Elin Ivarrson - Elin Ivarrson

  by Malcolm Carter

published: 21 / 7 / 2016

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It is strange how Swedish artists have been taking an established musical genre for years and by adding in a little of their own Scandinavian cool into the mix actually improve on the originals. The number of female Swedish singer-songwriters who have taken the Americana route and made it their own through the last few years is still growing. That the country has more than it’s fair share of extremely successful writers and producers in the pop/club field is undeniable and it’s not just a current phenomena; way back in the 60's Swedish bands were, after covering the American and British hits of the period, finding that they could emulate those bands with their own work. Then, of course, Abba came along and, although much of their early music was no better than the dross churned out by their ‘dansbands’, they eventually took control of the game and produced some of the greatest pop singles ever. Just don’t get me started on how they never made a decent album… So what is this to do with Elin Ivarsson’s self-titled debut album? Once again, this time with little fanfare or hype, a Swedish artist has revisited an age-old genre and in doing so made her own little niche in that category. It’s not just Scandinavia that is flooded with female singer-songwriters who are loosely grouped into the folk genre just now. The UK alone has many new, exciting folk artists who are making their mark, many introducing fresh ears to folk music by updating the sound while not forsaking the roots of folk. It’s far from a criticism but Elin Ivarsson, on this showing at least, has stayed true to the roots of folk music more than many of her contemporaries. And in many ways that makes the songs on Ivarsson’s debut even more appealing. The ten songs are all originals and it appears that Ivarsson takes all the guitar parts on the album. If that is the case then she is obviously a skilled guitarist, as the album is really a stripped-back, sparsely accompanied affair and Ivarsson’s guitar skills really get a chance to shine. The singer hails from the north of Sweden, Kalix in Norbotten, but currently resides in Brighton where Chris Myatt produced this set. Ivarsson has hardly deserted her roots though. The second song on the album is ‘Norbotten’ and it’s here where Ivarsson captures that Scandinavian chill perfectly. It’s also on tracks such as this that recall the folk artists of the 60s. All pure, crystal clear vocals and hauntingly sparse acoustic backing, this tribute to her home county is strikingly beautiful. Compared to the path which many of her contemporaries are taking, it’s refreshing to hear an artist in this genre who is prepared to lay it all on the line, and, almost raw and naked in its delivery, it’s Ivarsson at her most honest and affecting. Opening the album with ‘Leaving Song’ was a smart move. Ivarsson’s vocals here are more quirky than on many of the other songs but that only makes the listener take notice earlier and strangely that quirkiness soon disappears. Either Ivarsson isn’t the owner of such an idiosyncratic voice or it’s one that is easy to get inside of quickly. But that opening song certainly attracts the attention no matter what you feel about her voice. When the swelling choir of voices arrives on the chorus, it’s both unexpected and takes the song into places the opening and first verse give no indication of. The use of the cello on the song mixes well with the rolling piano and Ivarsson’s own fingerpicked style of guitar playing. The song also gives notice that Ivarsson is no slouch when it comes to writing short but sharp lyrical couplets “I don’t want to be alone/I really don’t, but I’d rather be alone than here with you”. The song goes through a few shifts and changes during its four minutes, indicating that Ivarsson has more than a few ideas to keep her music interesting. It’s an interesting start to what eventually turns out to be a varied yet cohesive collection of songs. The waltz-like ‘Luka’ shows that, although Ivarsson can use the little-girl-lost qualities in her voice to great effect, when the song demands a tougher, edgier performance she is more than capable of the task. Even when her voice moves into more child-like territory in songs like ‘Lotty’, it’s still a thing of beauty and, on this particular track, her guitar playing and the arrangement and use of strings all add to the atmosphere making it one of the most adventurous cuts on the album. At five minutes long the song is afforded the time to develop and not a second is wasted. ‘Sunday 5am’ displays Ivarsson’s keen sense of observation, another facet of her writing that many of her contemporaries lack. Although not vocally similar to Dar Williams there’s definitely a valid comparison there between what Ivarsson is doing now and the work that Williams produced very early in her career. Released on Brighton’s Hidden Trail Record label who have Ellie Ford on board too, making them a label to watch out for especially for those who like their folk music with a little more edge, Elin Ivarsson has delivered a compelling, honest set of original songs marking her out as one to look out for.

Track Listing:-

1 Leaving Song
2 Norrbotten
3 Luka
4 Lotty
5 Sunday 5am
6 Tea Song No.1
7 No Name
8 Laurels
9 Another Day Will Come
10 Cold Winter Night

Band Links:-

https://www.facebook.com/ElinIvarssonMusic/
https://twitter.com/incoherentelin

Label Links:-

https://www.facebook.com/HiddenTrailRecords
http://hiddentrailrecords.co.uk/
https://twitter.com/HiddenTrailRecs
http://hiddentrailrecords.bandcamp.com/

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