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.
I’m spending a few days in Phoenix, AZ doing two gigs here. One is tonight January 10th at The Lost Leaf and the second is on Saturday at Obscura (Rips).
The Useless Critic, one of my fave blogs just published an exclusive interview with me about the tour, Arizona and life in general and later today at 6pm I’ll make an appearance on KWSS 106.7 on the show “Driving with Gass“, so tune in to listen here!
Today’s window is a special Christmas card to you all from my friend Dusty Monroe. It’s a special Christmas song about Rudolf, our favorite theme this winter ;). He’s sending it to you as a free download powered via Soundcloud!
Last year I cooked a Swedish Christmas meal for some of my Florida friends. And my friend Courtney’s brother asked her before the dinner if Swedish meatballs actually exist or if they’re just a myth. I thought that was so funny, so I decided to make y’all some Swedish meatballs in this window of the calendar!
Now you can all make them at home, and I promise they will taste way better than IKEA’s. 😉 Oh and the catchy tune in the background is my disco Christmas single from two years ago called Santa. It’s a free download that you can get here!
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]