Tuesday, October 27, 2009
Tuesday, October 20, 2009
3 toronto REVIEWS
CHROMEWAVES 7.5
I think I was too harsh on Dear John when I wrote it up way back in January. Yes, it doesn’t stray far, either sonically or songwriterly (that’s a word now), from Emil Svanangen’s previous works under the Loney Dear marque, but I’m seeing now that’s because he’s fixated on capturing one specific mood or theme in music and much of what he creates are attempts to perfect it. Thankfully, his elusive goal is the moment where angst turns into elation and the sense of uplift that results and he expresses it with orchestral pop music. Of course. This was Loney Dear’s first stop in Toronto in a couple of years and a make-up for a failed attempt to visit back in May when their van broke down en route. And while that show at Lee’s in June 2007 was hardly a sell-out, those who were in attendance remember it fondly.
And those who were at the Horseshoe on this holiday Monday would likewise take away some warm memories of another wonderful show. Re-reading my review of the Lee’s show, I find myself at risk of repeating myself, but it bears repeating – Svanangen’s live band really took his songs to another level, deftly adding more bits of musical flourish and detail than four people with just two hands each really had any business doing in real time. And as such, they managed to recreate the richness of his compositions while still recasting and reconfiguring them enough to feel quite new. Particularly essential was backing vocalist Malin Stahlberg, who in addition to handling keys, guitar and percussion, sang most of Svanangen’s falsetto parts with more strength and bearing, and amazingly handled all of the tongue-twisting bridge of “I Am John” while Svanangen took the easy, “nah nah nahs”.
But as great as the band is, it’s still all about Svanangen. His permanently forlorn countenance is simultaneously at odds with yet perfectly suited for the sounds and songs he sings. Drawing material from across all his albums, the live setting proved a great equalizer for the production aesthetic of the recorded versions – the sparer arrangements of Sologne felt more fleshed out and Dear John’s mechanical aftertaste was made more organic, settling in that sweet spot that was Loney, Noir. The performance was splendid from the get-go but the undoubted highlight was when Svanangen stepped out to the front of the stage, unamplified, and sang (I think) “In With The Arms” to the house. Now he doesn’t have the most powerful voice, so it’s perhaps a good thing that the crowd was modestly sized and thus easier to silence, but doing that, and backed with Stahlberg’s harmonies, was simply perfection. In all, they played nearly 90 minutes including two encores though at no point in between did Svanangen leave the stage – no point going through the formality, we were going to keep them playing for as long as possible. And thought it finally did end, obviously, all three of Loney Dear’s last records have been a steady soundtrack for the days since the show. It makes my angst into elation and that’s just what I need right now.
ITSNOTTHEBANDIHATEITSTHEIRFANS...
When I went to see Loney Dear at Lee's Palace a couple of years ago, the experience was far and away a much more thrilling one than I ever could have anticipated. I walked away from that show converted from casual fan to rabid fan, and I couldn't wait to see singer songwriter and multi-instrumentalist Emil Svanängen again. Sadly, my wait had to be postponed a tad when his bus broke down back in May, but all can now be forgiven since the rescheduled show at The Horseshoe was every bit as satisfying as the first one.
The music of Loney Dear is made for the live stage as it consistently strikes a balance between the downtrodden and the uplifting. What I mean is that Emil's voice can't help but have a hint of the "woe is me" in its delivery, while the epic soundscapes that usually kick in within the last minute or so of his average song manages to leave me feeling celebratory. Likewise, the live show is a comparable contrast of highs and lows. Not being familiar with every aspect of his career, I was still surprised at how many songs I recognized, not only from the CD's I own, but also from what I remember about his last show. His memory was equally as sharp as he managed to even remember some of the familiar faces in the audience too. It was very amusing to watch him joke around with some of the mildly inebriated audience members that were hurling crazy requests his way, and it was also great to see him performing in such a way that showed that he was having as great a time as we were. The highlight of the show was when he approached the front of the stage and sang one of his songs without the aid of the microphone to an audience that was paying rapt attention as the din of the crowd's chatter was brought to an impressive halt. At the end of the night, he opted to simply let us know when the encore was taking place as opposed to going through the trouble of leaving the stage only to come back on, and the second highlight was hearing him perform a triumphant version of I Am John, which is easily one of the five best songs of the decade as far as I'm concerned.
