Sept. 20 street date. In the symbology of JENS LEKMAN's songbook, motion is a means to stave off insanity or succumb to it and the songs on the 'An Argument With Myself EP deal with many types of movement, both big and small, from why he moved to Melbourne to the societal change/movement in his old hometown of Gothenburg to simple map directions. With more fractured textures that combine horns, flutes, string swells and arpeggiated guitars, the opening of the EP finds Jens in constant state of transition, musically, as well.
Sept. 20 street date. In the symbology of JENS LEKMAN's songbook, motion is a means to stave off insanity or succumb to it and the songs on the 'An Argument With Myself EP deal with many types of movement, both big and small, from why he moved to Melbourne to the societal change/movement in his old hometown of Gothenburg to simple map directions. With more fractured textures that combine horns, flutes, string swells and arpeggiated guitars, the opening of the EP finds Jens in constant state of transition, musically, as well.
June 4 street date. Extremely limited Secretly Canadian 25th anniversary edition of Jens Lekman's 2004 album "When I Said I Wanted To Be Your Dog". Jens Lekman loves to fixate on inspiration and has a special gift for not only finding it, but spreading it. His songs are each so different stylistically, each a classic in its own way. He employs each of the following as central features in his songs: horn sections, string sections, a capella singing, steel drums, piano balladry, and mandolin. His timeless elegance makes the big, beautiful suburban pop songs sound like they're already classics. Which they are.
June 3 street date. Casting his mind back over twenty years to his first rudimentary experiments with sampling using his father's old cassette recorder, Jens Lekman recalls an instinct to create music that would set him far apart from his Swedish pop peers: "all my friends were playing in these bass-guitar-drum bands", he says. "I'm going to sound like Scott Walker. But I'm going to do it in my bedroom". Works of sweeping, maximalist, orchestral wonder sung in a sumptuous tenor, weaving lifts from obscure flea market vinyl records, telling burningly romantic and mordantly funny true-life tales from the sleepy-shadowy suburbs of Gothenburg, Lekman's early songs come from a different time and place: an era when the internet was young, limitless and disruptive, sample culture was turning music inside out, and anything felt possible. "The Cherry Trees Are Still In Blossom" and "The Linden Trees Are Still In Blossom" are a pair of lovingly and painstakingly assembled reduxes, each keeping the same core tracklisting, spirit and source material as the originals, but blending brand new versions of some tracks, in part or in whole, together with many tracks left largely as they were. Both records are fleshed out with rare, previously unreleased, and even previously unfinished old songs, as well as other contemporaneous material such as cassette diaries.
June 3 street date. Casting his mind back over twenty years to his first rudimentary experiments with sampling using his father's old cassette recorder, Jens Lekman recalls an instinct to create music that would set him far apart from his Swedish pop peers: "all my friends were playing in these bass-guitar-drum bands", he says. "I'm going to sound like Scott Walker. But I'm going to do it in my bedroom". Works of sweeping, maximalist, orchestral wonder sung in a sumptuous tenor, weaving lifts from obscure flea market vinyl records, telling burningly romantic and mordantly funny true-life tales from the sleepy-shadowy suburbs of Gothenburg, Lekman's early songs come from a different time and place: an era when the internet was young, limitless and disruptive, sample culture was turning music inside out, and anything felt possible. "The Cherry Trees Are Still In Blossom" and "The Linden Trees Are Still In Blossom" are a pair of lovingly and painstakingly assembled reduxes, each keeping the same core tracklisting, spirit and source material as the originals, but blending brand new versions of some tracks, in part or in whole, together with many tracks left largely as they were. Both records are fleshed out with rare, previously unreleased, and even previously unfinished old songs, as well as other contemporaneous material such as cassette diaries.
June 3 street date. Casting his mind back over twenty years to his first rudimentary experiments with sampling using his father's old cassette recorder, Jens Lekman recalls an instinct to create music that would set him far apart from his Swedish pop peers: "all my friends were playing in these bass-guitar-drum bands", he says. "I'm going to sound like Scott Walker. But I'm going to do it in my bedroom". Works of sweeping, maximalist, orchestral wonder sung in a sumptuous tenor, weaving lifts from obscure flea market vinyl records, telling burningly romantic and mordantly funny true-life tales from the sleepy-shadowy suburbs of Gothenburg, Lekman's early songs come from a different time and place: an era when the internet was young, limitless and disruptive, sample culture was turning music inside out, and anything felt possible. "The Cherry Trees Are Still In Blossom" and "The Linden Trees Are Still In Blossom" are a pair of lovingly and painstakingly assembled reduxes, each keeping the same core tracklisting, spirit and source material as the originals, but blending brand new versions of some tracks, in part or in whole, together with many tracks left largely as they were. Both records are fleshed out with rare, previously unreleased, and even previously unfinished old songs, as well as other contemporaneous material such as cassette diaries.
