#Josefin Runsteen

[thebowerypresents]

Kings Theatre Can Barely Contain Adrianne Lenker

Adrianne Lenker – Kings Theatre – November 19, 2024

Kings Theatre in Brooklyn is a big, beautiful, overly ornate venue that somehow hides its subtle, intimate small-room charms. Adrianne Lenker’s music is the inverse: subtle and intimate while hiding vast complexities. Playing the second of two-sold out shows at Kings on Tuesday night, her songs proved to be a perfect fit for the space.

Lenker opened with “Anything,” the same song she closed the previous night with, explaining that she didn’t want to wait until the end of the show for the audience to sing along, prompting the crowd to join in singing, “And I don’t wanna talk about anything / I don’t wanna talk about anything / I wanna kiss, kiss your eyes again / Wanna witness your eyes looking,” contributing to the intimate-but-big feel from the start. 

The 100-minute set drew from across Lenker’s catalog, including several Big Thief songs. Tunes like “Forwards Beckon Rebound” highlighted the harmonies with her band, both the three vocals as well as the three instruments, Josefin Runsteen’s violin and Nick Hakim’s piano beautifully blending in with Lenker’s guitar, the whole thing feeling on the verge of tears. “Sadness as a Gift,” off her latest release, Bright Future, was an early highlight, Lenker singing, “You could hear the music inside my mind,” Runsteen’s violin leading a lovely bridge. 

The audience was equally large-but-subtle, rewarded in their attentive silence by the subtleties of Lenker’s transportive vocals and guitar on “Symbol” and an intense strumming on “Dragon New Warm Mountain I Believe in You,” which exploded with emotion in each chord. The latter kicked off a short solo section that included a highlight take on “Simulation Swarm” and a couple newer songs like the deliberately paced “Before You.” 

The trio reformed to close out the show with the eerie “Ingydar,” the country twang of “Once a Bunch,” and the gorgeous closer “Not a Lot, Just Forever,” guitar, violin, piano, voices, an appreciative audience — and a big-but-small theater to hold them all. —A. Stein | @Neddyo

(Adrianne Lenker plays Union Transfer in Philadelphia on 11/25-26.)

Photos courtesy of Hillary Safadi | @hillasafadi

[thoregil]

2024-07-20 Bill Frisell og Trondheim Jazzorkester - Teatret Vårt, Moldejazz

[burlveneer-music]

Goran Kajfeš Tropiques - Tell Us - this one tripped *4* of the monitored keywords in my RSS reader, thanks to the RIYL list in the promo copy:

The Swedish quartet Goran Kajfeš Tropiques share their new music We Jazz Records on May 3rd. Tell Us, an album consisting of three long pieces composed by the group, is "slow music" to the bone, a deep body of work utilising the language of jazz as its core mode of communication but echoing way beyond. The quartet is expanded with strings, adding wings to the music and helping it lift off the ground in a personal, highly engaging manner. The Tropiques quartet consists of Goran Kajfeš (trumpet, synthesizer), Alexander Zethson (piano, organ, synthesizer), Johan Berthling (acoustic bass) and Johan Holmegard (drums) – each a key member in the Swedish creative music scene, with experience from groups such as Dungen, Ghosted, Fire!, Gard Nilssen's Supersonic Orchestra, Oddjob, plus many more, including Goran Kajfeš's own Suptropic Arkestra. Their music, groove based and connected to the tradition of "minimalism" has at times been called "hypno-jazz". All three compositions on Tell Us expand on what the Tropiques have done before, building around their signature style and its spacey texture and rooting the musical narrative in strong melody, rolling groove and their collective limitless urge for sonic exploration. As the opener "Unity In Diversity" goes to show, Tropiques's compositions are like flowers opening slowly, each element and layer growing out of what has come before, in a constantly surprising manner. This music, then, becomes the perfect antidote for the quick-fix eye candy rolling down your smartphone screen. This music will take its time, but it'll also create new dimensions with each second as it unfolds. RIYL: Alice Coltrane, Terry Riley, Steve Reich, Pharoah Sanders, Laraaji, "Crescent" era John Coltrane, Swedish psychedelic music, "Kosmische Musik"  Goran Kajfeš - trumpet, synthesizer Alexander Zethson - piano, organ, synthesizer Johan Berthling - acoustic bass Johan Holmegard - drums + Josefin Runsteen - violin Leo Svensson Sander - cello

[rainydawgradioblog]

The Artists’ Craving for Emotional Intimacy

“It feels good to see you all feeling the music as much as we are.” 

Self-expression and a sense of unique sound are aspects of the music industry many artists seek to embody. Alice Phoebe Lou, for example, over time mastered the art of inhibiting her creative personality and then portraying it in the art she produces. Lou opened for Clairo on Thursday night where she relished in musical liberation with an audience who was open and willing to experience it alongside her. Alice Phoebe Lou, among many musicians, craves a crowd that can be emotionally receptive to the musically vulnerable artist, especially within an intimate setting such as that of a live performance. 