I can honestly say that there are few things as uplifting as a Loney Dear show and I sincerely hope that I won't have to wait another two years for his return. Call me crazy, but being uplifted through song is just something I can't seem to get enough of for some reason. Go figure.
NOWTORONTO:
Loney Dear, on the other hand, bounced between sparse folky sad songs and synth-powered pop. But the strongest moment by far came when main man Emil Svanängen stepped away from the mic and unplugged his guitar to perform completely unamplified to the whisper-quiet room. His songs are strong enough to do without all the extra embellishments that were carefully arranged for the rest of the set.
I think I was too harsh on Dear John when I wrote it up way back in January. Yes, it doesn’t stray far, either sonically or songwriterly (that’s a word now), from Emil Svanangen’s previous works under the Loney Dear marque, but I’m seeing now that’s because he’s fixated on capturing one specific mood or theme in music and much of what he creates are attempts to perfect it. Thankfully, his elusive goal is the moment where angst turns into elation and the sense of uplift that results and he expresses it with orchestral pop music. Of course. This was Loney Dear’s first stop in Toronto in a couple of years and a make-up for a failed attempt to visit back in May when their van broke down en route. And while that show at Lee’s in June 2007 was hardly a sell-out, those who were in attendance remember it fondly.
And those who were at the Horseshoe on this holiday Monday would likewise take away some warm memories of another wonderful show. Re-reading my review of the Lee’s show, I find myself at risk of repeating myself, but it bears repeating – Svanangen’s live band really took his songs to another level, deftly adding more bits of musical flourish and detail than four people with just two hands each really had any business doing in real time. And as such, they managed to recreate the richness of his compositions while still recasting and reconfiguring them enough to feel quite new. Particularly essential was backing vocalist Malin Stahlberg, who in addition to handling keys, guitar and percussion, sang most of Svanangen’s falsetto parts with more strength and bearing, and amazingly handled all of the tongue-twisting bridge of “I Am John” while Svanangen took the easy, “nah nah nahs”.
But as great as the band is, it’s still all about Svanangen. His permanently forlorn countenance is simultaneously at odds with yet perfectly suited for the sounds and songs he sings. Drawing material from across all his albums, the live setting proved a great equalizer for the production aesthetic of the recorded versions – the sparer arrangements of Sologne felt more fleshed out and Dear John’s mechanical aftertaste was made more organic, settling in that sweet spot that was Loney, Noir. The performance was splendid from the get-go but the undoubted highlight was when Svanangen stepped out to the front of the stage, unamplified, and sang (I think) “In With The Arms” to the house. Now he doesn’t have the most powerful voice, so it’s perhaps a good thing that the crowd was modestly sized and thus easier to silence, but doing that, and backed with Stahlberg’s harmonies, was simply perfection. In all, they played nearly 90 minutes including two encores though at no point in between did Svanangen leave the stage – no point going through the formality, we were going to keep them playing for as long as possible. And thought it finally did end, obviously, all three of Loney Dear’s last records have been a steady soundtrack for the days since the show. It makes my angst into elation and that’s just what I need right now.
ITSNOTTHEBANDIHATEITSTHEIRFANS...
When I went to see Loney Dear at Lee's Palace a couple of years ago, the experience was far and away a much more thrilling one than I ever could have anticipated. I walked away from that show converted from casual fan to rabid fan, and I couldn't wait to see singer songwriter and multi-instrumentalist Emil Svanängen again. Sadly, my wait had to be postponed a tad when his bus broke down back in May, but all can now be forgiven since the rescheduled show at The Horseshoe was every bit as satisfying as the first one.
The music of Loney Dear is made for the live stage as it consistently strikes a balance between the downtrodden and the uplifting. What I mean is that Emil's voice can't help but have a hint of the "woe is me" in its delivery, while the epic soundscapes that usually kick in within the last minute or so of his average song manages to leave me feeling celebratory. Likewise, the live show is a comparable contrast of highs and lows. Not being familiar with every aspect of his career, I was still surprised at how many songs I recognized, not only from the CD's I own, but also from what I remember about his last show. His memory was equally as sharp as he managed to even remember some of the familiar faces in the audience too. It was very amusing to watch him joke around with some of the mildly inebriated audience members that were hurling crazy requests his way, and it was also great to see him performing in such a way that showed that he was having as great a time as we were. The highlight of the show was when he approached the front of the stage and sang one of his songs without the aid of the microphone to an audience that was paying rapt attention as the din of the crowd's chatter was brought to an impressive halt. At the end of the night, he opted to simply let us know when the encore was taking place as opposed to going through the trouble of leaving the stage only to come back on, and the second highlight was hearing him perform a triumphant version of I Am John, which is easily one of the five best songs of the decade as far as I'm concerned.
