hundreds of beats per second. Мовна пара перекладу: шведська – англійська

Трои скорочене інтерв"ю з "Jeniferever" звідси. Машинний переклад
фото від http://www.stacyliu.com

A great many musicians are trying in their works re-create that feeling called love. In words, the musical excursions. The vast majority I would say. But it is a difficult balancing act, the notion that the composer of human relationships.As easy as it results in flat nonsense, as difficult it may be desperate to avoid nudity, which gives an unpleasant aftertaste. It is therefore not surprising that many of the bands I hold closest to my heart have matched exactly the right nerve and tone in their attempt to portray the love of good and evil. Jeniferever is one of the foremost bands in the area. Jeniferever is probably one of the best-preserved music treasures. 

There is a serious mistake to simply categorize the quartet as Uppsala post-rock. This is more. Expanding on so many levels. When Christopher Jonson seven minutes and 37 seconds into the song "Nangijala" sings "Two summers Passed But the Winters Did not. You move But You Keep Coming Back." I would never again be alone. When sound carpet "Opposites Attract" swirls around Jonson's voice, I need nothing else. As for Explosions In the Sky had some dinner anabolic and wrote a beautiful diary with hearts above the i's instead of dot. Sometimes with an arrow through. Often with an arrow through. Jeniferever creates music that assume convex shapes. You will not find anything similar. The word emotional given a whole new dimension. 

His debut in the Choose a Bright Morning released in 2006. Disc Cover inspires calm, a little cottage by a river, with green mountains that surround the background.Do not let it fool you. The album is anything but an idyll. While there, a wonderful sound with a highway to the tear ducts, but the looming darkness. 

Spring Tides sequel was released last year. The tag "Reason To Get Up In The Morning" on Last.fm says it all. It is harder, more concrete and less grass. But as many high-flying tours in volume and adrenaline-filled guitar loops. And the great texts."Ox-Eye" was one of many creations that cemented the fact that the attention surrounding the band did not match the talent. 

I'm so glad Jeniferever there. Below is an interview with singer Kristofer. In Sweden we are very exclusive with this at the moment and there is nothing but a bitch. Jeniferever deserves an awful lot more attention and we can only hope that it will increase as the release approaches. For the time being - keep the benefit. 

What has happened since you released the Spring Tides? What receipt as you expected? 

Kristofer: Since the release of Spring Tides, we have not had a quiet moment. We toured Europe a few laps with the disc in the spring, summer and autumn of 2009.Was there a total of four or five months and in between at home so we started writing the next album. After that, throughout 2010, we have kept clear of touring so we could spend all your time and focus to writing. 

You work with a new album now. Can you give us any info about the work? 

We started recording for just one week ago down in Swedish Grammofon Studio in Gothenburg together with Oskar Lindberg, where we have grounds for a whole album.Now we're back home up in Uppsala in our own studio and will work here in another month and then mixing the album in a studio in Stockholm in early autumn. It will be accompanied by Magnus Lindberg from Cult of Luna, also mixed the Choose a Bright Morning and Spring Tides. 
It is always difficult to say how it sounds when you are in the middle of it but låtmässigt you could say that it is more upbeat and popigt, and at times more than conventional låtuppbyggnad previous two albums. At times, it is probably even darker and tougher than anything we ever did before. Production-wise is of course difficult to say like this in the beginning of the recording, but it will probably sound more classic and old, without being retro if there is any logic in it.It's boring if you just tread the same path for the very nice but it still is a common thread in all you do and I think it does to our music. It may sound a little different way, but you are probably always it is us. 

It feels like you more and more, from post rock sound, letting the song get more space and uses less instrumental guitar parts. Do you agree with and, if so, is this something that continued to evolve in the same direction even on the new material? 

Like, we've sort of never thought that we should play a great post-rock but it was just a tray, we were placed in the beginning when we started releasing music. We came at a time when very instrumental and ambient music began to appear and then it was well easy to put us there as well. So for us it has never been a conscious choice to try to embrace any particular sound, but there has been a label that critics and concert promoters put on us because we happened to sound like we do. Then it gradually changed from what we did for four-five years ago, as I said, nor was there any particular conscious choice. When we make music, we plan not very much in advance what the outcome will be but it sounds like would happen, happen. Then, it is clear that a contributory role is to tire of some way to work after a while and want to try new ways to go, and then change might well profit by it. As much as we do now is different from what we did on the first album or first EP, as much distinguished course, it in turn from the music we did before that when we were younger. It's like a constant development in any way, you never really want to stand still in the same place for too long. 

