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LP
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HNR 014LP
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Rickard Jäverling, born and raised in Borlänge, Sweden and now living and working in Stockholm, is a wayward and productive musician. Besides releasing material under his own name, Jäverling is/has been part of constellations such as Dödens Dal, Liljor, and Jäverling & von Euler. Album 3 is his third solo album. It breathes psychedelia, dub, Swedish folk, "progg", and continental vintage electronic music. The songs on this album are in a way like a compilation of short stories rather than chapters in a novel. The common factor in this album is Jäverling's exquisitely worked-out melodies and the warm, round production but the songs can, due to the rich storytelling qualities of each one of them, almost be regarded as small albums of their own.
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10"
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YES 003EP
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Swedish travelling minstrel Rickard Jäverling presents further moments of heartfelt, folk-inspired beauty. With banjo, drums and guitar, "Three Sisters" (which also featured on his Two Times Five Lullaby) distills a Tortoise-inspired post-rock intelligence blended with traditional folk. "Västbacken" is a hazy instrumental piece of folk poetry bringing to mind bubbling streams and the beauty of a childish midsummer adventure. The EP's defining moment is the 7-minute epic "Sultan," which takes the Chicago post-rock formula and re-contextualizes it for 2006, giving us something both reflective and quietly jubilant. Yesternow artists Shoreline finish off with a remix that injects the original track with a sense of fun and playful abandon.
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CD
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YES 004CD
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Swedish travelling musician Rickard Jäverling is a man with heart, something never more evident than when gliding through Two Times Five Lullaby -- his debut album. After spending some time in Ireland and Glasgow playing folk music to earn a living, Jäverling decided to return to his native Sweden and start laying down the tracks he'd always dreamed of with his musical friends in Stockholm. Taking influence from his love of American folk music, Chicago post-rock, classic Swedish prog and the pastoral ambience of Eno and Budd, Jäverling began to piece together a record utilizing the musical talents of anyone he could find. We have banjos, accordion, drums, harps and even Hammond organ (played by Sagor and Swing's Erik Malmberg) dropped into the mix in what feels like a document of friendly inclusion. A coherent whole when listened to from beginning to end, Jäverling has created a record which reads like a book, each chapter detailing excitement, adventure, love and remorse. Whether moulding a classic hoedown ("Three Sisters"), a softly-spoken ballad ("Two Times Five Lullaby"), slow-burning prog ("Track") or a nostalgic waltz ("Martina's Waltz") it is Jäverling's honesty and pure uncynical talent that always shines through, and in this post-millennial climate that is more than you could ever ask for.
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