I can honestly say that there are few things as uplifting as a Loney Dear show and I sincerely hope that I won't have to wait another two years for his return. Call me crazy, but being uplifted through song is just something I can't seem to get enough of for some reason. Go figure.
NOWTORONTO:
Loney Dear, on the other hand, bounced between sparse folky sad songs and synth-powered pop. But the strongest moment by far came when main man Emil Svanängen stepped away from the mic and unplugged his guitar to perform completely unamplified to the whisper-quiet room. His songs are strong enough to do without all the extra embellishments that were carefully arranged for the rest of the set.
Ämne: loney, dear live in slovenia :)
check 5:28 on this video: http://www.youtube.com/watch?v=iRWr1SUBc6o
check 5:28 on this video: http://www.youtube.com/watch?v=iRWr1SUBc6o
Monday, October 19, 2009
well
ok. will do.
i can actually see my future audience there in the background of the banner. and its so good they are so wide, and work for ANYBODY.
Saturday, October 17, 2009
such a nice evening at bowery ballroom. 500 there to hear our music. strange feeling, so much fun. did a very good show. all well, all nice. ending this weird tour in philly tmrw
Tuesday, October 13, 2009
Saturday, October 10, 2009
http://www.undertheradarmag.com/reviews/loney_dear_at_the_troubadour_west_hollywood_ca_october_1st_2009/
Loney Dear
Loney Dear at the Troubadour, West Hollywood, CA, October 1st, 2009, October 1st, 2009
Oct 09, 2009 By Laura Studarus Web Exclusive
Bookmark and Share
Tie-wearing, cow-lick sporting musician Loney Dear (Emil Svanängen to his friends) is the kind of performer you can’t help but want to succeed. Taking the stage after Asobi Seksu’s high-spirited sonic assault that left the audience bouncing, one couldn’t help but wonder if the sweet-spirited Swede—who repeatedly and sincerely addressed the audience as “my friends”—was up for the task. Flaunting his crystalline voice and liberal use of crescendos in a set that could melt even a cynic’s heart, Svanängen proved that he was.
Backed by a four piece band and a few well-executed samples, Svanängen and co preformed pitch-perfect recreations of material spanning Loney Dear’s five album catalog. With a sweetness that makes his music’s thematic darkness both somewhat hard to believe and somehow crueler (bad things don’t happen to people with crystalline voices…do they?); the Troubadour stage was transformed into the world’s most melodic confessional. Momentarily during “Hard Day’s 1.2.3.4.” and “Under a Silent Sea” it appeared Svanängen might have been exorcizing a few actual demons.
In spite of being a show predicated on an “ah shucks” mentality that had Svanängen drawing comparisons between now and the last time they played the Troubadour (“We improved like humans are supposed to do.”), it was difficult not to be carried away with his performance. Normally, I’m not a fan of sing-alongs (I prefer to save my voice for the shower, thanks), but when he asked the audience to pitch in during “Meter Marks Okay” I was more than ready to buy what he was selling. Chalk it up to—as Svanängen would later proudly announce—his hailing from the same county as “the guy who invented Ikea.”
Despite Svanängen’s non-threatening charm, the first “I love you!” of the evening was directed not to him, but to his drummer after “Carrying a Stone.” Blushing, Svanängen admitted that he did have a great drummer, before a second, equally enthusiastic declaration of love was directed at him. “Are you one of my gay friends?” he asked, addressing a clutch of people perched in The Troubadour’s VIP section. For the rest of us he provided a somewhat obtuse explanation. “I met them and I wished I was both a gay and a lesbian at the same time. I didn’t know how to handle it!”
After an all too brief set (which seems to be a theme at the Troubadour), Loney Dear exited the stage. Of course, had you been present and blinked at the wrong time, you might have missed this—as the band returned only seconds later. “Do you mind if I play 'Airport Surroundings?'” Svanängen asked the crowd, laughing when all he got in return was a series of unintelligible screams. “I don’t know if that was a no or a yes. I shouldn’t have asked that!”
