#unsongs

[kisslikejudas]

Holy Mary, be a feminist.

Pray not for the mighty but the meek.

Drive away the lies that they speak.

Our lady, hear our prayer unto thee.

[pyou]

I am shook (@moddimusikk is playing at Tallinn Music Week and I just went to his short show at a bookstore. Not gonna lie, almost cried. Such a pure amazing voice and all those stories!) #moddi #music #tallinnmusicweek #tmw #unsongs (at Raamatupood Puänt)

[bahmani]

Visit Original Link

http://j.mp/2Lku6w0

[mscar-oerry]

FLORIOGRAPHY BY MODDI (review)

RUBBLES- Moddi opens his album with tension. There is no word better suited to this song. A high-pitched violin creeps alongside the sounds of a sea. A low droning accordion completes the anxious soundscape. It hums threateningly. Following the root notes of the song’s introduction before launching itself into a dark melody; accompanied by a rumbling bass. The introduction to the song build and builds. You can only imagine what instrumentation Moddi’s genius has plotted to add, which melody will be surprising us but this does not happen. Instead the final note rings, the other instruments fade, leaving Moddi’s vocals alone with his accordion. We’ve been listening to this song for 2 minutes before any lyrics appear. But the arrangement is too intriguing, too exciting to stop. And when his voice does appear it is raw, low, yet soft. But by the 5th line the accordion is once again driving the song forward, Moddi’s vocals answer this with their own anger and an overdubbed vocal to add depth. The last line repeats “This air is too heavy to breathe”, united with the rumbling bass once more and building to the point of breaking. We are ensnared. Instead of fading away like the introduction of the song, Moddi grows louder, more emotional and his temper is partnered by an earthquake shattering bass tone. As we reach the pinnacle, trembling in the raw, unrelenting emotion and power of the song, it dies. We are left with nothing but an accordion and Moddi’s voice asking for peace. And he has it. A single violin joins the fray, melodically leading us to the close. MAGPIE EGGS- Moddi gently plucks at his guitar before being joined by his normal choice of accompaniment; a violin, cello, bass and a brush drum kit. Lyrically this song is incredible. Moddi’s use of stream of consciousness writing has perfectly captured the feeling of the song. There’s a slight melancholy to his lines but, unlike ‘Rubbles’’ anger and power, there’s hope, a sense of calm to his clean and delicate voice. Musically the song remains quite similar, instruments dropping in and out to create dynamics and accentuate specific points. This is until the tranquillity is broken, the song discreetly rises. Moddi’s vocals become louder, the lyrics more desperate. ‘Magpie Eggs’ crescendos with forceful triplet beats. The violin begins a lead melody while the rest of the band continue playing the triplets behind it. Once Moddi’s vocals return with a basic “ahhh”, the instruments simply play the chords with a, still driving, but much more basic drum pattern. The band soon drops out of the track returning us to where we started, Moddi and his guitar. ARDENNES- A timid ride cymbal, accompanied by a gentle snare and kick, signals a new song. We are reunited with Moddi’s accordion. It’s peaceful; a juxtaposition to its use in ‘Rubbles’. The vocals follow suit and sing a quiet melody over the simplicity of their backdrop. Much like the previous two songs, Moddi brilliantly conveys the serenity of the instrumentation and meaning with stream of consciousness style lyrics. Every line, every word, serves a purpose. Despite not telling a linear story as such, ‘Ardennes’ delves into emotions and beliefs in ways other writers struggle to. “But I still find cracks in this thin crust, small stains of paint that’s been spilled” describes situations we all find ourselves in. Where one aspect of life spills into another, staining it. Another line that deserves attention is “The feeling of being human from wearing animal skins”. The contrast in this line is gorgeous, could he be singing about our disassociation with the ‘natural’ world? Our obsession with dominating this planet’s species? Or our need to own possessions to feel human? Moddi give no answer. Instead the song continues onwards, the accordion and violin swaying alongside the still simplistic beat and chord progression. A flourish of instruments; creating colour and vigour. A SENSE OF GREY- We arrive, once again, to the sound of waves. Moddi’s quiet voice counts us in to a gorgeous melody played by a cello, violin, and guitar. In my opinion this is the song where Moddi steps away from his previous songwriting style and begins to use metaphors. Interestingly the song only consists of three instruments throughout. Moddi’s vocals drift back and forth from line to line, almost mimicking the oceanic sounds that begun the song. The reduced instrumentation makes it clear that this track is completely focused on its lyrical content. A stunning melody arises from time to time, carrying the song forward. However, it is the singing that really gives this song it’s power; despite its simplistic setting. Moddi’s writing in this is much more direct and poignant, “Don’t rise if you don’t plan to go”, “Don’t jump when you know you can’t fly”, “Don’t love if you really want to feel” There’s one last build, one last melodic sense of union between the instruments at this point before slowly fading out, leaving only the sound of the crashing waves. SMOKE- A guitar plucks a steady rhythm before a cello enters; serenading us with its melody. A bass glides from one note to the next and the glistening sound of bells introduce a simplistic and withdrawn drum pattern. And then Moddi. He fills the silence as the instruments cease to play, letting their final note hang in the air like the smoke he’s singing of. The guitar is the only instrument to interrupt his vocals, adding a counter melody to the one being sung. Once the verse is over the instruments repeat their dance from the song’s introduction, but only for a few bars. Soon Moddi’s vocals return, louder and with more lyrical edge. “Hey look stay the fuck out