The video for my singel “My James Dean” has been chosen “Video of the week” on the web radio site minradio.se. If you haven’t seen it, check it out. Also take a listen to their different radio stations for some good Swedish music.
“Sofia Talvik is a pop star on the rise. She has already conquered her native Sweden, won the hearts of those at Chicago’s Lollapalooza music festival in August of 2008, and in March of 2009 the gifted singer / songwriter, with the breathtaking vocals, will be appearing at SXSW in Austin Texas, followed by an appearance at the Canadian Music Festival in Toronto, Canada. Talvik, who writes all of her lyrics in English, has received strong radio play on Sweden’s radio stations, and recently recorded a mini concert and interview for SR P3, which was aired on November 12th. Her current CD Jonestown is causing quite a stir on the international music scene, with her single, “My James Dean…”
Read the full 2 page interview here:
Sofia Talvik on Riveting Riffs
So you thought my last music video was retro with its 50’s theme? Well you aint seen nothing yet! This is the new video for my single “Clown” and this time I decided I would do it all by myself. So I did all the make-up and styling and filmed it (yes I used a camera stand). Then I cut it and edited it. But I’m not ready to throw away Jonas’ fabulous producer skills just yet, I did have him help me creating the “burn-out” effect on the last few frames of the vid 😉
This is the first music video I’ve ever made and the second video I’ve made..ever (you’ve probably seen the behind the scenes video to “My James Dean”). I was inspired by old pictures and the creepy sense of the circus that the TV series “Carnivale” captured so well. The entire video was shot in my bedroom (but I won’t do a Pamela just yet), and the fab hat and stick was borrowed from my friend Theresia, they used to belong to her grandpa..
Sweet words from Left of the dial:
Sofia Talvik- Jonestown (review)
While I was running around like an eight-year-old in a Toys R Us in Grant Park, Chicago this past August at Lollapalooza, ambience was the farthest musical feature from my mind. I wanted Bloc Party. I wanted the Go! Team. I wanted to dance and shout and make a scene.
But, contrary to my initial plans, the first morning of the show had me swaying in front of the Citi stage to the quiet croon of Sofia Talvik, tapping my foot lightly and thinking that maybe pretty love songs weren’t so bad after all.
And this soft-spoken Swede did nothing to dissuade me from this thought with her August release Jonestown.
I don’t know much about lady singers other than Collegian favorite Hop Along, Queen Ansleis, but Talvik’s breed of syrupy-sweet music of the folk-pop persuasion is something I can feel myself getting behind with every listen. Never riled, she carries through this album with a collected serenity usually reserved for librarians and Zen Masters.
“As summers pass” sets off the mood of Jonestown not with a jolt, but with the soft trickle of Talkvik’s lyrics. They don’t make you perk up in surprise, but rather creep up on you. You relax, you close your eyes, and then you realize that it’s the music that’s loosening up your shoulders.
One song flows to the next without much ceremony, but Talvik does so in a way that keeps the music-goer tuned in. You won’t be surprised with what’s coming up next, but you don’t have to wait during the two seconds of transition in concern that you aren’t going to like what you hear. If you make it to “My James Dean”, youâ’ll make it to “Prove Me Wrong” without noticing the passing of time between.
None of her songs pack a punch, but that’s not what Jonestown was created to do. From the horns in “Something Good” to the lilting piano in “Burning Fields”, Talvik reels you in, plugs her warm, somber music straight into your frigid heart and turns up the heat. Listeners emerge from Jonestown as if waking up from a trance, mildly disoriented but happy with the fuzzy memory of what just happened.
Though none of her songs break too much from the placid bubble she’s created around this album, “Clown” is the most rogue of the pack. With jumpy percussion and light trombone blats, Talvik takes on a more risque demeanor as she describes a non-existent circus and chastises the man her man about acting like a clown. Well spoken, Talvik.
My only qualm with Jonestown is the eventual monotony of a dozen mellow tracks. This drag comes with any album that keeps the same place through its duration. Sometimes I’m ready throw in the towel and switch on some dance tunes halfway through the Cd. I’m not normally one for love songs, so this album can really slide me out of my comfort zone if I don’t put it on with an open mind.
Overall, Talvik’s delicate harmonics and light instrumentation keep a listener tuned in to Jonestown with a subtle interest. You’re so at ease by the time closer “Jonestown” fades out that it will take a minute or two before you even notice the album is finished. Jonestown is an album perfect for naps, writing papers, being in love and unwinding after a long day.
I just got this lovely review from Ninthspace! Thank you so much! 🙂
“I guess, by the time a musician gets to their third album they know whether it’s going to work out for them. Not writing, recording and touring as a hobby, but embracing their talents and working with something that’s turned out to be innate to their existence. There are perhaps a handful of musicians that I could categorise in such a way.
With the release of Jonestown, Sofia Talvik easily gets over the idea of the difficult third album (younger sibling of the difficult second album) and turns out a collection that eclipses her first two. Opening track and lead single As Summers Pass recalls the past with its acoustic progressions, but the subsequent song My James Dean is astonishing.
Because it’s not what you’re expecting. Sure it has these synth pads that appear to hang over from its predecessor, but the guitar loops lower, more geared towards grooving. The best way I can describe it is the merging of the droning synth-rock of Stereolab and the sub-Spektor inclinations of El Perro del Mar with piano too.
Over the top of this comes Sofia’s outstanding vocals and a plaintiff declaration that I’m not that special. But she is.