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vähän turhan dingeldangelia kyllä, mutta hieno pipo ja takki kannessa
vittu nyt sä kuolet, tai ainaski lyön haarukalla kulliin
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vähän turhan dingeldangelia kyllä, mutta hieno pipo ja takki kannessa
fiksumpaa olis kyllä varmaan kuunnella ensin kunnolla ja sitten vasta kommentoida mutta no
vittu nyt sä kuolet, tai ainaski lyön haarukalla kulliin
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Pakko sanoa, että tämä uusi levy ei kyllä tunnu kiinnostavan yhtään. Oikeestaan ihan helkkarin huono ja tylsä tekele. Meen silti keikalle.
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Oikeestaan ihan helkkarin huono ja tylsä tekele.
Ei uskos.
In the last second of life, they're gonna show you how,
how they run this show.
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jens flegman
Heräsin ja olin silleen "voi helevetti oon ollu internetissä kauheessa kännissä"
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Onhan se mahtava esiintyjä ja äärimmäisen lahjakas. Harmi, että soitti niin lyhyen keikan tällä kertaa ja että toi uudempi matsku tuntuu vähän vaisulta.
en ole kolmekybänen emoboy
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Uusi tuotanto itselläkin vähän haittasi, lähinnä koska ei ole tuttua. Muuten hieno keikka.
Lapsena tykkäsin seurata kun kanat paistuivat isossa karusellissa kaupan lihatiskillä.
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Kuulin Kirsten Dunst -esittelyn Tukholmassa vuosi sitten. (Mainittavaa tässä on vain se, että ymmärsin sen jopa ruotsiksi.)
Pakko se on sanoa, että tällä hetkellä Jens Lekman ei jaksa kiinnostaa pätkääkään. Jotain vanhoja voi kuunnella, mutta kaikki Australian jälkeinen meno on ollut aika huonoa. Eilisestä jäi pahin maku siitä, että koko keikka oli jotenkin sellainen täysin käsikirjoitettu stadionkeikka klubiympäristössä. Tai onhan noi usein "käsikirjoitettuja", mutta tosta jotenkin paistoi se niin läpi. Hämmentävää. Ei paikan kokokaan olis pitänyt olla mikään juttu, kun kerran oon nähnyt tän isolla festarilavalla isomman bändin kanssa vetämässä aivan tajuttoman kovan hulinakeikan. Et ehkä se oli vaan ne tylsät uudet biisit. Ihan kivaa silti oli.
Last edited by leposi (11.09.2012 12:03)
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Joo ei tää nyt oikein. Uudet biisit lähinnä haukotuttivat, vaikka oli siellä jokunen valonpilkahduskin onneksi. Sitten ne vanhat, ihan kivoja joo, mutta sovitukset tuntuivat vetävän nekin biisit vituralleen, pahiten kärsi varmaan Black Cab. Levyltä tää ainakin eilisillan perusteella toimii paljon paremmin.
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Kauas oli menty niistä ajoista, kun Jens soitti soolona ukulelen säestyksellä Dubrovnikin lavalla haikeita popmelodioitaan. Jäin kaipaamaan eilisellä keikalla pelkistetympää esitystä ja sellaisia vetoja, missä miehen lauluääni olisi päässyt paremmin oikeuksiinsa. Nyt jotkut biisit tuutattiin läpi sellaisella sovituksella, että kuka tahansa tusina-uuno olisi voinut olla lauteilla, eikä olisi paljoa eronnut lopputuloksesta. Uudet biisit nyt on ihan haukotus-kamaa, eikä Kortedalan biisitkään oikein toimineet, poikkeuksena A Postcard to Nina, joka tosin melkein vesitettiin sillä liiallisella kerrontaosiolla. Vähän liian käsinkirjoitetulta tuntui tosiaan. Ja miksi piti soittaa niin monta biisiä siltä umpipaskalta An Argument with Myself ep:ltä? Ehkä mun tykkäys on nyt vaan siirtynyt eri suuntaan kuin Jensin musiikki, joten tulevaisuudessa annan tän vaan olla ja jätän tämän niille, jotka tästä uudesta materiaalista oikeasti pitävät.
Kävi kuin Bellesebulle
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En ollut keikalla, joten siitä en voi sanoa mitään, mutta olen kyllä tykännyt uudesta levystä. Kappalemateriaali ei ehkä ole Lekmanin parasta, mutta kokonaisuutena hyvä paketti minusta. Vähän tylsä ehkä, mutta levyn teeman huomioon ottaen ihan ymmärrettävistä syistä.
