Sofia Talvik – Americana / Folk with Swedish Roots
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.
[quote] As the music director of the Van Dyke Cafe in Miami Beach, I have hosted thousands of shows and performers. I must admit the show that Sofia performed at the club last month was one of the most memorable and enjoyable shows we have ever done. Her melodious voice, angelic tone and elegant but relaxed phrasing combined with great guitar playing and amazing songwriting made her show a top hit with our fans and staff. [/quote]
Randy Singer, Van Dyke Music director, Miami, FL
At first it seemed like a real challenge to book gigs in Alabama and Mississippi, and some people actually told us we would probably be better off skipping them altogether. Well, let me tell you I’m pretty happy we ignored that advice. If I haven’t played the best venues there is in Alabama, I think my head is going to explode because the places I’ve played here have been some of the best gigs on my tour so far. In beautiful Birmingham I was invited to play Moonlight on the Mountain and got to discover a great singer/songwriter called Nathan Reich who also happens to play guitar in the new hip band Flights. In Auburn I played the low key intimate The Gnu’s Room and in Tuscaloosa I played at The Bama Theatre with local Sparrow and the Ghost and also did a show at the Alabama Art Kitchen. In Cullman I had standing ovations at the 60’s style coffee house Berkely Bob’s Coffee House. Alabama has been so great, it’s actually the only state where I’ve had ONLY good shows.
So here’s a few pics and videos. See you in Arkansas and Texas!
Performing Delusional at Bama Theatre
My annual Xmas single is released and I’ve already gotten some great response to it. It’s funny though how my little pun with the cover and the title seemed to pass people by 🙂 The song is written in a manner that is called “canon” in musical terms. Wiki explains the canon like this: In music, a canon is a contrapuntal composition that employs a melody with one or more imitations of the melody played after a given duration (e.g., quarter rest, one measure, etc.).
But as it sounds just like cannon, I put a little cannon shooting snowflakes on the cover.
PostHere’s some links to the reviews that’s out so far:
Soon the last part of H.A.T.E will be released by Swedish metal band Akribi. We managed to keep them still for a few minutes to ask them some questions about the meaning of life and metal…
Hi Akribi! You guys are doing “E – Part Four of H.A.T.E”. How has the experience been so far?
Definitely different. We’re not at all used to interpreting other musician’s materials, nor working with such tight deadlines, but it’s been a very fun and rewarding experience so far.
Great! Can you tell us a little bit about yourselves?
We’re a female-fronted progressive metal band based in Gothenburg, Sweden. The band started out back in 2003, based on the idea of playing ambitious metal with strong songwriting. It’s an ideal that has remained intact through countless lineup changes over the years. As a consequence of this, we like to work with a slightly expanded palette of scales, chords and time signatures in our music. Oh, and let’s just get one very common misconception out of the way… “female-fronted” in this case does not mean “gothic” or “operatic”.
Just like Badmouth you’re releasing this EP only a few months after your
album release. Are you always this productive?
Given the right circumstances, sure. As hinted above, the band has had a bit of a rough history with lineup changes and whatnot. We have begun writing the next album and it’s going surprisingly fast so maybe we’ve learnt a thing or two about efficiency.
Did you think it was hard to interpret Sofia’s songs into your own style or did you get ideas straight away?
We decided to transcribe the chords and scales that Sofia used. After we had done that we stopped listening to Sofia’s versions and began working. We sent note sheets with ideas to each other; “Could this be something?”, “Would this passage sound better if we changed scales to Lydian?”, “What happens if we add this chord there?” and so on and then we tried playing the ideas. We changed a lot, added riffs and details to make it more Akribi. It took us about a month and then we recorded it, sent it to our mixing guys in Brazil and voilà.
Which of the songs are you most pleased with and why?
It’s difficult to pick a song. It sounds weird but when you live with a song in the intense way that’s required for writing and recording it it sort of becomes your baby. The song we play the most often nowadays is The Garden. The guitar solos are great and Alexander gets to play his Chapman Stick and that always makes him happy. Our songs are usually pretty long and that makes set lists tricky to do so it’s good to have a shorter-than-four-minutes-song up our sleeve.
What’s your favorite gig memory?
That must be the first time we were on stage and the audience sang along with our song Carry the Rain. It’s an incredible feeling. But if you’re looking for an awkward anecdote it must be when the guards didn’t let our drummer back into the building after a sound check. He tried to convince them that he was in the band but the guards told him “yeah right, that’s what everybody says”. The rest of us were backstage ready to go on stage not knowing where he was.
Can you tell us a little bit about the recording sessions and what was most fun with being a part of this project?
Well, the recording workflow was the same that we always follow. When we’ve written the chord progressions, melodies and overall structure of a song, we record (or in this particular case, program) a drum track and have everyone record their parts individually to that. All recordings are then assembled in a sequencer and a rough pre-mix is done. Feedback is sent out, obscene words are exchanged, and adjustments are made. When everyone is sufficiently satisfied, the tracks are sent away for mixing. The most interesting and fun part of this project was that is was far out of the realm of what we usually do. Apart from on a few auditions, we don’t play or record external material. Oh, and we finally got to put a growling part in a song, courtesy of Rafael Basso of “Unlit Face”.
What’s next on the agenda for Akribi this winter?
In October we got a new drummer and we’re in the process of getting to know each other musically and he’s learning all our songs. Parallel to this we’re in contact with booking agents and promoters around Europe. Music is always better live and life on stage is great so we’ll play live as much as possible.
If you would record a Christmas metal album, which three songs would be on your list?
Hey, we’re a metal band! We don’t do Christian things 😉
Thanks for hanging out! We look forward to hearing the songs 🙂
Listen and pre order E – Part Four of H.A.T.E by Akribi here! You’ll get an instant download of one of the songs! The EP will be released December 1st.
Listen to all the EPs of the L.O.V.E vs H.A.T.E saga here:
On Thursday we’re releasing not one but two EPs! ‘V – Part Three of L.O.V.E’ is the most electronica I’ve ever been thanks to producer Janne Manninen, and ‘A – Part Two of L.O.V.E’ is the most hard rock my songs have ever been thanks to Swedish metal band G.A.I.N. (you can buy them both here! )
Speaking of EPs I just got a nice review from Swedish rock music site Hallowed on my second EP ‘O’. Daniel Källman who wrote it seems to be into singer/songwriters so I hope he won’t get a total chock when he hears ‘V’ 🙂 Here’s what he thought about ‘O’
“This EP is just absolutely fantastic in its best moments. Sure if you are a narrow minded typical metalhead you will probably not like this album but then again you will probably have stopped reading after singer-songwriter anyway. For all of us who like music however, this EP is a real treat.”