June 3 street date. Casting his mind back over twenty years to his first rudimentary experiments with sampling using his father's old cassette recorder, Jens Lekman recalls an instinct to create music that would set him far apart from his Swedish pop peers: "all my friends were playing in these bass-guitar-drum bands", he says. "I'm going to sound like Scott Walker. But I'm going to do it in my bedroom". Works of sweeping, maximalist, orchestral wonder sung in a sumptuous tenor, weaving lifts from obscure flea market vinyl records, telling burningly romantic and mordantly funny true-life tales from the sleepy-shadowy suburbs of Gothenburg, Lekman's early songs come from a different time and place: an era when the internet was young, limitless and disruptive, sample culture was turning music inside out, and anything felt possible. "The Cherry Trees Are Still In Blossom" and "The Linden Trees Are Still In Blossom" are a pair of lovingly and painstakingly assembled reduxes, each keeping the same core tracklisting, spirit and source material as the originals, but blending brand new versions of some tracks, in part or in whole, together with many tracks left largely as they were. Both records are fleshed out with rare, previously unreleased, and even previously unfinished old songs, as well as other contemporaneous material such as cassette diaries.
June 3 street date. Casting his mind back over twenty years to his first rudimentary experiments with sampling using his father's old cassette recorder, Jens Lekman recalls an instinct to create music that would set him far apart from his Swedish pop peers: "all my friends were playing in these bass-guitar-drum bands", he says. "I'm going to sound like Scott Walker. But I'm going to do it in my bedroom". Works of sweeping, maximalist, orchestral wonder sung in a sumptuous tenor, weaving lifts from obscure flea market vinyl records, telling burningly romantic and mordantly funny true-life tales from the sleepy-shadowy suburbs of Gothenburg, Lekman's early songs come from a different time and place: an era when the internet was young, limitless and disruptive, sample culture was turning music inside out, and anything felt possible. "The Cherry Trees Are Still In Blossom" and "The Linden Trees Are Still In Blossom" are a pair of lovingly and painstakingly assembled reduxes, each keeping the same core tracklisting, spirit and source material as the originals, but blending brand new versions of some tracks, in part or in whole, together with many tracks left largely as they were. Both records are fleshed out with rare, previously unreleased, and even previously unfinished old songs, as well as other contemporaneous material such as cassette diaries.
June 3 street date. Casting his mind back over twenty years to his first rudimentary experiments with sampling using his father's old cassette recorder, Jens Lekman recalls an instinct to create music that would set him far apart from his Swedish pop peers: "all my friends were playing in these bass-guitar-drum bands", he says. "I'm going to sound like Scott Walker. But I'm going to do it in my bedroom". Works of sweeping, maximalist, orchestral wonder sung in a sumptuous tenor, weaving lifts from obscure flea market vinyl records, telling burningly romantic and mordantly funny true-life tales from the sleepy-shadowy suburbs of Gothenburg, Lekman's early songs come from a different time and place: an era when the internet was young, limitless and disruptive, sample culture was turning music inside out, and anything felt possible. "The Cherry Trees Are Still In Blossom" and "The Linden Trees Are Still In Blossom" are a pair of lovingly and painstakingly assembled reduxes, each keeping the same core tracklisting, spirit and source material as the originals, but blending brand new versions of some tracks, in part or in whole, together with many tracks left largely as they were. Both records are fleshed out with rare, previously unreleased, and even previously unfinished old songs, as well as other contemporaneous material such as cassette diaries.
July 17 street date. After completing his previous projects "Postcards" and "Ghostwriting", Jens Lekman came up with a new idea. He asked fellow Swedish songwriter Annika Norlin (Hello Saferide, Säkert!) to join him. The idea was that throughout the year of 2018, the two of them would correspond through music. Each month, one of them would write a song and the next month, the other one would reply. The rules were simple - one letter each month throughout the year - in total, six songs for Jens and six for Annika. Only one instrument could be used for each song. This was TO help them focus on the songs/letters instead of the production. "Correspondence" gave Jens and Annika an outlet for more spontaneous ideas, and they decided to stay under the radar by only releasing the songs on the "Correspondence" website, and a Spotify playlist. Most of the time they forgot that anyone else could hear the songs, and they turned out very personal. As the project came to an end, Jens and Annika listened through the songs and felt pleased with the results. An epistolary novel in the form of twelve folk songs. Jens wrote string arrangements for half of the songs and brought in violinist Ellen Hjalmarsson and cellist Petra Lundin. For the first time since the digital release, their correspondence will be released on vinyl.
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