Minun ihana hevonen,
Et poni enää,
Juoksentelemaan miehen selkää,
Kuin junan yöllä.
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Tolto wrote:vähän turhan dingeldangelia kyllä, mutta hieno pipo ja takki kannessa
fiksumpaa olis kyllä varmaan kuunnella ensin kunnolla ja sitten vasta kommentoida mutta no
No onpas ollu terävää kommentaaria meikäläiseltä. Tällä hetkellä oon aika lailla koukussa tohon levyyn, nimibiisi vuoden parhaimpia kappaleita ja muutkin biisit hyviä ja IHANIA
vittu nyt sä kuolet, tai ainaski lyön haarukalla kulliin
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Minun ihana hevonen,
Et poni enää,
Juoksentelemaan miehen selkää,
Kuin junan yöllä.
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Jens nyt vittu vähän meininkiä tohon sun hommaan!
Hesarista: "Olikin harmi, että Flow'n päälavalla nähty konsertti oli tiivistetty toisinto viime kerrasta. Bändi oli sama ja settilista rakentui täysin samojen kappaleiden ympärille. Samoin Opposite of Hallelujah -biisin päätteeksi nähty Lekmanin ilmaksylofoninsoitto ja Waiting for Kirsten -biisiä edeltänyt, pitkä näyttelijä Kirsten Dunstin Göteborgin-visiitistä kertonut välispiikki olivat täysin identtisiä Tavastian-esityksen kanssa."
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Minun ihana hevonen,
Et poni enää,
Juoksentelemaan miehen selkää,
Kuin junan yöllä.
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Minun ihana hevonen,
Et poni enää,
Juoksentelemaan miehen selkää,
Kuin junan yöllä.
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ALBUM ANNOUNCE!
1. The new album is called Life Will See You Now. It will be out February 17th.
2. These are the songs on it:
To Know Your Mission
Evening Prayer
Hotwire The Ferris Wheel
Whats That Perfume That You Wear?
Our First Fight
Wedding in Finistère
How We Met, The Long Version
How Can I Tell Him
Postcard #17
Dandelion Seed3. The artwork was made by artist Klara Wiksten who made my favourite graphic novel of this year called Hjärnan Darrar (The Brain Trembles). A collection of stories about those who cant seem to adjust to society. Her characters are these very human humans, in all their ugliness and beauty. We discussed Sonic Youth covers and she ended up making portraits that we connected to individual songs. It feels grungey, not at all like the album sounds but I love that. I love the contrast, to the music and to my previous more designed covers.
4. The title came last second before deadline. I was panicking about that and I had a conversation about it with my girlfriend. She said just describe to me what the album is about and I said well, its about these people and its like theyre sitting in a waitingroom waiting for life to start and then the nurse comes out and says life will see you now. Then we looked at each other and smiled and that was that.
5. Ill tell you what Ive been up to since my last album. That album, I Know What Love Isnt came out sept 2012. I went on tour and it was tough because that album was delicate and sad and understandbly not as popular as Night Falls Over Kortedala. So going on tour and playing that album live was tough. A lot of shows were half-full and some nights it just felt like everyone was waiting to hear the old songs. I thought it didnt affect me much but I became sick over and over on those tours. And it continued when I came home, just feeling sick and worrying about being sick. Hypochondria and anxiety. But I started writing and felt inspired at first. Decided to not write about myself anymore, I was sick of Jens Lekman, I wanted to write myself out my songs. I invented the rule that I could only write about male characters to see what would happen, since I had written so much about female characters before. I started writing about masculinity, about a friend who did steroids when I grew up, about the feelings that bubbled up after being threatened with violence by some guys, about the inability to express emotions and being vulnerable around other men. It got dark, it filled me with shame, it had no direction, there was no light in the end of that particular tunnel, I abandoned that idea to some extent. Gave it a rest. Well get back to that later.
6. 2013 was mostly weird, worrying about being sick and trying to write to keep myself calm. Playing weddings to support myself. In 2014 I sent what I felt was an almost finished record to my label and some friends and was devastated when no one really believed in it. You see, I often feel like my music is all I have, when things go well for my music everythings great. When things go less well I am nothing. So that fall I just went around and felt worthless. I at least managed to put out a mixtape with three new songs called The WWJD Mixtape. Whats That Perfume was on that mix. By the end of the year I knew I had to make some drastic choices to keep going.