One thing to note about Lou is that she is no ordinary performer. Based purely on observation, Lou demonstrates a natural ability to synchronize her vocals and physical movements. During climactic moments of a performance, she precisely matches her body language to the musical beats. As the song resolves, her arm motions flow gracefully in harmony with the music. Not only is the act visually stimulating, but calls the viewer to give themselves away - mind, body, soul and all - to the music. Specific to Lou’s discography, she extends an invitation for the viewer to explore their interpretation of the lyrics and the emotions that arise upon reflection. 

Ironically, days before the concert a friend of mine and I were driving home together when “Halo” by Lou came on. My friend said to me, before turning the volume and rolling the windows down, “listen to the lyrics. This is exactly how I feel at this point in my life.”

It's quite a contrast, I'm not used to this life

I'm always caring for everybody else

But if I put that care in me

How easy it could be

I don’t know that I could have ever understood her more if it weren’t for the emotional vulnerability Alice Phoebe Lou pours into her music, or perhaps if it weren't for the fantastically curated queue.

Music, this I am sure of, has the power to inspire the mind, body and soul, and once you become open to its magic, such events like connecting with a friend more intensely or perhaps just dancing more freely in public, come like Second Nature. And even the act of giving yourself away to the music can be inspiring! By the end of Clairo’s performance, my group had our whole section dancing, in comparison to an audience that was doing anything but. 

Just a few months prior, at the same breathtaking venue, Adrianne Lenker played with opener, Nick Hakim. In collaboration with Josefin Runsteen on the violin, the three performed a stunningly intimate showcase of Lenker’s recent album, Bright Future. To me, it was like I was sitting at one big dinner table, with the Three at the head of it guiding a wise, passion driven conversation. It was intimate. It was the Paramount and I was at the back of the upper balcony yet it was this surreal, intimate experience with a performer who lives to collaborate with others and experience her art over and over again through their interpretation. 

In an interview with the Michigan Daily, clarity and empathy go hand in hand when discussing Alice Phoebe Lou. Specifically,

“Something about examining yourself in the way you respond to others, in the emotional exchange that is shared when you feel keenly what those around you are feeling, that provides clarity.”

At the end of the day, I have found nothing that compares to the intimacy of a small concert where the artist is fully immersed in the music, allowing both performer and audience to connect deeply with the lyrics, rhythm, and shared emotional interpretation. To fall in love with a piece of art for its impact on you, and then to see the creator of said art perform it live is truly a gift, especially when that artist is either Alice Phoebe Lou or Adrianne Lenker, people that breathe so much life into their work. At any concert or just at any listen, I will let my mind, body, and soul give in to the music, and in that, satisfy the artists’ craving for emotional intimacy between them and the listener. 

A few songs for you: 

Halo by Alice Phoebe Lou 

the year i lost myself and found the e-bow, despite the fact this song has no e-bow by Creeping Charlie

Sound & Color by Alabama Shakes

Blue Coupe by Twin Peaks

That's What I Love by Leon Bridges

Your friend, 

        Mya

[schnuckelbaby]

24/10/24

Used Womp to make a 3d model of trollgubbe for my other class task using programming language Max/MSP. The plan is to morph the model with sound !!! Pls enjoy the video that has a temp track -> Chiesa di san viglio by Charles Spearin and Josefin Runsteen.

[wissily]

Listen/purchase: Thank God The Plague is Over by Charles Spearin and Josefin Runsteen

[vmonteiro23a]

UNDER THE RADAR: New Album - Adrianne Lenker – "Bright Future", released on March 22, 2024

UNDER THE RADAR: New Album – Adrianne Lenker – “Bright Future”, released on March 22, 2024 “A varied but consistently high-quality 12-song set recorded with the acoustic trio of Nick Hakim, Mat Davidson, and Josefin Runsteen.” allmusic

[dustedmagazine]

Adrianne Lenker — Bright Future (4AD)

Photo by Germaine Dunes

On Adrianne Lenker’s last solo outing, 2020’s songs & instrumentals, it was just the artist, producer/engineer Philip Weinrobe, plus the rain and birds that could be heard from the cabin retreat where Weinrobe recorded direct to tape. Dominated by radiant finger-picked guitar and vulnerable voice, the double album had a consistent, intimate feel all its own. Though the recording process for Bright Future continued Weinrobe’s all-analog working methods, this time she's joined by Nick Hakim on vocals and piano, Mat Davidson (Twain) on vocals, piano and violin, and Josefin Runsteen on vocals, percussion and violin. This expanded instrumentation and collaborative spirit lends these songs a more eclectic flavor.

