I think the fascination that emanates Saralunden is partly due to her mysterious voice, so full of melancholy and strength at the same time, and to the mysteriousness of her persona, which all probably started by the simple act of dropping the space between her first and last name. Musicians definitely fall for her charisma and presence easily, but that is also true for listeners. Just take a breathe of how she sings on ÒOh so blueÓ on this six song collection, so fragile and beautiful it makes you hurt with glee. Or the age old longwinding of vocals she uses in the almost folk tale ÒDonÕt you rememberÓ that draws you into a story of love and love lost that seems centuries old. I could go on about each and every song on this compilation. I think I am starting to fall for Sara Lunden myself. This record and the collaboration with Kyrre Bjцrkas and Andreas Mjцs released at the same time on new nexsound-pop-branch-label is enough to get me addicted.

What exactly the mystery of female singers from the farthest north of Europe really is (Bjцrk, Frida Hyvцnen, et. al.) is far beyond me. There probably is something in the water or in the air. I might just be diluded by a not representative sample of singers that reach me, but when have I ever written about something else but my own illusions of what reality could be like. I also have the hunch that Sara Lunden has a penchant for producing music with men she has or has had an affair with, which I have no proof for other than the deepness of how the songs are being played together and a certain sense of relationship in the sound. Oh yeah, and the illustration on the cover of the record, which displays a certain kind of intimacy. To note, I am not interested in what she does in her private life, but if it has an effect on the music, then I take a note. And there definitley is an effect in affection.

What is also fascinating, is the electronic fundaments that Andrey Kiritchenko lays down for Saralunden to sing on. Not only do they contain some guitar here and there and other ÒrealÓ instruments, but the most amazing thing is how sensitive and gentle Kiritchenko uses his electronic tools to support the vision of the song. I know him to have used his tools for mostly power measures and walls of pure distortion as well. But here there is no piercing of eardrums or shocking of listeners intended. He steps back and opens up doors and stairways for Saralunden to expand on. All for the sake of the song. At other times he uses tiny snippets and samples of Sara Lundens singing, on the beginning of Òoh so blueÓ only the breathing sounds of her, to add shapes and fragrances to the basis of the tracks.

Thematically the songs are close again to what has been laid down on ÒdubiousÓ as well. Love and love lost, the depths and heights of personal relationships and private obsessions. ÒI have had erotic dreams about youÓ she sings on Òerotic dreamsÓ something I am sure you wonÕt hear from either Celine Dion or KT Turnstall in the near future. This openness in exploring her own inner self, her psychosis and psyche makes the songs more honest and more real, no matter how much electronics there are in the back. Hyvцnens piano is no more real as an instrument than KiritchenkoÕs switchboard. The opener ÒCome with meÓ is sparsely but originally arranged, later on the arrangements become more lively, layered and dense.

Even though the label calls its new branch Òmore accessibleÓ this is no easy music, especially not when you dare to listen closely and really dig into the songs and the music. There are many hidden depths and cliffs in the dark waters around here. The dancing sounds of swirling electronic butterflies around SaralundenÕs voice on ÒOh so blueÓ only add balance to the hurried and worrying breathing sounds mixed further in the back. The depth of the melancholy and the tinge of pain in the singing of ÒdonÕt you rememberÓ, a song about lost love if there ever was one. Lyrics like ÒdonÕt you remember, how it felt so good, when we first kissedÓ that sound bland and immature written down, gain in size and emotional depth with the ability of the interpreter, the singer. There is so much in these songs it is impossible to name it all. And yet this is only six songs on one CD-EP. I wish there were no end.



