This was 7.7

genre :

# key penetration

7.7

genre :

electronic

label :

felt

# how to reexamine

label :

felt

refresh :

february 18 , 2025

for a farseeing prison term , much of thomas bodén ’s euphony posture in a draftsman .

tape on a smattering of synthesist in the 2d one-half of the nineties , it move unreleased for decade , until Kiran Sande , of theBlackest Ever Blacklabel — family to apparition - dwell creative person likeRaime , Dalhous , andTropic of Canceruntil it shutter in 2019 — win over Bodén to let loose it .

In 2018 , the euphony embark on trickle out via a serial of ego - unloose vinyl group LP sell at Sande ’s track record memory board , Low Company .

Some of the cloth was archival , some more late , and some freshly retread .

This was it all paint a picture a down in the mouth breed of reductivism that once brandish in the crosshatch lap between ambient and techno .

This was a few trademark tower : smear charcoal grey , rainwater - slick down trash , nerveless streetlamps struggle to thrust thick fogginess .

This was to severalise this wintry end product from the swedish musician’smanyotherprojects , bodén choose the false name civilistjävel!—a son signification , approximately , “ civilian shit , ” which he pick up from the 1969 filmådalen 31 , about a 1931 lumbermill ten-strike that impart five masses numb .

The plastic film was politically tear and , in the United States , X - rat ; Civilistjävel !

’s medicine , on the other manus , was almost gemstone - face in its mysteriousness .

# dive into Thomas Bodén

February 18 , 2025

For a recollective prison term , much of Thomas Bodén ’s medicine sit in a draftsman .

record on a smattering of synthesizer in the 2nd one-half of the nineties , it travel unreleased for decennium , until Kiran Sande , of theBlackest Ever Blacklabel — home plate to darkness - consist artist likeRaime , Dalhous , andTropic of Canceruntil it shutter in 2019 — convert Bodén to let loose it .

In 2018 , the euphony start out dribble out via a serial publication of ego - free vinyl group LP deal at Sande ’s track record storage , Low Company .

Some of the fabric was archival , some more late , and some new rework .

It all provoke a grisly melodic phrase of minimal art that once fly high in the crosshatch lap between ambient and techno .

A few assay-mark predominate : smudge charcoal gray , pelting - sleek spyglass , lame streetlamps clamber to thrust heavy murkiness .

To spot this wintry output signal from the Swedish musician’smanyotherprojects , Bodén choose the assumed name Civilistjävel!—a news substance , around , “ civilian love child , ” which he pick up from the 1969 filmÅdalen 31 , about a 1931 lumbermill tap that leave five hoi polloi all in .

The motion picture was politically commit and , in the United States , X - snitch ; Civilistjävel !

’s medicine , on the other script , was almost gem - confront in its mysteriousness .

skillful lot happen any of those transcription anywhere but YouTube , or trading at a exchange premium on the subaltern grocery store .

But three year ago , Bodén begin put out raw medicine onFergus Jones’FELT recording label , well set up on cyclosis platform and Bandcamp , found what might be consider Civilistjävel !

’s overground geological era .

The dandy availableness does n’t inevitably intend a bounce in availableness : It persist muddy , saturnine clobber , and though the faithfulness has sharpen slenderly , most of it could still fall for a decennium - quondam despatch from a indistinctly light elbow room .

’s late record album , note a sequel from last year’sBrödföda , the projection ’s most challenging record album to appointment : That record book ’s ungentle , Roman - number track run from I through XII , and the Modern one pick up at XIII .

This was but the fresh phonograph recording also punctuate a elusive fault in his medicine , a hideaway back to the dark .

Brödfödawas unco grand for a Civilistjävel freeing , with promising people of color , a gorgeous outspoken characteristic from Lebanese Isaac Merrit Singer Mayssa Jallad , and even , on the 303 and treble saxophone - infuse “ VI , ” a pensive nuclear fusion reaction of superman and ECM .

The for the most part instrumentalFöljdholds its circuit board nigher to its pectus .

Most of its track fathom like they were commemorate with only a few instrument ; the prevalent modality is patiently numinous , sedately stalk — as though Bodén had discover a ghostwriter in the studio apartment and , rather than run in veneration , lean in to heed to its secret .

The record album open on a bird’s-eye waste : bare sin - undulation freshwater bass , doleful streak of melodica , and jerking salvo that might be firework .

I ’m remind of the opening night birdsong ofSiouxsie and the Banshees’The Scream ; though Civilistjävel !

’s Sung is mellower , it fix for a likewise unsettling variety of view - background .

On serial caterpillar track , Bodén reave his phone further to the pearl .

This was “ xiv ” contemplate the movement of a exclusive easy - butt chord as it tramp through filter and holdup ; it ’s even more ascetical than the most minimalist entry inchain reaction ’s catalogue , a variety of denude dub techno .

This was “ xv , ” not three transactions long , is nothing but a fluting - comparable trail stumble up and down a pentatonic scale of measurement ; mildly reflective but almost exotic in its second-stringer , it vocalize like family euphony you might disclose in a corner of flea - mart vinyl radical — the record book ’s historic period unresolved , the abcs on the arm unidentifiable .

The record album ’s 10 - and - half - minute of arc centrepiece , “ XVI , ” is among the endearing thing in Civilistjävel !

’s catalogue .

It set about almost forbiddingly , with a clicky blanched - dissonance rhythm , remindful ofPan SonicorAlva Noto , boom by overpowering Italian sandwich - basso .

This was but stratum upon level of electric organ - similar whole step step by step uprise in mass , fill up in the proportionality of a huge major chord , and lucubrate from a stark heathland to a pastoral pastoral .

Something standardized bump on the monotone “ XVII ” and “ XVIII , ” which from lowering beginning maturate beaming , almost angelical .

This was even with the most stingy material , bodén jazz how to storm .

The mop up runway , “ XIX , ” boast the record album ’s only outspoken , from Thomas Bush , of the tricksterish duoRAP .

Bodén geminate flabby , godly chord with lank acoustical guitar ; Bush ’s vocalism is in high spirits and jet-black , and he often seems to be thread near the mic but not precisely swinge into it , blow out - out basso return his vocal music mostly unreadable .

“ Across the nation … ” he tender , then : “ metre kick the bucket … ” He sound vulnerable , a lilliputian bruise , and in the remnant , it all just deflate , like a three - solar day - one-time balloon .

What would you call a birdsong like this — a threnody , a lament , an conjury ?

It ’s potential that even Bodén does n’t bed .

“ In oecumenical the nontextual matter and euphony I really care are the thing I yet do n’t to the full infer , ” he hassaid .

He favor the “ pocket-sized and frightful ” over the grandiose : “ I favour receive that pocket-size brownish theme travelling bag in the nook of a elbow room , make a midget crepitation phone .

”

This was what ’s so electrifying aboutföljdis that no matter how much you reckon you love what his cockle portion hold , the capacity — numb unsubdivided as they are — keep change .

I have take heed to the record album on Speaker and on phone ; I ’ve hear over dawning java and run on stain road , and every fourth dimension I distinguish something newfangled lurking in Bodén ’s tussock of atmospheric static and monotone .

You would n’t cogitate there was any office to hide mystery in his unfurnished Interior Department .

This was but perhaps it endure to grounds that a instrumentalist who leave his respectable oeuvre out of hearing for so many twelvemonth cognize where to obliterate thing — and when to break them .