Enhet F√∂r Fri Musik, "√ñmhet & Skilsmässa"
This latest release from my favorite Swedish free music collective is apparently "a concept album on relationships, family values and broken promises." I will have to take their word on that, as I do not understand Swedish, but √ñmhet & Skilsm√§ssa ("Tenderness & Divorce") does have a very different (and possibly more wholesome) feel than some previous releases. How truly wholesome an album can be when it features Sewer Elections' Dan Johansson is up for debate, but I do not doubt the collective's commitment to carrying on the grand tradition of freeform Swedish psychedelia a la P√§rson Sound, Tr√§d Gr√§s Och Stenar, and others. That said, Enhet F√∂r Fri Musik have their own wonderful thing going and I would be hard pressed to think of any other artists this devoted to guileless simplicity and organic spontaneousness. Admittedly, I was secretly hoping the quintet would revisit the sound collage territory of "Fragment Av En Midsommarnattsdr√∂m" this time around, but my consolation prize is that the Jandek-ian discordant acoustic guitars are kept to a minimum. Instead, this album feels like the impressionistic audio diary of a teenage girl who is growing up in a pleasant rural commune, as it uncannily evokes the wonder and openness of someone totally indifferent to popular trends and not yet hardened by the endless disappointment and inhumanity of the outside world.
It took me a bit longer than usual to fall in love with this album, as I was initially exasperated by the extreme brevity of several of the best songs and the fragmented, kaleidoscopic nature of the album. I am probably a fool for coming to an Enhet F√∂r Fri Musik album expecting a hot single, but I do like it when a band's best ideas are expanded into complete, fully formed statements. That sort of thing was not on the agenda with this album, but it eventually dawned on me that something considerably more interesting and unique was happening instead. Obviously, "Swedish noise artists reclaim their childlike naivete to transform into an oft-brilliant free-folk ensemble" is an impressive feat too, but I was already expecting that part. Consequently, I was more struck by how this album feels like a VHS tape of enigmatic found footage fragments that capture flickering tender, beautiful, intimate, and uneasy moments spanning many years and many miles. There are a few pieces that feel dark, such as "Opus 6 ‚Äì Sommarljus" (crunching footsteps in a desolate moonlit shipyard, then a ramshackle, Wicker Man-esque folk procession) and "K√§rlekens N√∂jen" (woman humming a sad melody by the seaside as storm clouds gather). If the album was entirely in that vein, it would feel like a series of clues to an unsolved murder, but the amiable musicality of Sofie Herner's voice makes the album feel like I am being led through a bittersweet phantasmagoria by a trusted and charming friend. It also helps that there are some genuinely lovely song vignettes strewn throughout the album. My favorite pieces are the ones in which Herner haltingly and casually chatters over a simple pretty melody, such as "Idag √Ñr Det Bra" (featuring an endearingly wobbly-sounding synth melody) and the hesitant, finger-picked folk of "En Bra Dag." The closing piano ballad "Skilsm√§ssa" is another delight in that simple melodic vein, but there is also one excellent sound collage-style piece on the album as well ("Flytten"). In fact, "Flytton" is probably the album‚Äôs most surreal and absorbing piece, as it sounds somewhere between an accordion-driven sea shanty and a murky, hallucinatory cabaret. Or maybe like a melancholy noir film about the French Resistance, except the club's femme fatale chanteuse has lost interest in singing and is just conversationally chattering in Swedish as a grinding, supernatural roar slowly envelops everything. I would be thrilled if there were a few more songs like that on √ñmhet & Skilsm√§ssa, but I genuinely love the spell that the collective casts on this album. Enhet F√∂r Fri Musik are channeling something truly radical: a simpler pre-internet era before regional character, emotional directness, and intimacy were nearly wiped off the map by advances in production technology and all-consuming international trends. And they seem to be confidently climbing farther and farther out on that limb with each new release.
Samples can be found here.