However, there are hints of the people associated with post-rock, which probably always will remain, with epic, large lots and orchestral parts, simply because it's part of what we do and something we like. 

The text takes quite a lot of space in your music, unlike many of your "competitors". Swedish band EF has said in interviews that their texts often do not mean anything special, but just there to be ideal. How do you see your lyrics? I get the feeling that they are a very vital part of your music. Printed music or the lyrics first? 

The music is always written first, although much of what is in the texts might be revolved in my head long before we wrote the music. I like to write lyrics for a specific purpose, as well as hear the text and music together in a completely different way than if you place a finished text in a song. Different songs, sounds, moods call for different words, although the content may be exactly the same. I think we all think that text is very important in music and none of the other three would ever pass through a text you like. I think it shows when people do not care about the texts they write and then lets it both dishonest and bad I think. A beautiful, beautiful text and a beautiful song can really enhance each other and do that it will be so much better and I think you should try to take advantage of, at least I try to do it yourself. 

But everyone is their thoughts and ideas with their music - of course - and what is right for us need not be so for others. Personally, I think such not that the song sounds beautiful for words to me is empty. In our music so hands never to texts left to chance, but they always have an important role, especially for me who writes the lyrics. I think many who listen to our music listening much to the texts and the contents of which feels sick nice. There are many who are off over his thoughts and memories of the texts or the texts have played a role in their lives to reach wise, sometimes sick on stories. People have even tattooed my lyrics, which feels quite surreal, but ill fine with it. 

In the song "From Across The Sea" - one of several small bright reflections of love - is mentioned Emily. Who is she? 

I would not go into too much of what texts are about, but feel that the listener can create their own image and interpretation. But just the text is written as a letter to someone I know named Emily and is about someone completely different. One way to write off the current stuff that hurts, I suppose, some kind of form of ventilation. But who knows Emily is just she and I and some others and so may it remain. 

My personal favorite from the Spring Tides are Nangijala. Also this is a very gloomy, melancholy feel about it. What song is basically about? 

It's about not being able to let go of it that makes you feel bad and not being able to let go of something that is already lost. 

 Is there a future for the music that you in the Swedish music industry? I mean, do you think you will be able to survive in this type of music in the future? 

Think that the future looks brighter for the kind out of music that we're doing in Sweden today than it did when I started making music for fifteen years ago. Only the last five-ten years, I think the breadth of music has grown sick a lot both in and outside Sweden. 
However, Sweden has never been something we have devoted much time and energy, at least not since we started touring properly. There is so much better placed outside Sweden to work with music, both live music and in terms of record sales and placement of music in film, etc. So the force you can add on to do anything in Sweden may be that much better return on outside the country so it becomes natural to you stay away from home. Then there are only a certain amount of Swedish music consumption.

No matter where it is most gratifying to play, geographic way? And do you have a tour of memory to serve after the time on the road you spent? 

It depends on if you look at it from a ekomomiskt perspective or from an emotional perspective. For the territories we toured so far as it is most advantageous financially to tour Spain, Germany, Switzerland etc., and where it is also very good gigs often.But as good or better gigs there can seldom be in England, Scotland, Portugal or down in the Balkans such as So it depends on how you look at it, many bands touring course type only Germany and the surrounding area because it is logistically smooth and works well financially. We tend to take us to a little trickier and less economically viable places too which is really fun but it makes it harder to go around - so it's a balance you can do. We want to play for anyone who wants to hear us and we like seeing new places. We would also like to play more gigs than other bands of our size seem to want so then you must browse through the available to browse through. 

We have made a few hundred gigs by now so probably there are always crazy memories. Sometimes more than one may want to remember. Eg I hit up my own wrist when I play fighting with our units on our second tour ever, with the result that I got to play the final eight gigs with a broken wrist and ogipsad. It was crazy evil if nothing else. 

Once you release the upcoming album, it will then be followed by a tour in Sweden? 

No, it will not do, not as we know it in every case. We will be touring a lot when the disc is released, but it will probably be at most a handful of gigs in Sweden. But it's hard to say what will happen as far into the future, of course, it pops up the good stuff we are not late to say yes. Time will tell. It is released in March and then it will be the first to travel over Europe and hopefully North America, then we will see how the water is.


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