The encore also unexpectedly included “Shivering Green”—an oft-neglected song off the early Loney Dear album Citadel Band. Here, Svanängen provided an intriguing bit of background information, announcing, “We going to play a song that we played in a lighthouse in Holland.” He continued, amused, “That sounds more druggy than it is.”
The night ended with just Svanängen on stage, performing Dear John’s melancholic title track. “Thanks for the wonderful night!” he said before leaving the stage one last time. Thank me? My heart was melted, my inner cynic tamed. Thank you.
Set list:
1. I Was Only Going Out
2. Everything Turns to You
3. Summers
4. Under a Silent Sea
5. The Meter Marks Okay
6. Carrying a Stone
7. Take it Back
8. I Fought the Battle of Trinidat & Tobago
9. Hard Day's 1.2.3.4.
Encore:
10. Airport Surroundings
11. Shivering Green
12. Sinister in a State of Hope
13. Dear John
(www.loneydear.com)
Comments
Loney Dear at the Troubadour, West Hollywood, CA, October 1st, 2009, October 1st, 2009
Oct 09, 2009 By Laura Studarus Web Exclusive
Bookmark and Share
Tie-wearing, cow-lick sporting musician Loney Dear (Emil Svanängen to his friends) is the kind of performer you can’t help but want to succeed. Taking the stage after Asobi Seksu’s high-spirited sonic assault that left the audience bouncing, one couldn’t help but wonder if the sweet-spirited Swede—who repeatedly and sincerely addressed the audience as “my friends”—was up for the task. Flaunting his crystalline voice and liberal use of crescendos in a set that could melt even a cynic’s heart, Svanängen proved that he was.
Backed by a four piece band and a few well-executed samples, Svanängen and co preformed pitch-perfect recreations of material spanning Loney Dear’s five album catalog. With a sweetness that makes his music’s thematic darkness both somewhat hard to believe and somehow crueler (bad things don’t happen to people with crystalline voices…do they?); the Troubadour stage was transformed into the world’s most melodic confessional. Momentarily during “Hard Day’s 1.2.3.4.” and “Under a Silent Sea” it appeared Svanängen might have been exorcizing a few actual demons.
In spite of being a show predicated on an “ah shucks” mentality that had Svanängen drawing comparisons between now and the last time they played the Troubadour (“We improved like humans are supposed to do.”), it was difficult not to be carried away with his performance. Normally, I’m not a fan of sing-alongs (I prefer to save my voice for the shower, thanks), but when he asked the audience to pitch in during “Meter Marks Okay” I was more than ready to buy what he was selling. Chalk it up to—as Svanängen would later proudly announce—his hailing from the same county as “the guy who invented Ikea.”
Despite Svanängen’s non-threatening charm, the first “I love you!” of the evening was directed not to him, but to his drummer after “Carrying a Stone.” Blushing, Svanängen admitted that he did have a great drummer, before a second, equally enthusiastic declaration of love was directed at him. “Are you one of my gay friends?” he asked, addressing a clutch of people perched in The Troubadour’s VIP section. For the rest of us he provided a somewhat obtuse explanation. “I met them and I wished I was both a gay and a lesbian at the same time. I didn’t know how to handle it!”
After an all too brief set (which seems to be a theme at the Troubadour), Loney Dear exited the stage. Of course, had you been present and blinked at the wrong time, you might have missed this—as the band returned only seconds later. “Do you mind if I play 'Airport Surroundings?'” Svanängen asked the crowd, laughing when all he got in return was a series of unintelligible screams. “I don’t know if that was a no or a yes. I shouldn’t have asked that!”
The encore also unexpectedly included “Shivering Green”—an oft-neglected song off the early Loney Dear album Citadel Band. Here, Svanängen provided an intriguing bit of background information, announcing, “We going to play a song that we played in a lighthouse in Holland.” He continued, amused, “That sounds more druggy than it is.”
The night ended with just Svanängen on stage, performing Dear John’s melancholic title track. “Thanks for the wonderful night!” he said before leaving the stage one last time. Thank me? My heart was melted, my inner cynic tamed. Thank you.
Set list:
1. I Was Only Going Out
2. Everything Turns to You
3. Summers
4. Under a Silent Sea
5. The Meter Marks Okay
6. Carrying a Stone
7. Take it Back
8. I Fought the Battle of Trinidat & Tobago
9. Hard Day's 1.2.3.4.
Encore:
10. Airport Surroundings
11. Shivering Green
12. Sinister in a State of Hope
13. Dear John
(www.loneydear.com)
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