This collaborative project has its roots in a Swedish Institute initiative which took place in spring 2006. With the aim of promoting relations between Sweden and Ukraine, four musicians from each country were asked to work together. There's a curious sense of dislocated tension in these songs which could be derived from their unorthodox genesis, couching Lunden's faux naif, sing song delivery against Kiritchenko's uneasily shifting electronic backcloth. Titles such as "Come With Me" and "Oh So Blue" are knowingly banal and the lyrics offer a similarly deadpan version of the utterly conventional. But they are transformed by the slurred handclaps, queasily manipulated vocals and restlessly uncertain tempos. The overall impression is of a compromised emotional landscape not a million miles away from Throbbing Gristle's 20 Jazz Funk Greats, and the closing, half whispered phrase -"Tonight you gave me something / will always remember"- hangs in the mind after silence has closed over it, resonant and ambiguous.

Chris Sharp



Az album egy zenei k’sŽrlet illetve egyŸttműkšdŽs Žs egy ukrajnai turnŽ eredmŽnye, amelyet Kiritchenko Žs Lunden hozott šssze a ukr‡n Nexsound kiad— (ami Kiritchenko saj‡tja) Žs a Swedish Institute szervezŽsŽben tavaly ősztől egŽszen 2007 tavasz‡ig. Saralunden 1998-ban kezdett el zenŽket kŽsz’teni, Žs m‡ra kiteljesedett az a hangz‡svil‡g amely olyan egyedivŽ teszik projektjei hangvil‡g‡t, a disco-t—l a sanzonon ‡t az elektro-ig. FellŽpŽsei egyben performanszok is egyben, ezŽrt – a hangja Žs Žnekei miatt is – egyből Laurie Anderson jut eszembe. A stockholm-i kŽpzőművŽszeti egyetemen vŽgzett, tšbb kisfilmje kŽszŸlt a performanszok archiv‡l‡sa mellett. (; Andrey Kiritchenko az ukr‡n experiment‡lis elektronik‡ban ismert Žs elismert producer, kiad—tulajdonos. Egyike a kelet-eur—pai experiment‡lis zenŽk pioneer-jainak. ƒnekeskŽnt, zeneszerzőkŽnt Žs git‡roskŽnt kezdett el zenŽlni 1995-ben. Rengeteg projektet tett m‡r le az asztalra haz‡j‡ban Žs a legtšbb volt szovjet tag‡llamban. Dolgozott egyŸtt Francisco Lopezzel, Kim Cascone-val, Jonas Lindgrennel, Jeff Surakkal, Kotra-val, Mantichora-val, a The Moglass-szal Žs a tšbbi. KŽsz’tett remixet Frans de Waard-nak, Brian Lavelle-nek, Scanner-nek, Marcus Maeder-nek Žs a 833-45-nek. 2006-ban d’jat nyert a Qwartz Electronic Music Awards-on a ãDiscoveryÓ [J] kateg—ri‡ban. Elektroakusztikus zenŽit most nagy erőkkel kezdte el szupport‡lni a vil‡g minden t‡j‡ra. Az album a turnŽ felvŽteleiből hatot tartalmaz, a gyšngyszemeket v‡logatt‡k ki a hihetetlen mennyisŽgű hanganyagb—l. SzfŽrikus melank—lia j‡rja ‡t az egŽszet, Lunden nagyszerű, b‡r nŽhol kissŽ unalmass‡ v‡l— k‡nt‡l‡s‡val, amelyet Kiritchenko legtšbbszšr j— helyen Žrzett meg Žs spŽkelt hozz‡ egy-egy kiv‡l— hangot vagy effektet. A szšvegek szintŽn ezt a melank—li‡t, alkoholgőzšs estŽket tolnak lassan a szob‡ba, amiből az elektromos effektek garmad‡ja rŽm’t ki egy pillanatra, vagy Žpp hœz mŽg mŽlyebbre – j— Žrtelemben. TermŽszetesen a szerelem Žs a csal—d‡s sem nŽlkŸlšzhető ebből a hangulatb—l, ami ’gy ősz t‡j‡n tškŽletes elegyet ad egy hasonl— helyzeteket megŽlő hallgat—nak. A k’sŽrletező melank—li‡ba vegy’tett nagyfokœ ŽrdekessŽghalmaz a lemez. Kork


Musique Machine

It's a small world after all, we find here a project with Swedish singer/songwriter Sara Lunden joining forces Ukranian electronic artist Andrey Kiritchenko for a 25 minute EP.

