Violent Games at @rarebookroom
We’re at @rarebookroom - where we did the SL album three years ago - recording some new songs that I finished writing just days ago. Spirits are high. Drummer @davidheilman took this picture but then I took it from him. First song we’re doing is called Violent Game and I’ve been wrong before but right now it sure feels like an album opener. @Chriswholm will bass and I will moan.
Hey. I’m honored to be headlining The Talkhouse’s showcase at Bowery Ballroom in NYC on Tuesday. It’s part of #CMJ and I was originally supposed to perform solo after sets by Wet, Teen and Saint Rich. But what the hell, it’ll be my only New York show for some time so I’ve decided to bring out the big guns, namely @davidheilman on drums and @chriswholm on bass. I may also debut some brand new songs that I’m trying to memorize the lyrics for while I jog (pictured) vigorously. As some have noticed, I’ve barely played any shows this year and it’s getting lonely so let’s make the most of this godforsaken Tuesday night. Sound cool? You can buy tickets online I’m sure. I’m on at 11pm. You on?
It’ll take some time but I am sporadically hard at work on a new album and so far it’s been a slow joy. The album will be recorded in a bunch of different studios in collaboration with several different producers and gifted colleagues. This picture is by @birgitsol from an article in Aftenposten K magazine this month. Pictured is @youngdreamsband mastermind producer @matiastellez, saxophone savior Kjetil Møster and drummer @kimfuruhaug. We were recording a song called Logging Off that completely took me by surprise and is destined to close out the album. Not pictured: @chriswholm @davidheilman and Alexander Von Mehren (who are all playing NYC October 8 and 9 btw).
Jorge Ben, “Cinco Minutos”
To kick off this week, I’ll start with a song from my all-time favourite album, Jorge Ben’s “A Tábua de Esmeralda” (The Emerald Tablet).
Jorge is a lot of musicians’ favourite musician (in Brazil and abroad, ask Will.I.Am) for his very distinct approach to songwriting, with creative word divisions and crazy lyrics. All of that you may miss, but what you won’t miss is his right hand work on the accoustic guitar. The way he strums the violão has mesmerized many and created a style of his own, wildly imitated, called samba rock. Back in the 60s, when asked about how he came up with it, he simply said “that’s how I thought samba was played”.
Back then he bent bossa nova, but on “Tábua de Esmeralda” he went much further. Considered too avantgarde for its time, it took a long while before this album received the praise it deserved - and not coincidentally, it’s Jorge’s favourite album. It’s a conceptual work, wrapped in mysticism and transmutation. The production is top notch, mixing brazilian afro influences with sophisticated studio techniques. The whole album is a hypnotic trip that you will want to take over and over and over again.