The most immediately striking songs are those dominated by piano, such as opener “Real House,” centerpiece “Evol,” and closer “Ruined,” demarcating the record’s potent emotional landscape. On “Real House,” Hakim’s piano meanders through a series of questioning, jazzy chords, while Lenker recounts what sound like pivotal moments from her childhood story. Given the scene-setting opening of the song, where the incidental sounds of the players settling into the session lend a feeling of ease and spontaneity, it’s unsettling to then witness a childhood story so vivid and stark: “When I was seven I saw the first film that made me scared / And I thought of this whole world ending / I thought of dying unprepared.” Though the wordplay on “Evol” is certainly clever, contrasting pairs of words running forwards and backwards, it’s the aching sway of the song’s delicate melody that’s especially moving. “Ruined” is similarly potent, shimmering with ghostly textures, sufficient to distract the listener from a rare lyrical clanger: “You just gave me an amethyst from your jeweled vest as you cried.”

Elsewhere the tone shifts wildly, from the swaying Dylan-inspired country-folk of “Sadness As A Gift,” featuring lovely vocal harmonies from Davison, via the breakneck guitar patterns of “Fool,” to the jaunty banjo of “Already Lost.” A rather odd inclusion is an acoustic rendition of “Vampire Empire,” which Big Thief released as a single last year. While Lenker included a couple of songs on abysskiss that were later reworked as full-band songs on the masterful U.F.O.F. (“Terminal Paradise” and “From”), here the acoustic version sounds like a step backward and doesn’t feel like it belongs, especially given this album’s 45-minute runtime. Nonetheless, there’s plenty of gorgeous material here, offering further evidence of Lenker’s subtle and surprising songwriting.

Tim Clarke

[melodisco]

Gustav, Melody, Josefin 🇫🇷🎸🎤🎻🇸🇪

[nofatclips-home]

How To Disappear Completely (Radiohead cover) by Ane Brun, live at the Oslo Spektrum Arena

[senorboombastic]

Hey, have you heard about…KINO MOTEL

Hey, have you heard about…KINO MOTEL

(Photo Credit: Larry LaJoliet)

Cinematic is definitely a term you could use to describe Ed Fraser’s noise-rock outfit HEADS., though perhaps the style of cinema would be more unnerving and tense, leaning toward horror and the you-don’t-wanna-know sides of life. When we reviewed their latest record ‘Push’ (out via Glitterhouse Records), we suggested that at times it can stir up “a cocktail of…

[13melekradyo]

Güncel modern kompozisyon kayıtlarından bir seçki // A selection of recent modern composition recordings. Download.

01 – Peter Broderick – The Wind That Shakes The Bramble (excerpt) 02 – Olivia Belli – Grembo 03 – Hania Rani & Dobrawa Czocher – Con Moto 04 – Tobias Svensson – Tid 05 – Stephan Moccio – Le Jardin de Monsieur Monet 06 – Peter Knight & Australian Art Orchestra – The Plains (excerpt) 07 – Poppy Ackroyd – Seedling 08 – Craig Armstrong – Nocturne 11 09 – Adam Wakeman – The Winter Palace 10 – Josefin Runsteen – Banyan - Scene V (Air)

[thoregil]

2024-05-09 Eirik Hegdal Eklektisk Samband - Jazzfest, Verkstedhallen

[shemakesmusic-uk]

Kino Motel shares new single ‘Simple Desire’

Melbourne-based duo Kino Motel’s windy and spacious second single, ‘Simple Desire’, sees Rosa Mercedes take on lead vocal duties, weaving her addictive melodies around deep rolling bass lines. Bandmate Ed Fraser provides a bendy soundscape on guitars and synth, using seemingly elastic notes to bend each section into the next, while Josefin Runsteen completes the composition with some beautifully-vintage drum beats. The song opens up and pushes us into an ethereal scene, we hear mellotron with 70s-cult-inspired backing vocals, and Rosa’s addictive tones complete each chorus with the line ’Til all the grey will saturate to black and white’ - looking for something concrete, devoid of middle ground. Clocking in at just under 3 minutes, this all makes for an intriguing, strange-yet-catchy listen - a sound the band has labeled ‘grit pop’. ‘Simple Desire’ features drums from Josefin Runsteen, and was recorded in Berlin and Melbourne by Sebastian Maschat and Ed Fraser respectively, and mastered in Hamburg by Philipp Welsing.

Simple Desire by KINO MOTEL

[bushdog]

[bodoposten]

Ane Brun slipper låta "Ta tak i me"

Ane Brun slipper låta “Ta tak i me”

Ane Brun slipper enda en låt fra sitt nye musikalske prosjekt, der hun har oversatt sine egne låter til norsk. Nå har turen kommet til låten “Ta tak i me”, som er en oversettelse av “Take Hold of Me”. Originalen ”Take Hold of Me” ble skrevet sammen med Martin Hederos og Josefin Runsteen våren 2019. After The Great Storm Tour 2021 tar turen innen flere byer i Norge i høst.