|Rebekka Karijord — Music for Film and Theatre|
Rebekka Karijord — Music for Film and Theatre
♠ “A wonderful opportunity to enjoy another mesmerising side to an extraordinary artist’s talents”.
Born: 19 November 1976 in Sandnessjøen, Norway
Location: Stockholm, Sweden
Album release: January 20, 2014
Record Label: Control Freak Kitten Records
01. Prologue 5:59
02. Madrigal 2:14
03. Snö 3:39
04. Salhus 3:51
05. Lullaby 1:51
06. Apathetic Children 4:03
07. “I´ve Always Been Jealous of Migratory Birds” 2:59
08. Morula 2:51
09. Nowhere Home 3:55
10. Waltz for Norma 1:50
11. Jag Ser Dig 2:55
12. Kjaere Gud Jeg Har Det Godt 3:27
13. The End 2:00
14. Anchor Boy 2:58
15. Epilogue 2:49
℗ 2014 Control Freak Kitten Records
∏ On her four albums to date, Rebekka Karijord has flirted with a variety of disparate subjects and styles, producing music that is brooding and disconsolate, quirky and unconventional, stormy and sensual.
∏ We Become Ourselves, the Stockholm–based artist’s 2012 release, placed deservedly high in a number of top albums of the year lists — charming listeners and critics with its beautifully textured arrangements and versatile vocals that jumped wildly from upbeat tracks like ‘Use My Body While Its Still Young’ to the dark depths of numbers such as ‘You Make Me Real’. Beneath the surface of those shifting sounds and lyrics lay one constant, one quality: a strong affection for rich cinematic composition and songwriting.
∏ Such a musical bearing is not accidental. Karijord has spent the last decade and a half writing music for UK, US and Scandinavian film, TV and theatrical productions, and it is the past five or six years of such work that she now turns her attention to, via new release Music For Film and Theatre.
∏ Opening with a bold six minute orchestral prologue that gradually rises in intensity, the album dives in to a cold minimalist world with ‘Madrigal’, where layers of manipulated vocals create the aural equivalent of an icy chill — drawn out by the soft piano, echoing muted guitar notes and screeching strings on subsequent song ‘Snö’, taken from 2013 indie film Jag Ser Dig.
∏ Beyond the vast reverbs and lilting drawn–out choral strains of ‘Salhus’, the album goes on to warm up with breathy wind instruments and sweet melody–chasing on ‘Lullaby’, pitch–shifting vocals over barely audible sub-bass and graceful plucked strings on ‘Migratory Birds’, the exaggerated elegance of ‘Nowhere Home’ (taken from the Norwegian 2012 film of the same name) and poignant piano–work in a piece written for dance, ‘Anchor Boy’.
∏ There are enough oddities here to ensure the album flows off in one or two unexpected directions — ‘Morula’ and ‘The End’ being good examples — but the collection of tracks largely keeps to carefully arranged instrumentation, celestial vocals, gentle ambient synths and stirring melodies, producing a connected body of work that is almost lyric free; further revealing Karijord’s exceptional talents as a composer.
∏ Music For Film and Theatre, comprising the drama, tension and beauty of Nordic landscapes, contemporary dance, modern theatre and motion picture soundtracks, delivers the type of extraordinary listening experience that can only be created by an artist fully immersed in, and impassioned by, the worlds of art and music. Much recommended.
∏ Norwegian born, Stockholm, Sweden–based musician and composer. After creating music for over 30 films, Karijord recorded The Noble Art of Letting Go released to the UK and Europe. Afterwards, she went on tours to Scandinavia and Europe. There were also song placements on BBC and ABC Television, and the world touring nouveau cirque Cirkus Cirkör performance Wear it Like a Crown being based upon Rebekka's song of the same title.
∏ Recording at Gig Studio in Stockholm live during 8 days of December 2011, the album now known as We Become Ourselves was transcribed to tape.
|Rebekka Karijord — Music for Film and Theatre (2014)|