7. Late 2014 I got the idea for Postcards - to write, record and release a song for every week of 2015. It was like signing a contract with the world so that it would keep me accountable to keep writing. I liked the idea because I had been longing to write songs without the pressure that comes when you make a record, that it should sell and be the best youve ever done and all that. I wanted to write about whatever was on my mind at the time, whatever was in the news, whatever happened on my way to work, whatever was important that week but may be completely insignificant the week after. The first weeks it freaked me out, I sat for days trying to make the songs as good as possible. But I got into the groove of it and a few months in I was writing the songs in my head as I was biking to work. Ill admit a bunch of the songs from Postcards are not more than decent, theres a lot of songs about walking for example. I like walking, but I think one song about walking is really enough, haha. But then there were other songs that felt brilliant that I have no idea where they came from, that felt like songs I wouldnt have been able to write if it wasnt for the freedom that Postcards allowed me. And two songs (Postcard # 17 and How We Met, The Long Version) ended up on the album.
8. Because I was making Postcards I caught the attention of Cincinnati Art Center and subsequently The Gothenburg Biennial who offered me to do a project with them. I had at that time been trying to write myself out of my songs for quite a while but felt like maybe that wasnt the right way to go. My trustable friends who heard the songs pointed out how when I removed myself from the songs it was much harder to feel emotionally invested in them. They had a good point. Still, the idea to remove myself from my songs came also from a longing to tell other peoples stories. Something that had been in my mind since I started releasing music and people had started sending me very personal stories from their lives. I came up with the project Ghostwriting where I collected stories from people, interviewed them in person and then turned them into songs. At the end of 2015 I performed these songs at one show in Cincinnati and one show in Gothenburg.
9. Postcards and Ghostwriting helped me a lot. They worked like input and output. Postcards offering inspiration and Ghostwriting offering a break from myself. By the end of 2015 I started putting together a plan to finish a new album. I got in touch with producer Ewan Pearson who I had worked with when I was singing on Tracey Thorns album, I knew he had a good knowledge of electronic instruments and rhythms, two things I was working with on this album. I also liked him as a person and felt some sort of trust, which was important because I've worked with producers before and it's always been a disaster. Mainly because I want control. This is the first album where I let go of control.
10. I was just in Paris doing press for this album. A couple of journalists thought the album was - get this - too happy! I couldnt believe my ears when I heard that but after talking to some other french journalists and discussing this it struck me that musically it is quite a colourful and happy album. Even the saddest stories are accompanied with discobeats, calypso samples and gospelsingers. My hope is that you will dance to this first, then listen to the lyrics. But its ok if you want to do it the other way around too. Just know that there is a flipside to this coin, Ive always written my sad songs in major keys, and my happy songs in minor keys.
11. I think the record couldve been called Either / Or if it wasnt for the fact that Elliot Smith had already borrowed that title from the danish philosopher Sören Kierkegaard. Because its really an album about that transition from what Kierkegaard called the aestethic to the ethical. Its an album of stories about people coming face to face with their fears and with the choices theyve made and have to make. From being a dandelion seed, blaming the wind for where it takes you, to saying the name of your fear three times in front of the mirror. Maybe this is an album about taking responsibility. How sexy isnt that?
12. I love growing old with my listeners because hopefully that means I can be your parallell twin that you can check in with to catch a glimpse of yourself and the path youve taken. Im 35 now. I dont want to be any other age really. Or maybe sometimes I do. Sometimes I wish I was older, sometimes I wish I was through with this transitional phase. Being in your thirties is like your teenage years, but without all the cool rolemodels. When you were a teenager you had the Ramones. When youre in your thirties you have the characters from Seinfeld. But anyway, as I said, Im 35 now. So I should be writing about that.
13. I wrote about being close to someone whos seriously ill but not knowing exactly how close you are. About that first big fight in a relationship. About a wedding I once played where I had to do some last minute counseling. About choosing who you want to be with. About a perfume thats been haunting me for years and the memory attached to this perfume. About a mormon missionary I once met. About figuring out why youre here on earth. About the bridges you cross and how they burn behind you.
14. And thats all I can say about this right now. Im still in the process of trying to figure out what it is Ive done. If you could help me with that Id be very grateful. These songs are yours now, take good care of them.
Yours truly,
Jens Lekman
Minun ihana hevonen,
Et poni enää,
Juoksentelemaan miehen selkää,
Kuin junan yöllä.
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k
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Psyko huomio.
bzort glorf bööth
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