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Fågelle
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Fågelle makes music where layers of noise and pop melodies meet the exploration of rhythms and lyrics about power. With pedals, synths and samplers, she experiments and searches until she finds what, together with poetry, becomes exciting music at the intersection between sound art and pop. Her sound world is made up of everything from field recordings from the Moscow subway, quays in Norrköping to squeaky guitars and tormented synths. In collaboration with producer Henryk Lipp (Blue for Two, Anna von Hausswolff, Thåström), the sound worlds grow into pop songs and the text fragments nail down their meaning in the entrance of the big crescendos. With texts in Swedish about contemporary times in micro and macro perspectives, about powerlessness and completeness of power. Her music has been described as "a soft slap". After working on the record for two years in Gothenburg and one in Berlin, Fågelle is now releasing the debut album "Helvetesdagar".
"Making this album has sometimes been like slowly working my way into pitch darkness. No longer seeing where I'm going or how I'm going to get there, just feeling my way meter by meter. It was in Berlin that I first time taught me to make no excuses for my seriousness. Among people from all over the world and in a rough university environment, there was room to be serious and straightforward. It encouraged me to be sincere. To sing in my own voice, to speak in my own language, to ask me completely behind every word. The Music A Matic studio on Tredje Långgatan has been a fortress or as Henryk sometimes calls it: a temple. A shelter for fragile ideas and sharp edges. A place where things have been allowed to mature and grow wild. In the collaboration with Henryk and out of a mutual respect and understanding for the music I want to make, he has challenged me and made me go forward as uncompromisingly as I always dreamed of."
Fågelle makes music where layers of noise and pop melodies meet the exploration of rhythms and lyrics about power. With pedals, synths and samplers, she experiments and searches until she finds what, together with poetry, becomes exciting music at the intersection between sound art and pop. Her sound world is made up of everything from field recordings from the Moscow subway, quays in Norrköping to squeaky guitars and tormented synths. In collaboration with producer Henryk Lipp (Blue for Two, Anna von Hausswolff, Thåström), the sound worlds grow into pop songs and the text fragments nail down their meaning in the entrance of the big crescendos. With texts in Swedish about contemporary times in micro and macro perspectives, about powerlessness and completeness of power. Her music has been described as "a soft slap". After working on the record for two years in Gothenburg and one in Berlin, Fågelle is now releasing the debut album "Helvetesdagar".
"Making this album has sometimes been like slowly working my way into pitch darkness. No longer seeing where I'm going or how I'm going to get there, just feeling my way meter by meter. It was in Berlin that I first time taught me to make no excuses for my seriousness. Among people from all over the world and in a rough university environment, there was room to be serious and straightforward. It encouraged me to be sincere. To sing in my own voice, to speak in my own language, to ask me completely behind every word. The Music A Matic studio on Tredje Långgatan has been a fortress or as Henryk sometimes calls it: a temple. A shelter for fragile ideas and sharp edges. A place where things have been allowed to mature and grow wild. In the collaboration with Henryk and out of a mutual respect and understanding for the music I want to make, he has challenged me and made me go forward as uncompromisingly as I always dreamed of."
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