Old Lost John: Reviews

Swedish folk noir that manages to sound fresh and new

Swedish, moody, and wrapped up in that American folk-noir vibe seemingly de rigueur in his homeland, Tomas Thunberg AKA Old Lost John however has an altogether wider sphere of influence on which he draws for his work. Alongside the obvious nods to the roots tradition there are elements of the carnival-esque roguishness of Waits mixed with winsome orchestrated, down-played grandness of, say, a stripped down Willard Grant Conspiracy. It all adds up to an excellent album of strong, absorbing songwriting and simplistic yet novel musical accompaniment.

Introspective tales of love lost, gone but not forgotten, is the order of the day here all supported tellingly by intermittent bursts of accompaniment from lone horns, waifish harmonies, or dark, distant mandolins. It makes for a wonderful un-hurried listen that gets even more appealing with repeated plays. Fellow ertwhistle Swede Thomas Denver Jonsson is on hand to keep stoking that lo-fi fire which, in these parts, is always most welcome. A noticeably different take on the traditional singer-songwriter approach so common place these days, Faceless is an altogether more intriguing proposition and a record well worth searching out.

Reviewers rating: 8/10

Malmo, Sweden is where we find our fearless troubadour Old Lost John, the moniker under which Tomas Thunberg resides. His new full length release titled Faceless is rife with the creepiness found in old photographs and campfire, Canterbury style folk tales. With a wispy, Bonnie “Prince” Billy rasp one must lay back and prepare for these 10 tracks.

This new breath of archaic wonderment that is Faceless begins with “Broken”.  Finger picking abounds next to trombone and female vocal accompaniment. “Broken” is part dark mid-night woods saga as well as something you’re comfortable playing in the midst of a friendly gathering. Track two, “Fairies And Fools”, with it’s underlying attempt to bring upon a dance, snaps it’s way through your ears and, dare I say, is lightly brushed with an Irving style Sleepy Hollow promenade. I feel the guests of this party are all spying at each other out of the corners of their eyes, plotting each others demise. Moving on through harsh territories, we’re met with the shining sun of the upbeat “Come Saturday”. This is true love is blind as Thumberg states. A meeting of two people and one must wait for those precious words of reassurance that yes, I felt it too. It’s a struggle maybe we have all been through in wanting something so badly as the love of another. By the end of this three minute jaunt, the listener is not given an answer as to what Saturday had in store for our poor protagonist, but Saturday could possibly be a larger representation of want, need, loss and hope.

An almost haunting cattle call brings us in to track four titled “In From the Cold”. Listening, wide-eyed at the oddity of the blaring horn beneath this lovely, almost silk in its smoothness, question filled number. A paradox perhaps between the boldness of the subject, pairing with the shuttering sound of a shouting horn, one would be quite obtuse as to not notice it’s obviousness. “Tremble” opens with a brief death march accordion. Breathing out in a sad sigh as Thumberg gasps through the words, “I tremble every time I hear your name”. It is a feeling of being overcome with sheer sadness as rustic creaks coast and intertwine their way through this desolate song. Start your head nodding and your foot to tapping as you roll on into track six, “She Won’t Listen”. We find another contradictory tale here, one being the subject matter coupled with the “swinging” musical styling of OLJ. The first words immediately bring you to the depths, “desire is like a loaded gun”. She’s gone so far from falling out of love that she doesn’t even like him anymore. I shake my head and stretch out my welcoming arms to you oh tragic soul, for straying into a world that will only bring you unending sorrow.

“Railway Car” is song I’ve heard countless times on Old Lost John’s myspace page and have patiently awaited it’s release. A chugger, this cool, country laced track moves along just like the title suggests. A send off, “Railway Car” is filled with one man questioning his own integrity. Are things better left unsaid? Would being misunderstood suit the situation any better? Regardless, this is the point where asking yourself these questions become moot, he is saying goodbye, and that is what is deemed to be of utmost importance. “Once I rode an Elephant in to a China shop, I just couldn’t help myself, I just couldn’t stop”. We’re privy to these explosive lines within track eight, “Nothing Good”. OLJ spends the next four minutes taking ownership for all that he is, of course one wonders if the autobiographical connotations are if fact based on truth. The revelation we find in “Nothing Good” is nothing short of the ability for a human being to step back and look outside the situation and recognize their faults.

