Unmistakably Nordic in flavor, Sofia Talvik somehow still conforms to American interpretations of her own original music, a North Sea siren blending sparkle and melancholy, creating a special niche of folk music.
Indie distributer CDbaby just recently chose my new album The Owls Are Not What They Seem as their editor’s pick, gave it 5 stars and wrote this lovely review!
[quote] In 2008, Sweden’s Sofia Talvik put out an impressive album — Jonestown — which wowed me with its lush orchestrations and catchy, melancholic 60’s-pop songs, tunes that wouldn’t have been out of place on any of Goldfrapp’s NON-disco albums. The following year, Talvik released an equally ambitious, subtly-searing album called Florida that was haunted by the ghosts of Dustbowl folk and countrified Southern Gothic. In 2011, the prolific indie-songstress put out 4 EPs that previewed remixed versions of songs that would end up on this year’s full length, The Owls Are Not What They Seem. The new record is a departure for sure — still catchy in its way, though the earworms have more room to sprawl— still lush, though the flute and string accompaniments are more restrained and the tremolo guitars serve only as punctuation. What’s different this time around? Mood: Owls is a slow-burning folk pop gem that wanders and searches as if dreaming itself into being. Think Nick Drake, Kings of Convenience, and Blue-era Joni Mitchell. Talvik’s voice can be both rich and whispery, and each breath seems to bend toward some hidden sadness, as if tugged by an undercurrent we can’t quite see; but we feel its force as the music unfolds, swirls, and closes around us.[/quote]
CDbaby writes me in their email: “We’re *really* picky about what we feature. We get about 200-250 new albums a DAY coming in here now, (about 200,000 total), and yours is one of the best we’ve ever heard.”
Read the full review here: http://cdbaby.com/cd/sofiatalvik3
SOFIA TALVIK: Jonestown
Fresh from a powerful performance at 2008’s Lollapalooza festival, Sweden’s Sofia Talvik is now poised to conquer the States with the release of her devastatingly beautiful third album. It’s a record of staggering elegance, with the faintest trace of Scandinavian twee and youthful exuberance. (Timpani, crisp castanets, tambourine, all the toys and tricks to put some bounce in your step.) But those forces are tempered by a subtle melancholy that slowly drips down the lonely walls while you listen until, by the last song, you’re drowning in a warm, welcome bath of sad sounds, syrupy string sections, and round, resonant horns. She combines modal chord changes and beautiful 60’s euro-pop production with the gentle singing of a 70’s folk songstress. Her voice shines through the dark tones of dramatic, lush orchestrations and the haze of reverb like a ray of liquid luminescence. “Jonestown” will remind you of Goldfrapp, Pulp, Nico, Joni Mitchell, Nick Drake, Belle & Sebastian, Aimee Mann, Tori Amos, Burt Bacharach (I could go on and on!), and yet it sounds entirely original and, more importantly, rings true.