Sara's voice in de first track Come With Me doesn't immediately take me in, so to speak. In the following track it turns out it wasn't so much the voice, but the melody that was somewhat problematic for me. As the EP continues things get more exciting, in melody but also in arrangement. Don't You Remember finds Sara somewhat absentmindend it seems, droning through soaring electronics. Next we find a more traditional song, with plain guitar, electric piano, ghostly backingvocals and some seemingly random sounds scattered around. Halfway into Erotic Dreams the sound reminds me of Depeche Mode, in some peculiar way. The sixth and last track finds us floating into the sea as Tonight seems to be some odd seashanty-out-of-joint.

It turns out that this EP is much nicer than I initially thought it was going to be judging on track one. Somewhat comparable to the female singer/songwriter with electronics combination we know from Susanna & The Magical Orchestra and Niobe's White Hats album, but very much creating their own little soundworld.

Martijn Busink



Andrey Kiritchenko er en flittig herre, der ikke alene udgiver stribevis af glimrende albums, men som ogsŒ finder tid til at drive det eksperimenterende label Nexsound og dertil arrangere den elektroniske festival Detali Zvuku i Kiev. PŒ pladefronten lod han senest h¿re fra sig med et album i Staalplaats Mort Aux Vaches-serie, men allerede fŒ mŒneder efter er han klar med endnu en udgivelse. Ganske vist drejer det sig blot om en ep med seks numre og en spilletid pŒ ca. 24 minutter, hvor Kiritchenko fŒr selskab af den svenske chanteuse Sara Lunden.

There Was No End, som samarbejdet er kommet til at hedde, udsendes i serien Nexsound PQP, der skal skabe plads til mere lettilg¾ngelig musik pŒ det ellers avantgardistisk orienterede label. Kiritchenko goes pop? Tja, letford¿jelig popmusik kan man vel n¾ppe kalde resultatet, men sandt er det da, at musikken har en i¿refaldende kvalitet, som ligger et godt stykke fra Kiritchenkos typisk noget mere abstrakte lydflader. Her er blid kvindevokal og svale, melankolske melodier, og sŒ handler det hele gudhj¾lpemig ogsŒ om k¾rlighed, hvad der trods alt er et slags spring for en kunstner, som for nylig udsendte et album, der havde udstoppede dyr som tema. Nu er det da ogsŒ Lunden, som stŒr for sangskrivningen, ligesom hun udover at synge spiller guitar, synth og blokfl¿jte. Kiritchenko giver sit besyv med i form af skr¿belige elektroniske teksturer, knitrende st¿j og manipulerede reallyde. Hans hŒndelag for den slags skinner tydeligt igennem, men omvendt er det en ny situation for ham at arbejde inden for rammerne af regul¾re sange. Sp¿rgsmŒlet er sŒ, om det er en god idŽ for ham at begive sig ind pŒ det territorium?

Jeg skal ikke l¾gge skjul pŒ, at jeg ved f¿rste gennemlytning var lettere skuffet. Det ville v¾re synd at sige, at blandingen af dr¿mmende kvindevokal, folkorienteret indiepop og knitrende electronica er nogen nyhed, og det kr¾ver altsŒ noget s¾rligt, for at min opm¾rksomhed kan holdes fangen. Det l¿d jo meget l¾kkert, men det virkede ogsŒ, som om Kiritchenkos brillante fornemmelse for lyd var reduceret til ren baggrundsflimmer for nogle lettere anonyme melodier. Og det var jo ikke lige det, jeg havde forventet fra ham.

