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Other products from Molly Nilsson |
| Details / Tracklist: |
1.1 1. Prologue - Proud Destiny1.2 2. Excalibur1.3 3. Palestine1.4 4. Jackboots Return1.5 5. Wetcheeks1.6 6. Red Telephone1.7 7. Naming Names1.8 8. The Communist Party1.9 9. The Beauty Of The Duty1.10 10. Point Doom |
 | | Number of discs: |
1 |
| | Description: | Un-American Activities is the 11th Studio album by Molly Nilsson.Written and recorded entirely on location in
California at the former home of writer, poet and early opponent of theNational Socialist regime in 1930s Germany,
Lion Feuchtwanger and his wife Marta. An album of experimentation,genre-mashing and, above it all, Nilsson??s
instantly recognisable melodic skill and empathy, it continues thesongwriter??s explorations of power, freedom,
oppression and its opposing force, a love unbound.
After accepting an artist residency as part of the Villa Aurora program,Nilsson began work crafting a new album
from scratch in a new environment, aff orded the freedom, space andtime to challenge her practice and take her
music into new territory. The resulting work, Un-American Activities, is alove note not only to the artist who was
among the very fi rst to be declared an ??enemy of the state? by the Naziregime but also to both the eternal struggle
he fought and the human spirit that pervades all of Nilsson??s best work.It is also a double-pointed poison pen
letter: a critique of the new forms of oppression wielded by hertemporary adopted country of the USA but also an
acknowledgement of the promise it always off ers but never fulfi ls.
Along with the novel use of colour and photography in the artwork forUn-American Activities, there are swathes of
new techniques, genres and timbres new to Molly Nilsson??s music inevidence, 16 years into her music career. On
Jackboots Return is an icicle-cold New Beat track that deals directly withthe current situation in Germany and
the resurgent Nazi-affi liated AfD. The question the song asks is, what??sthe timeframe we??re talking about? Is this
the 30s, or somewhere a lot closer to home? The beat is picked up onThe Communist Party, Nilsson??s deepest
2 of 2 WAS - Word and Sound Medien GmbH
bow to House music, evoking the early 90s Rave pioneers, Belgian 80smusic and Vogue-era Madonna. Here the
lyrics are direct quotes from the McCarthy-era, anti-Communistpamphlet 100 Things You Should Know About
Communism in the U.S.A. The Beauty Of The Duty does to poundingElectro what Nilsson??s last album Extreme
did to Metal: subsume it into the Molly Nilsson aesthetic. It goes hard.
While Un-American Activities fi nds Nilsson experimenting, creatinginstinctive music on a fi rst-thought-bestthought basis there are still??classic? Molly moments liberally spread throughout. Excalibur feels likethe Molly of
old, an absolute star of a chorus refrain smudged with the vaseline offuzz and hope, Red Telephone is wide-eyed,
slathered in reverb and chorus eff ects, distorted with soaring melody, aheart-tugger that tugs the body upwards to
the heavens with each evolving wave. Glistening digital tones washthrough the album, providing a Y2K
etherealness to Nilsson??s audacious Stars and Stripes reference toWetcheeks. Perhaps the album??s standout,
however, is Palestine (Somewhere Over The Rainbow), which is suff usewith empathy, solidarity and, in
referencing the classic socialist-penned canon song from The Wizard OfOz, speaks directly to the tradition of
fi
ghting oppression with full hearts of hope. - Un-American Activities is the 11th Studio album by Molly Nilsson. Written and recorded entirely on location in California at the former home of writer, poet and early opponent of the National Socialist regime in 1930s Germany, Lion Feuchtwanger and his wife Marta. An album of experimentation, genre-mashing and, above it all, Nilsson's instantly recognizable melodic skill and empathy, it continues the songwriter's explorations of power, freedom, oppression and it's opposing force, a love unbound.After accepting an artist residency as part of the Villa Aurora program, Nilsson began work crafting a new album from scratch in a new environment, afforded the freedom, space and time to challenge her practice and take her music into new territory. The resulting work, Un-American Activities, is a love note not only to the artist who was among the very first to be declared an "enemy of the state" by the Nazi regime but also to both the eternal struggle he fought and the human spirit that pervades all of Nilsson's best work. It is also a double-pointed poison pen letter: a critique of the new forms of oppression wielded by her temporary adopted country of the USA but also an acknowledgement of the promise it always offers but never fulfills.Along with the novel use of color and photography in the artwork for Un-American Activities, there are swathes of new techniques, genres and timbres new to Molly Nilsson's music in evidence, 16 years into her music career. On "Jackboots Return" is an icicle-cold New Beat track that deals directly with the current situation in Germany and the resurgent Nazi-affiliated AfD. The question the song asks is, what's the timeframe we're talking about? Is this the 30s, or somewhere a lot closer to home? The beat is picked up on "The Communist Party," Nilsson's deepest bow to House music, evoking the early 90s Rave pioneers, Belgian 80s music and Vogue-era Madonna. Here the lyrics are direct quotes from the McCarthy-era, anti-Communist pamphlet 100 Things You Should Know About Communism in the U.S.A. "The Beauty Of The Duty" does to pounding Electro what Nilsson's last album Extreme did to Metal: subsume it into the Molly Nilsson aesthetic. It goes hard.While Un-American Activities finds Nilsson experimenting, creating instinctive music on a first-thought-best-thought basis there are still "classic" Molly moments liberally spread throughout. "Excalibur" feels like the Molly of old, an absolute star of a chorus refrain smudged with the vaseline of fuzz and hope, "Red Telephone" is wide-eyed, slathered in reverb and chorus effects, distorted with soaring melody, a heart-tugger that tugs the body upwards to the heavens with each evolving wave. Glistening digital tones wash through the album, providing a Y2K etherealness to Nilsson's audacious Stars and Stripes reference to "Wetcheeks." Perhaps the album's standout, however, is "Palestine (Somewhere Over The Rainbow)," which is suffuse with empathy, solidarity and, in referencing the classic socialist-penned canon song from The Wizard Of Oz, speaks directly to the tradition of fighting oppression with full hearts of hope. | | | No. of tracks: |
10 |
| | Manufacturer No.: |
LSSN097 |
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