywhere else, I've got yet another treat for you today! When I first heard that Björn Yttling had a jazz album in the works, I was naturally quite curious. Many people now recognize him as a member of the excellent Peter Bjorn and John, but I first became aquainted with his music through his extensive work as a producer. Many fine records in my collection are adorned with his name on the credits. So not only do I have a brand new track from his upcoming album today, but I was also afforded the opportunity to ask Björn a few questions about his work.
AR: Why a jazz album? What was the inspiration for the project?
BY: I've always listened to jazz (stuff like Mingus, Ornette Coleman, Charlie Haden, Ellington and of course Coltrane and Charlie Parker) and ten years ago I also played it. But the jazz scene can be very very boring with people just playing standards in predictable ways, so I kind of slipped away from it. I was still writing jazz songs though, and spurred by saxophone player Jonas Kullhammar I started thinking of making a jazz record.
AR: Is there a lot of difference in the way you work when you are composing jazz charts as opposed to when you are doing arrangements for pop music?
BY: No not really. The biggest different is that (my) jazz music is instrumental and pop music often isn't. Of course with jazz tunes you can leave the forms more open for improvising. I recorded this record in a day, and pop albums always take at least two.
AR: What other current producers do you admire right now?
BY:I really don't keep track on foreign producers that much, but there are many Swedes that I really like. Björn Olsson, Pelle Gunnerfeldt and Jari Haapalainen of course, but don't forget Jocke Åhlund from Caesars and Calle Olsson from Bear Quartet.
AR: So what's next for you then?
BY: I'm doing/planning a few records right now. Montys Loco, Elias & The Wizzkids, The Charm, Pueblo and we're almost done with the new Peter Bjorn And John album. What I really looking forward to do now is a record with Joakim Åhlund, and we're gonna start next week.
Björn's new jazz album with Yttling Jazz is called "Oh Lord, why can't I keep my big mouth shut". It comes out November 21 via Headspin Recordings.
This is a week chock full of exclusives! Besides giving you the very first taste of the new The End Will Be Kicks album and offering it up for sale on mp3 waaaaay before it's available anywhere else, I've got yet another treat for you today! When I first heard that Björn Yttling had a jazz album in the works, I was naturally quite curious. Many people now recognize him as a member of the excellent Peter Bjorn and John, but I first became aquainted with his music through his extensive work as a producer. Many fine records in my collection are adorned with his name on the credits. So not only do I have a brand new track from his upcoming album today, but I was also afforded the opportunity to ask Björn a few questions about his work.
AR: Why a jazz album? What was the inspiration for the project?
BY: I've always listened to jazz (stuff like Mingus, Ornette Coleman, Charlie Haden, Ellington and of course Coltrane and Charlie Parker) and ten years ago I also played it. But the jazz scene can be very very boring with people just playing standards in predictable ways, so I kind of slipped away from it. I was still writing jazz songs though, and spurred by saxophone player Jonas Kullhammar I started thinking of making a jazz record.
AR: Is there a lot of difference in the way you work when you are composing jazz charts as opposed to when you are doing arrangements for pop music?
BY: No not really. The biggest different is that (my) jazz music is instrumental and pop music often isn't. Of course with jazz tunes you can leave the forms more open for improvising. I recorded this record in a day, and pop albums always take at least two.
AR: What other current producers do you admire right now?
BY:I really don't keep track on foreign producers that much, but there are many Swedes that I really like. Björn Olsson, Pelle Gunnerfeldt and Jari Haapalainen of course, but don't forget Jocke Åhlund from Caesars and Calle Olsson from Bear Quartet.
AR: So what's next for you then?
BY: I'm doing/planning a few records right now. Montys Loco, Elias & The Wizzkids, The Charm, Pueblo and we're almost done with the new Peter Bjorn And John album. What I really looking forward to do now is a record with Joakim Åhlund, and we're gonna start next week.
Björn's new jazz album with Yttling Jazz is called "Oh Lord, why can't I keep my big mouth shut". It comes out November 21 via Headspin Recordings.
Yttling Jazz - Tokyo Hyatt