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Le Days

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Le Days’ newest 16-track record (written in three parts), “Dead People On Tape”, makes Morrissey seem chipper. It may be time to crown Swedish singer-songwriter Daniel Hedin as the new minstrel of mope. This record is about mournfulness, losing control, the fading light, and the glory of torment, like that found in flamenco balladry. It’s also the sullen moods of this record, its sheer density, and creative peculiarity that makes this it so startlingly original. The first three songs are gradations of a colorless rainbow — greyed and lonely piano chords, black-pained vocals and quiet white spaces. “I Follow You” builds with the unquiet tremor of a Xiu Xiu piece, full of anguish and expanding dissonance. A bleating horn stutters in the distance, calling the damned. Drums are sporadic, then marching. Strings drone with tension, their tautness unraveling into clear notes, then disintegrating behind Daniel Hedin’s crumbling tremolo closing-phrase,“I hate you”. It’s marvelous.

No doubt, Le Days is going to be an acquired taste for most people, but that’s the case with all difficult music. Le Days uses an interesting mix of instruments, which include orgel (music box), sparse strings, and hitorgen, which sounds like a cross between accordion and harmonium. The passion displayed in each song is more complex than simple melancholia. It’s grand, epic, and stark, like the imaged soundtrack to some modern-day “Wuthering Heights”. The title track is a shadowy, powerful testimony to internal rupture.

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