Emerging out of the nordic experimental music scene, Fågelle is a wild collision of lyrical beauty and unhinged, raw expression. Soundscapes, heaving with intricate detail, meet radically fragile and powerful vocals.

On her upcoming album Den svenska vreden (The Swedish rage), coming out on Medication Time Records (BRUIT ≤, Glassing) on 27th January 2023, she explores feelings of isolation and anger in collage-like soundscapes made with twisted field recordings, mobile memories, digital trash, dark electronics, and howling choirs while moving between harmony and noise. She juxtaposes lyrical songwriting and disruptive experiments to reflect the whole in all their facets.

Den svenska vreden is now available for pre-order through Bandcamp. To find out more about Fågelle and her musical influences we asked her to list three releases that have influenced her musically a lot.

Fred Åkerström – Två Tungor

My dad listened to this record all the time when I was growing up. Fred Åkerström is the most intensely melancholic of the Swedish folk singers. Half of the record is like that, and the other half is pretty kitschy. I started listening to it on my own a lot when I first moved to Berlin. He has this dark, vulnerable voice that is always intimately connected to the text. Två Tungor is the saddest song I’ve ever heard.

Jenny Hval – Blood Bitch

This record is the perfect mix of poetry, sound experiments, and pop. It underscored for me that you can do whatever you want with the minutes you have on your album. There are so many interesting production choices where she’s layering and juxtaposing sounds to world build and tell a complex story. She has an almost aggressively personal approach and works with documentary material while not shying away from the pop song format when it makes sense. It’s incredibly boundless.

Swans – The Seer

There’s a specific moment on this record, halfway into ‘The Wolf’, where you move from inside a dampened studio into some sort of empty, noisy factory room. The sparse instrumentation of Michael Gira singing and playing the acoustic guitar doesn’t change throughout, just the space. When I first heard that, it blew my mind. It showed that space is a musical parameter as crucial as rhythm or melody. And the record, in general, is a deep, dark, ominous masterpiece.

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