“And She Looked Down” is shrouded in mystery and one listens with skepticism as you imagine three steady knocks upon the door. Again, an aura of wonder surrounds this track. What was the note that made her shiver?  Who was the man at her door with a blackbird on his shoulder, two foxes at his feet?. Like another of OLJ’s tales we’re left to wonder how it ends and in this case are left with only howling rain. The final track on Faceless leaves us as we began, to wonder. In “Dagger Dagger” the only thing we know is the fall of the dagger. A murderous tone illuminates the track as well as a surprising mid-song tonal switch that reminds me of the shock I felt in hearing the John Phillips song “Mississippi”.  The track ends with a final shuffle and bang, like the closing of a casket. What a wonderful image to encapsulate the overall feeling of this record.

I’m left in utter awe at the ten tracks on Faceless. Old Lost John has really embraced the overall rustic, cabin-esque, backwoods feel that any hauntingly beautiful folk record should be happen to posses. With a low, grainy vocal styling, OLJ soothes the listener and at the same time haunts and bewilders. At no time during Faceless was I not enthralled and completely entranced with every note, as well as every tale. Faceless is ten tracks that amaze, and Sweden has a gift, that we all need to notice and embrace.

Having released a handful of CD-R’s, Tomas Thunberg now graces our ears with his first official CD album, the beautiful and delicate “Faceless”, a collection of songs that are filled with a sadness and acceptance, not depressing but awash with wistfulness and wisdom. Opening track “Broken” finds the spirits of Townes Van Zandt and Leonard Cohen, walking across a desolate coastline, a mournful trombone adding gravity to the picked guitar phrases. On “Fairies and Fools”, a bowed saw and delicate backing vocals from Frida Astrand, create the perfect sonic landscape for the inherent sadness, some fine guitar fills completing the songs beauty.

More upbeat, “Come Saturday” has a sparkling guitar motif, simple and effective, the trombone again adding atmosphere, the lyrics not as cheerful as the bright tune would suggest. As with the rest of the tunes, the instrumentation on this song is pitched perfectly, allowing the listener to get lost within the small sketches and sad tales. After the graceful “In from the Cold”, complete with mandolin fills, things are slowed down for the droning “Tremble”, a pump organ and the sound of wine glasses used to devastating effect, an atmospheric delight that sounds better every time.

Consistent in its sound yet varied enough to hold the attention, this album maintains the quality throughout, with “Railway Car” reminding me of Iron and Wine with its hypnotic rhythm, whilst the bleakness of “Nothing Good” is an icy breath of surrender, lost love and memories, the line containing the word “Elephant” bringing a surreal smile to your lips!

To close the album, the wyrdness of “Dagger Dagger” will make you listen, as memorable a song as I have heard this year, the eerie atmosphere drawing a veil of mist around your ears, sounding like Kevin Ayers at his most atmospheric.

Low-key and personal, this is fast becoming one of this year’s favourites, try it and see for yourself.

La "credibilità" di un folk-writer al giorno d'oggi si misura in centimetri di barba, e in effetti nell'ideale collettivo questo "ornamento" che incornicia il volto sembra essere diventato il simbolo per eccellenza del songwriter moderno. Il cantautore svedese Tomas Thunberg, in arte Old Lost John, non fa eccezione, come dimostra piuttosto emblematicamente la cover "barbuta" del suo primo vero release, "Faceless", un lavoro che ben si colloca nel solco della tradizione cantautorale d'oltreoceano.

Preceduto da una serie di cd-r, tutti sold-out, "Faceless" è un album caratterizzato da una scrittura nitida e ben definita, con melodie semplici ma efficaci e una orchestrazione d'insieme volta a intensificare il mood crepuscolare che aleggia sui brani. A composizioni leggere e aggraziate, seppure piuttosto corpose, Thunberg abbina cupe atmosfere di desolazione e dolorosi scenari di solitudine, confezionando ballate dense di espressività. Tutto concorre a rafforzare il pathos a tinte scure dei brani: dai solenni lamenti di trombone in "Broken" al tagliente gelo della bowed saw in "Fairies And Fools", dal funereo incedere dell'organo a pompa in "Tremble" agli inquietanti rumorismi che popolano "Dagger Dagger".

