|
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
KK 132LP
|
Violist, violinist and singer-songwriter Marla Hansen returns to Karaoke Kalk with Salt, her second full-length album to date. Building upon the sonic palette the Berlin-based musician established with her debut Dust (KK 116CD) in 2020, Salt takes the delicate mixture of acoustic instruments such as viola, violin, piano and guitar combined with subtle electronics to the next level. The new album is both a remarkable departure and at the same time sheds a new yet reassuring light on Hansen's work and creativity. Salt features numerous collaborations with like-minded musicians and friends, e. g. producer and composer Simon Goff, The Notwist's drummer Andi Haberl, and the renowned artist DM Stith. Salt is a big album. The opener "Chains" is driven by a gliding bass line, bobbing 808 snares, deep chords and a mesmerizing chorus doubled by luscious strings, marking the beginning of a new chapter in her creative journey. A stark statement, both musically and lyrically. Meanwhile, the title track of the album is an almost abstract sounding ambient miniature, sketch-like, dark and haunting, showcasing Hansen's voice in a shy, brittle and fragile state. In this range of styles and approaches, Hansen's vision is more present than ever. For refining and finishing the songs, Hansen turned to Simon Goff, who produced the album and engineered much of the recording, merging Hansen's newly-found songwriting approach with the artistic delicacy which made her debut album an exceptional piece of work. Features include among others: Alice Dixon (Oriel Quartett) on cello, Kyle Resnick (The National, Beirut) on trumpet, Benjamin Lanz (The National, Beirut) on trombone and tuba, and Miles Perkin on bass. And then there is The Notwist's Andi Haberl, who "crafted perfect drum and percussion parts to move the songs wherever they needed to go, either into their driving grooves, slow-build explosions or gentle swells of feeling." Salt is a bold artistic achievement, with songs as big as the biggest waves imaginable. With melodies as alluring as the most comfortable breezes. Perfect from start to finish.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
KK 116CD
|
Working as a creative collaborator can be a triple-edged sword: Helping others explore the jungle of ideas inside their heads can be both inspiring and challenging -- but making time for your own creative projects as well is often a delicate balance. The years as side-woman for the likes of Sufjan Stevens, The National, and My Brightest Diamond have made Marla Hansen's journey from 2007's Wedding Day to her new album Dust a faraway honeymoon: time spent recording and touring the world with others before settling in Berlin to focus on her own follow-up, a multi-faceted gem which wears the lines of its lengthy travels like a hard-earned medal. The slow-burn of Dust's inception can be felt as the album plays. The tracks have weight and wisdom like hand-me-down folk songs, but also sparkle with the confidence and the excitement of an artist with new colors on her palette. Wedding Day's breezy innocence has graduated into grown-up chamber music; Hansen's classical background comes into wide focus as solo plucked viola evolves into techni-colour Americana dreamscapes, courtesy of Berlin's Oriel Quartett. The influence of Hansen's new hometown is all over this record, nowhere felt more than with the swashbuckling contributions of Berlin synth pioneer Barbara Morgenstern, crackling under the fireside songs like shards of electric glass. Andi Haberl (The Notwist) lurks under every track, his drums simmering like an approaching army of wooden horses. Taylor Savvy (Peaches, Bonaparte), Knox Chandler (Cyndi Lauper, R.E.M.), and Christian Biegai (Antony and the Johnsons) are all present at this banquet. A transatlantic tapestry sewn together by producer Robbie Moore (L.A. Salami, Jesper Munk) at his Berlin studio complex Impression Recordings. It is this tangled underbelly which allows Dust such an infectious friction. Hansen's iridescent, aching vocal delivery continuously breaks the gloom like a golden thread, effortlessly gliding above the thunderclouds -- a front-row seat in the safety of her silver-lined spy plane with a view of the neon jungle below. Dust falls from an age-old story and lands in a whole new world. CD version includes eight-page booklet; edition of 500.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
KK 116LP
|
LP version. Includes insert and download code; edition of 300. Working as a creative collaborator can be a triple-edged sword: Helping others explore the jungle of ideas inside their heads can be both inspiring and challenging -- but making time for your own creative projects as well is often a delicate balance. The years as side-woman for the likes of Sufjan Stevens, The National, and My Brightest Diamond have made Marla Hansen's journey from 2007's Wedding Day to her new album Dust a faraway honeymoon: time spent recording and touring the world with others before settling in Berlin to focus on her own follow-up, a multi-faceted gem which wears the lines of its lengthy travels like a hard-earned medal. The slow-burn of Dust's inception can be felt as the album plays. The tracks have weight and wisdom like hand-me-down folk songs, but also sparkle with the confidence and the excitement of an artist with new colors on her palette. Wedding Day's breezy innocence has graduated into grown-up chamber music; Hansen's classical background comes into wide focus as solo plucked viola evolves into techni-colour Americana dreamscapes, courtesy of Berlin's Oriel Quartett. The influence of Hansen's new hometown is all over this record, nowhere felt more than with the swashbuckling contributions of Berlin synth pioneer Barbara Morgenstern, crackling under the fireside songs like shards of electric glass. Andi Haberl (The Notwist) lurks under every track, his drums simmering like an approaching army of wooden horses. Taylor Savvy (Peaches, Bonaparte), Knox Chandler (Cyndi Lauper, R.E.M.), and Christian Biegai (Antony and the Johnsons) are all present at this banquet. A transatlantic tapestry sewn together by producer Robbie Moore (L.A. Salami, Jesper Munk) at his Berlin studio complex Impression Recordings. It is this tangled underbelly which allows Dust such an infectious friction. Hansen's iridescent, aching vocal delivery continuously breaks the gloom like a golden thread, effortlessly gliding above the thunderclouds -- a front-row seat in the safety of her silver-lined spy plane with a view of the neon jungle below. Dust falls from an age-old story and lands in a whole new world.
|
|
|
|