of my home, I’ve told you a thousand times!” The strummed guitar builds like a call to arms and every instrument replies. Each played with more fury than previously. Yet still they cut out for Moddi’s vocals, livid and overpowering. This is until they band together, Moddi’s vocals in the forefront while the instruments build behind him, encouraging him. Before we know it, Moddi’s abandoned lyrics and is almost shouting at us. Then quiet. We’re left with a handful of instruments behind Moddi’s now tired and shy vocals. A drum beat begins and a piano adds a melody on top of the guitar and violin. A single, slow strum of a chord signifies the end of the song and we’re left exhausted from this journey and, ironically, in need of a cigarette. POETRY- Close your eyes and let ‘Poetry’ create masterpieces in your mind. An accordion and piano first lead us through this story, bobbing politely from chord to chord. A twinkling piano blossoms out of nowhere, twisting and turning around the other instruments, decorating their ebbing and flowing rhythms with gentle touches. A cello draws its bow across the bass notes, adding depth to the song. This is brilliantly shown when all but the cello and piano stop playing. The space between the two reminiscent of the ocean floor and the waves far above it. But soon we are left with a cello and an accordion mimicking each other’s rhythm, the rhythm that began the whole song. However, it is the lyrics of this song that truly creates this imagery. The first verse holds a secondary semantic field of sailing, e.g. “Though I know I've set sail on a wishing well” But as the song progresses Moddi leads us towards more challenging topics; much like in ‘Ardennes’. “I've been trying too hard, too long, too many times”, has he lost faith in himself? In his lyrics? Or is the ‘poetry’ a metaphor for a relationship? “I still scavenge on what I find in between those lines. I'll pretend there was happiness, fake to have felt pain. Just to feel there's a reason to read it again”, these are possible one of my favourite sets of lyrics ever. There is a need that dwells in us to revisit, relive moments. Clinging to those memories and refusing to let go. Much like listening to an old, meaningful song. STUCK IN THE WALTZ- This is the darkest songs on ‘Floriography’. Moddi describes the monotony of life with each line. Using a 3/4 waltz tempo only adds to the metaphor of being unable to escape life’s endless dance. There is a sense of hopelessness to the vocals, of reluctant acceptance. All of which tie in to its meaning. The instruments all dance between one another in a sober, mournful fashion. It’s obvious that the track is rising, the interweaving strings like snakes, coiling up in preparation to strike. All they need is a trigger, one that Moddi happily pulls. His anger rises, his voice bellows “Stuck in the waltz” and the snakes strike. A violin plays alongside Moddi’s vocal melody, empowering it; but, as if they’ve realised it’s hopeless, everything recoils. “We’re all stuck” is more whispered than sung as the song, as their defiance, dies. A powerful ending to a song about our powerlessness. 7!- We are, yet again, greeted by the sound of the sea as we start this track. “That your friends sit beneath the same flag as your foe was a blessing to fire at will”. Moddi’s voice is gentle, solemn, accompanied by only a piano. As they fade we welcome the sound of waves and an accordion stirring alongside the sea’s calmness. Now it’s Moddi’s beautiful vocals, this time more powerful and joined by an accordion and a pulsing bass drum. A pizzicato violin joins the fold, alongside a straightforward bass and drum beat. “What’s left of the day will eventually come down as rain” is sung once more, alerting us to the change about to occur. “So this might be your last chance”. The bush kit hits the snare, encouraging the other instruments. A violin takes the main melody; twisting and turning beautiful. Moddi’s vocals are far back in the mix before returning to the front, adding power and emotion to the music that’s swelling as one behind him, matching the violin’s playing. All before, in true Moddi fashion, the instruments halt. An accordion and glockenspiel play quietly before the singing returns. The sound of rain slowly appears in the mix as the rest fades. KROSTAV-EMNE- The final track of ‘Floriography’ is an ode to Moddi’s homeland of Norway. The rain soundscape has continued from ‘7!’ but a drum beat, coy and shy plays over it. A piano and cello seamlessly play the basic chords of the song before Moddi enters. Despite being sung in Norwegian, the happiness and hope of the song are obvious. It takes real genius to convey emotions when the listener doesn’t understand what is being said. Yet Moddi does this effortlessly. The instrumentation of the song is simple throughout, the piano and cello following one another’s melody over the soft drums. It’s a perfect ending to the emotional journey of the album. As if the music itself has settled, telling that the adventure is over. A FEW FINAL WORDS- I cannot lie. This album is not simply one of my favourites in existence but also one of the most inspiring. Some artist change what music is to a person and ‘Floriography’ did this for me. Each syllable, each note is, in my bias opinion perfect. And it’s not just in these 9 songs. Over Moddi’s whole discography, from his ‘Thimbleweed’ EP to his latest and 4th studio album ‘Unsongs’ his majesty over music, over emotion is unmatched. Simply, Moddi is one of the greatest unknows is music.

[kreatywnapl]

Ubiegłej jesieni ukazał się czwarty studyjny album norweskiego muzyka Påla Knutsena, znanego jako Moddi. Norweg postanowił zabrać głos w światowej dyskusji na temat wolności słowa.

Czytaj więcej:

http://www.kreatywna.pl/kultura/muzyka/zakazane-piosenki-moddi-unsongs/

[jorgenbare]

pål tromsø, norway nov.16

[s0meplacebeautiful]

#Unsongs #Moddi #SyngForFred (ved KICK Nattklubb & Scene)

[usotohontou]

Learning to love is a natural thing, it will find a way if you just let it in. It’ll be strange at first, but then you will see it, that learning to love is a matter of being.

Alona Kimhi and musician Izhar Ashdot.