Il folk noir di "Faceless" non si abbandona mai, tuttavia, allo sconforto disperato e totale, e così fremiti appassionati di mandolino e morbide carezze d'armonica accompagnano i ricami chitarristici del songwriter svedese, donando ai brani una fioca dolcezza ("Come Saturday", "She Won't Listen", "And She Looked Down"). Un altro elemento che caratterizza la musica di Thunberg è l'evocatività paesaggistica dei suoni: la cupa armonica nell'incipit di "In From The Cold" risuona come la sirena di una grande nave che solca i mari del Nord, gli svariati effetti sonori disseminati in "Railway Train" intensificano la sensazione di trovarsi in una stazione sperduta e polverosa del Far West, mentre le atmosfere da film horror che si respirano in "Dagger Dagger" raggiungono un climax nello spaventoso rumore "ligneo" sul finale, che sembra quasi provenire dal talamo di Nosferatu.

La voce maestosa e vagamente roca di Thunberg si posa con grazia sulla trama strumentale e narra storie di passioni e di vendetta, di viaggiatori dal passato misterioso e di amori burrascosi, mantenendosi sempre perfettamente allineata all'andamento umorale dei brani. Creature fatate accompagnano talora Thunberg nei suoi racconti, donando a questi ultimi un delicato candore, e i backing vocals di Frida Åstrand, in particolare, regalano a "Fairies And Fools" un sapore quasi fiabesco.

A dirla tutta, "Faceless" è un album che, sotto la coltre di cenere del suo folk a tinte scure, cela anche alcuni insospettabili "elementi di disturbo". Infatti, il cantautore svedese si diverte a lasciare sui suoi passi piccoli indizi "fuori contesto", come a volersi un po' burlare della sua stessa cupa attitudine alla scrittura o di un approccio eccessivamente serio all'ascolto dei suoi brani. Così, nel bel mezzo delle tristi riflessioni di "Nothing Good", sul livido incedere dell'organo a pompa, Thunberg esordisce con un "Once I rode an elephant in a Chinese shop", che affiancato alla mestizia del momento non può non suscitare, in un ascoltatore attento, una certa ilarità. E lo si potrebbe quasi scorgere che se la ride sotto i baffi immaginando l'inquietudine sul volto degli ascoltatori al sopraggiungere dello scricchiolio sinistro che conclude l'album, mentre a tal proposito nel booklet, parlando dell'ultimo brano, egli stesso svela: "E l'ultimissima cosa che sentite non è il rumore di una bara, ma sono io che chiudo il coperchio dell'organo a pompa". E, chi lo sa, forse sotto la mano che copre il suo volto sulla front-cover di "Faceless", Thunberg sta ancora segretamente sorridendo di noi.

7,5/10

Wat moet je denken als je een cd in handen krijgt van Old Lost John met een titel als “Faceless”. Op de voorkant van de hoes bedekt hij zijn gezicht. Het is allemaal niet zo mysterieus als je denkt. Verderop lezen we op het hoesje dat we niet met één of andere bebaarde oudere John te maken hebben maar met Tomas Thunberg, die inmiddels een aantal ep’s en cdr’s heeft uitgebracht. “Faceless” is thunberg’s officiële folky debuut cd die kenmerkt door de eenvoudige, doch karaktervolle toonzetting van het geheel. Met een mysterieuze, stripped sfeer die de gehele cd uitademt kom je in de buurt van Willard Grant Conspiracy en Leonard Cohen. Ontdaan van alle opsmuk laat tomas op “Faceless” een uitermate broeierig en bloedstollend geheel horen. Zoals Tomas al zingt op Railway Car “make myself misunderstood“, of in Nothing Good (don’t get any closer), door zijn gevoel van spanningsopbouw creëert hij zijn eigen mystieke wereld, gecombineerd met de pomporgel, mandoline en akoestische gitaar. Tien nummers lang met incidentele bijdragen van o.a. Frida Eklund en Thomas Denver Jonsson houdt Tomas Thunberg met zijn Dark Folk op “Faceless” de luisteraar in zijn greep. Een cd zonder enig teken van verveling, waarvan ik geen moment naar het einde snakte. Éen opmerking wil ik wel plaatsen: deze verhalenverteller uit Zweden vertolkt zijn songs op een eigen welbespraakte manier, die op toekomstige releases minder spannend zou kunnen worden als Tomas zijn liedjes op dezelfde manier dan benaderd als op “Faceless”.

