Loney, Dear – Hall Music

January 01, 1970





Emil Svanangen has often blown his wistful little pop songs
out to grand proportions, whether surrounding them with a jubilant indie
chorus, as on Loney, Noir, lacing
them with pounding drums on Dear John or, this time out, enlisting classical instruments. Here, on a record inspired
by his year-long collaboration with Swedish chamber music orchestras,
Svanangen’s wavery voice flickers in and out of thickets of brass, plays tag
with flights of xylophone and emerges, bruised and pining, from fog-bound
forests of synthesizer. A broader palette of instruments, however, seems only
to accentuate the personal nature of Svanangen’s work.


for instance, is burnished with church organ drones and string bass plunks, yet
loses none of its naked self-revelation in the process. Even the complex,
brass-flaring, drum-punctuated “Durmoll” has a whispery, confessional core.
More conventional indie pop songs – “Loney Blues,” for instance, and “My Heart”
– seek an orchestra’s density and scope to articulate inner musings. This music
is big enough for a hall, but soft and heartfelt enough for the quietest


Heart,” “Durmoll” JENNIFER KELLY


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