Niki N. Phaser

     Well, unlike most bands I write about in this section, Swedish experiment-pop duo, The Knife, would probably prefer to be ignored. They have the media-phobia of Terrence Malick, but sure enough, they do qualify as excentric geniuses. Just like they don’t care too much (or at all) about promotion, they are really not trying to please anyone else but themselves. Karin Dreijer Andersson and Olof Dreijer create a new, experimental brand of pop, that is as catchy as can be, but still strange and eluding mainstream. Pass This On, from sophmore album, Deep Cuts, will make you understand better what this is all about. The steel-drums hook will make you wonder why does this sound so familiar (it’s a normal reaction to songs you’ll love for the rest of your life), while the voice, the lyrics will conjure a fascinating uncomfortableness, convincing your mind that there is something wrong here, but you can’t help closing your eyes and falling in the melodic whirpool of this weird pop. It’s a rather instinctual review of a song, I know, but that’s the way this Knife ‘cuts’.

PASS THIS ON HERE

It is really heartbreaking for me to include Stina Nordenstam in the Ignored-Gold section, but the truth is her music will never be mainstream. If it were, it wouldn’t be Stina anymore. It was just as heartbreaking to select just one of her songs and review it. She has such a wonderful collection of little masterpieces on her five original albums, but I guess This Is Stina Nordenstam remains a favourite. This album contains classics like Sharon & Hope, Trainsurfing or Keen Yellow Planet, her collaboration with Brett Anderson, Suede’s ex-frontman. The opener is a track by the name of Everyone Else in the World, taken from the chorus: “Everyone else in the world would love me by now, would love me from day one, but not you”. And yes, everyone else in the world would love Stina after hearing this simple three minute song. Like all her stuff, it’s strange, hard to label, but ever so intoxicating. The instruments sound subtle on this one – there is a piano and some distorted trip-hoppy bass for the chorus, but they work so great, it makes you envious that so much effect can be achieved with so little sound. But then, of course, you have Stina’s baby voice, that always seems so shy, as if she would be embarrassed to sing louder. She has been compared to Tori Amos or Bjork, but listening to Stina’s experimental music, you get the feeling that she hasn’t listened to anything ever. It sounds that strange and pristine. Instinctual. She truly is a hidden treasure.

WATCH THE VIDEO FOR Everyone Else in the World BY STINA NORDENSTAM

In 2002, Swedish indie-pop band Eskobar did a featuring with veteran singer-songwriter (and poet) Heather Nova. The song, named Someone New, was actually a mini international hit at the time, but unfortunately failed to establish the Swedish band as more than a one-hit-wonder. They certainly are more, you can look into it and will not be disappointed. Someone New is by no means a grower, it will get a hold on you from the first listen. The main bassline of the verse really sounds like someone worrying, which makes the more upbeat instrumentation of the chorus even more relieving. But, in all honesty, Someone New is not the kind of song that would work without its lyrics. The words outline the whole meaning and power of the song. It is about maintaining a special relationship with someone who is no longer your partner, about having no hard feelings and wanting them to be happy, as the chorus goes: “You’re gonna find someone new, I really hope you do, Cause I love you”. It is not a sappy, but quite a mature break-up song: “Yes, we gave it a try, But maybe for too long”. As a bonus, it also contains some of the most simple and yet heartbreaking lyrics about the dimensions of a relationship: “We used to take turns, To cover up the pain”. You can search the song wherever you get your music from and you’re gonna find Someone New, I really hope you do because it’s beautiful.

MUSIC VIDEO FOR THE SONG