 

Je kan je afvragen of het gebrek aan zonlicht in de Scandinavische landen een hormonale invloed heeft, maar het landschap aldaar lijkt toch een zekere mistroostigheid uit te stralen. Toch als je de tien songs van de Zweed Old Lost John beluistert, in het echte leven Tomas Thunberg. Als bevlogen artiest roept deze songsmid in zijn folk noir een melancholie op die je onmogelijk onberoerd kan laten. Instrumenten als zingende zaag, trombone en mandola en de vrouwelijke backing zang benadrukken de droefgeestigheid van de lyrische songteksten die Old Lost John allemaal zelf schreef. Hij producete ook dit album en bracht het uit op zijn eigen ‘Tight Grain’ label.

 

Daarnaast is hij multi-instrumentalist, een fijngevoelig gitarist die met klanken en gevoelssferen speelt. Met zijn geëmotioneerde wijze van zingen beroert Old Lost John elke gevoelssnaar, alsof je mist en neerslag als tranen een voor een van de boomschors ziet glijden. Old Lost John doet je denken aan een boswachter die zich in de natuur schuil houdt om daar zijn eigen zielenleed te laten helen. Als je het bloedmooie ‘She Won’t Listen’ hoort dan tovert zijn hese stem en mandoline dergelijk beeld voor je geestesoog. Maar ook ‘Come Saturday’ en ‘In From The Cold’ grijpen je aan als de ondefinieerbare schittering van het noorderlicht. Bij ‘Nothing Good’ zou je dan weer de songsmid uit Malmo willen behoeden voor een teveel aan schrijnende emoties.

 

Op ‘And She Looked Down’ krijgt hij troost van Olof Jennfors’ mandoline en zingt Thomas Denver Jonsson mee, een bevriend songwriter. De ijle vrouwelijke backing hier en daar, o.m. van Frida Ekerlund en Frida Astrand, en John’s pomporgel en melodeon evoceren dezelfde sfeer als deze bij ‘The Low Anthem’. Je waant je verdwaald in een bevreemdend landschap waar existentiële pijn schuil gaat in de ogen van vogels en dieren. Old Lost John zelf neemt de gedaante aan van een pelgrim die van het eigen leed alleen de schoonheid meeneemt. Hij verpakt die in een quasi oud vertelselboek met onsterfelijke songs die hij aanbiedt aan elke luisteraar die er open voor staat, 35 minuten lang.

Denier album de Old Lost John (Tomas Thunberg). Un peu comme d’habitude. C’est a dire, ce que je connais de lui. Americana mélangé avec Tom Waits. Des couleurs sombres, mais avec un beauté incroyable. Old Lost John est un de mes héros. Son nouvelle album Faceless est un collection de chansons rempli de tristesse et acceptation. Pas forcement dépriment, mais plus tôt le point de vue d’un sage, calme et réaliste.

Les chansons retrouvent les esprits de Townes van Zandt, tom Waits et Leonard Cohen. Des mélodies guitares simple et efficace. En ajoutent des instrument comme la trombone et une scie les chansons trouvent plus de couleur et profondeur.

Old Lost John mérite bien ce premier album officiel et l’album mérite d’etre écouter. Mais vraiment écouter.

Wat moet je denken als je een cd in handen krijgt van Old Lost John met een titel als "Faceless". Op de voorkant van de hoes bedekt hij zijn gezicht. Het is allemaal niet zo mysterieus als je denkt. Verderop lezen we in het hoesje dat we niet met één of andere bebaarde oudere John te maken hebben maar met Tomas Thunberg, die inmiddels een aantal ep's en cdr's heeft uitgebracht.

