Swedish singer, songwriter, and keyboardist Anna von Hausswolff issued her debut full-length Singing from the Grave in 2012. Despite its sobering title, the album was full of melodic, fragile, Gothic ballads. On Ceremony, the term "Gothic" applies even more here than on its predecessor, yet the music has progressed almost immeasurably. Von Hausswolff employed an Annedal church organ as her primary instrument on this date (it's on nine of the 13 songs), though she also plays piano and synth. Its amazing array of tones, sounds, and timbres color the proceedings with an array of possibilities most pop recordings never imagine, let alone use. Further, Von Hausswolff's approach here has been influenced directly – and admittedly – by the post-metal sonics of Earth and the groundbreaking vocal innovations of Diamanda Galas.
With The Miraculous, Swedish singer, songwriter, and keyboardist Anna von Hausswolff has delivered an album as different from 2013's celebrated Ceremony as that was from 2010's Singing From The Grave. On Ceremony, Hausswolff discovered the sonic possibilities of the cathedral organ. Her four-octave vocal range rose above compositions that wove classically tinged Gothic art pop and skeletal post-rock that touched on Sweden's gloomy operatic and folk traditions. Sometimes gentle and dreamy, and just as often moody and droning (sometimes inside the same tune), she has created an iconoclastic brand of indie music. On The Miraculous, Hausswolff doubles down on the organ. The instrument she's using here is an enormous 9,000-pipe Acusticum Organ designed by Gerard Woehl. Its vast tonal and instrumental possibilities include sounds for glockenspiel, vibraphone, celeste, percussion, and indefinable high-pitched shrieking sounds that extend the upper reaches of the Western harmonic system (these pipes are partially submerged in water).
TOR LUNDVALLS NOTES: In September 2012, I received an e-mail from someone named John B. who said he had assembled a lengthy remix of my music, which also incorporated some of his own material. John asked if Id mind if he posted this recording on YouTube, to which I agreed. He also mentioned that there was a second part to his mix that was roughed out, but never completed. I was curious to hear both parts, so shortly afterwards, John mailed me two CDrs which I enjoyed very much. The recordings were hypnotic and haunting, evoking images of vast fields at twilight. I was especially fond of the second disc which had a darker atmosphere and featured more of Johns original material, beginning with ghostly clock chimes and ending with a mysterious piece using dried seed pods and other cryptic sounds that slowly built-up into an intense, almost claustrophobic environment.