Efter nogle flere gennemlytninger mŒ jeg dog erkende, at jeg har ladet mig forf¿re. Forf¿relse forekommer at v¾re det rette ord, for selvom pladen for en umiddelbar betragtning ikke g¿r det store v¾sen af sig, sŒ luller den alligevel stille og roligt Žn ind i en stemning, der f¿rst og fremmest kan beskrives som sexet. ÓCome with meÓ messer Lunden pŒ Œbningsnummeret af samme navn, og det g¿r man sŒ, indtil man ender pŒ en postorgastisk tangent i afslutningsnummeret ÓTonightÓ. Sammen synes de seks sange at danne en hel lille fort¾lling om forelskelse og forf¿relse, en fort¾lling, som samtidig kan l¾ses som bŒde en allegori over lytteprocessen og over spillet mellem de to musikere. I hvert fald kan man ikke lade v¾re med pŒ baggrund af teksterne at h¿re deres n¾sten hviskende anslag som gensidige k¾rtegn, generte, men ogsŒ dragende. ÓDon't you remember how you stroked my hairÓ synger Lunden, mens musikken netop knitrer som sŒdanne elektriske ber¿ringer. Det her er ikke bare kammerpop, men i allerh¿jeste grad sengekammerpop.

Det fine ved pladen er, at den skaber en formfuldendt erotisk stemning uden at havne i lummerhed og/eller ironisk retrokitsch. Ligeledes gŒr pladen ogsŒ uden om letk¿bte seksuelle effekter som st¿nnelyde og deslige. Det erotiske spil opstŒr udelukkende i energien mellem de to musikere, og selvf¿lgelig gennem selve sangenes elegante og n¾sten meditative kredsen om forf¿relsen. Lundens stemme kan i starten forekomme noget monoton, men det er faktisk med til at give sangene et fint, hypnotisk pr¾g. Samtidig rummer hendes stemme et m¿rke, der sammen med Kiritchenkos momentvis st¿jende passager, antyder den potentielle farlighed i situationen, frygten for at bev¾ge sig ud pŒ det dybe vand og eventuelt blive efterladt alene der. Hendes jazz- og folkpr¾gede fraseringer kan lede tankerne hen pŒ bŒde en Nico og en Feist. Det er dovent og sensuelt, men ogsŒ med et strejf af uheldsvangre skygger og smerte.

Decideret fremragende er numre som ÓDon't You RememberÓ og ÓTonightÓ, hvor melankoli og s¿dme gŒr op i en h¿jere enhed. OgsŒ ÓErotic DreamsÓ – et nummer, der virkelig lever op til sin titel – b¿r fremh¾ves. Som sagt b¿r numrene dog h¿res som Žn samlet fort¾lling. Ikke nogen stor episk gestus, men et lille, intenst kammerspil. Og det har bestemt ogsŒ sin ret, selvom jeg nok ikke hŒber, at Kiritchenko dropper sine mere avantgardistiske tilb¿jeligheder for at begynde at spille indbydende indietronica. Det er der nok heller ikke nogen virkelig grund til at frygte; ergo kan man uden skrupler godt tillade sig at nyde denne charmerende lille flirt af en plade som det, den nu er.

Rasmus Steffensen



NŠr jag var en liten snorgŠrs nŠrde jag nŒgra dršmmar om framtida jobb. Ett av dem var att bli pilot. Otaliga var de flygplansbšcker som lŠstes. Spitfire och Boeing, Messerschmitt och Airbus. Ett synfel satte effektivt stopp fšr mina fantasier. En mental sŒ vŠl som fysisk nŠrkontakt mellan tŒ och tršskel kan framkalla smŠrta. Ett annan dršm var att ratta en demoleringsmaskin (med stor, svart, fin stŒlkula). Riva byggnader. Mumma! Pentyl, trotyl och nitroglycerin var ord vars sprŠngverkan jag kunde redogšra fšr nŠr som helst. Det kan lŒta destruktivt, att fšrstšra saker. Men det Šr det inte. Det handlar om att skapa utrymme. Tomma rena ytor. I den vŠrld du och jag lever i, sŒ šverbelamrad med intryck, Šr det viktigt att skala av, plocka bort, avytra. En inre frid att kunna tŠnka innebŠr att kunna leva. Just det hŠr ekande tomma utrymmet Œterfinns pŒ Sara Lundens och Andrey Kiritchenkos 'There was no End'. Ett tillfŠlle om 23 minuter att hŠmta andan. Viskningar utan rop i skšn symbios med elektroniskt gnissel och bludder gnuggar igŒng en šverbelamrad hjŠrna. Som nŠr nŒgon tar ett djupt andetag och flŠmtar till i suverŠna Bjšrk-pastischen 'Oh so Blue'.