"Faceless" is Thunberg's officiële folky debuut cd die kenmerkt door de eenvoudige, doch karaktervolle toonzetting van het geheel. Met een mysterieuze, stripped sfeer die de gehele cd uitademt kom je in de buurt van Willard Grant Conspiracy en Leonard Cohen. Ontdaan van alle opsmuk laat tomas op "Faceless" een uitermate broeierig en bloedstollend geheel horen. Zoals Tomas al zingt op Railway Car "make myself misunderstood", of in Nothing Good (don't get any closer), door zijn gevoel van spanningsopbouw creërt hij zijn eigen mystieke wereld, gecombineerd met de pomporgel, mandoline en akoestische gitaar. Tien nummers lang en incidentele bijdragen van o.a. Frida Eklund en Thomas Denver Jonsson houdt Tomas Thunberg met zijn Dark Folk op "Faceless" de luisteraar in zijn greep. Een cd zonder enig teken van verveling, waarvan ik geen moment naar het einde snakte. Éen opmerking wil ik wel plaatsen: deze verhalenverteller uit Zweden vertolkt zijn songs op een eigen welbespaakte manier, die misschien wel te herkenbaar zou worden op toekomstige releases.

"(...) dark brooding music subtly arranged and beautifully performed. (...) We think Old Lost John is an exceptional, yet so far relatively undiscovered artist that brings great atmosphere and intensity to his music."

"Thunberg has this unique ubiquity gift allowing you to fly over the mediterranean and reaching the higher plains of Montana at the same time. This guy is the meeting of two genious artists, Leonard Cohen and Knut Hamsun... Sure, many of you will ban me forever to join together such talents opposed by history. But I hope listening to the following song (She Won't Listen), Thomas recently published on his website will change your mind…"

"Old Lost John has put up a beautiful new song (She Won't Listen). This is a song that J Tillman or Richard Buckner would have been thrilled to have written/performed."

"Highly recommend Old Lost John, not just another guitar slinger with a record but an assured, competent and original songwriter and performer."

"More fantastic Scandinavian music. I love the organic sound, and this guy’s songs are fantastic."

"...Old Lost John sound like Leonard Cohen in the rain, an even more somber and lonely Leonard Cohen than we're used to."

"If you want to hear a guy that can carry a song with an acoustic guitar and a voice...look no further. Tomas Thunberg has a way of writing folk songs that are timeless...and will always stay that way. Free of all gimmicks and dated characteristics...the level of Old Lost John's music might never be reached by any other indie-folk artist."

"If there's anyone who hasn't checked out the tracks at oldlostjohn.com you are missing out!"

"(...) one of the most moving collections of songs I've heard in quite some time. (...) heartfelt storytelling at its best."

"(...) en otroligt skön singer/songwriter som kallar sig Old Lost John (Tomas Thunberg). Hans musik är något nedtonad men hans attityd har en gnutta självironi innehavande. Normalt brukar han vara uppbackad av en smärre ensemble och mitt under en pågående snyftare börjar Tomas trumpeta med läpparna (förmodligen till följd av en avsaknad trumpet) och delar av publiken brister ut i skratt. Tomas har en otroligt skön, djup röst och väldigt folkig, något bluesaktig attityd i gitarrspelet vilket gör honom till något av en sagoberättare där han sitter."

"Visst är det en förunderlig internetvärld vi lever i. Via forumet på en engelsk hemsida hittade jag en länk till Old Lost John. Som bor och verkar i Malmö. Visst är det lo-fi, men med närhet och intensitet. Och riktigt bra låtar."

(Håkan Olsson väljer Old Lost John's 'The Story So Far' bland "bäst just nu".)

"Old Lost John är ett musikprojekt som berör de flesta. Tomas Thunberg har med säker hand utvecklat sin musik i traditonell singer/songwriter stil. Texterna är på engelska och väcker uppmärksamhet inte minst i den anglosaxiska världen. (...) Tomas är både generellt beläst och fil.kand. inom religionshistoria. Det märks i texterna som ofta har en avancerad eller gömd symbolik."