Skivbolaget Nexsound kallar det 'indie-tronica'. Ack sŒ rŠtt de har.

LŒttips: 'Oh so Blue' och 'Erotic Dreams'.

Fšrfattare: Peter Larsson



Might of course be just me not knowing much, but the name Sara Lunden is new to me. She plays synthesizer, vocals, guitar and recorder and composes songs. How she recorded this album with Andrey Kiritchenko (objects, drums, field recordings, programming, electronics and editing) I don't know. Did they sat together and made or did Kiritchenko add his part later? In any case, that is not of real importance, the music counts. A lot. Lunden's voice is alike Portishead and other trip hop like artists, but the music is not like that all. Melodic and melodramatic glitch pop music. There are elements to be recognized from the abstract clicks 'n cuts music, but the overall emphasizes lies on popmusic. Maybe the voice is a bit too much like the triphoppers of this world, but throughout I must admit I thought this was a highly enjoyable release. Careful, vulnerable popmusic with a great modern touch.

Frans de Waard



This is a new series of Nexsound that takes the name of PQP (pickup) which is dedicated to release more accessible music in the likes of experimental pop. So were released two EP's: 'There Was No Fun' of the Swedish Saralunden (aka Sara Lunden) and the Ukrainian Andrey Kiritchenko, founder of the Nexsound label and a renown artist of the experimental scene in his country and abroad. In addition the 'Dubious' EP by Saralunden.BjšrkŒs.Mjšs. This project arises in the spring of 2007 during Saralunden tour to Ukraine, after a year or so when four Ukrainian artists were invited in May of 2006 - among them Kiritchenko - to Stockholm by the Swedish Institute for an interchange with musicians of that country. There are two notables here. The first song ÔCome With MeÕ that blend minimal electronics that cede to a certain tension between the keyboard ambient lines and the clap hands, and ÔDonÕt You RememberÕ, with the angelical vocals of Sara Lunden and KiritchenkoÕs obscure organ chords and the synthetic noises. Guillermo Escudero September 2007


Esta es una nueva serie de Nexsound que lleva el nombre de PQP (pickup) y que est‡ dedicada a editar mœsica m‡s accesible que se inscribe en el pop experimental. De esta forma se editan dos EPÕs: ÒThere Was No FunÓ de la sueca Saralunden (aka Sara Lunden) y el ucraniano Andrey Kiritchenko, fundador del sello Nexsound y referente destacado de la escena experimental en su pa’s. Adem‡s, "Dubious" de Saralunden. BjšrkŒs.Mjšs.
Este proyecto surge en la primavera de 2007 durante la gira que hace Sara Lunden a Ucrania, luego que cuatro artistas ucranianos en mayo de 2006 fueran invitados – entre ellos Kiritchenko – a Estocolmo por el Instituto Sueco para un intercambio con mœsicos de ese pa’s. 
Hay dos temas destacados en este EP. El primer el tema ÒCome With MeÓ que combina bien la electr—nica minimalista librando cierta tensi—n entre las l’nea ambiental del teclado y las palmas y ÒDonÕt You RememberÓ con la sugerente voz de Sara Lunden, las oscuras notas del —rgano y los ruidos sintŽticos de Kiritchenko. Guillermo Escudero
Septiembre 2007