/

Stage Dives And White Noise: An Interview With Cajsa Siik

Music | Bittles’ Magazine: The music column from the end of the world

Plus Win Guest List Passes To See Cajsa Siik Support Mitski In Hamburg On June 16th.
In a world of three second attention spans, information overload, Spotify playlists, and more new music seeing the light of day than ever before, it is becoming ever harder for new artists to find success. To make yourself heard above the noise it seems that you need either an over-abundance of talent or a top notch marketing team.  Luckily for Swedish native Cajsa Siik, one listen is enough to convince that she is an artist with talent to spare! By JOHN BITTLES

May heralded the release of Domino, a record brimming with creative energy, artistic flourishes, and an emotional core. Following her previous LPs, 2012’s Plastic House and Contra from 2014, Domino shows an artist willing to experiment and take chances in the firm knowledge that each of the album’s eight songs are as strong as they can be. Merging the electronic trickery of Banks or FKA twigs with the focused introspection of Soko or Masha Qrella, for her third album Cajsa Siik has created a deeply personal record which is willing to hold your hand through even the toughest of times.

Opener, White Noise starts the album in fine style with Cajsa’s voice taking centre stage behind a lush fusion of electronica and acoustic instrumentation. Quietly euphoric, and with just a hint of melancholy, this is a tune which will appeal as much to your hipster mates as your mum. Further in, Sad Celebration has a loose jauntiness which helps it feel as cozy as a teddy bear hug, Talk To Trees recalls The Concretes at their very best, Empire Mine has such a sense of longing it is hard to keep your eyes dry, while closer Shallow Light is a rich piano ballad which showcases the singer’s vocals to stunning effect.

Currently in the middle of a European tour, the artist very kindly took the time to answer some questions. In the following interview we discuss her new album Domino, playing live, pop music, stage diving, and lots more.

Also, be sure to stay until the end, as we offer one lucky reader the chance to win a guest list pass for themselves and a friend to see Cajsa Siik support Mitski in Nochtspeicher Hamburg on the 16th of June.

Cajsa Siik

By way of introduction, can you tell us a bit about who you are and what you do?
My name is Cajsa Siik. I’m an artist, songwriter, producer and musician from the north of Sweden.

Your new album Domino came out on the 10th of May. What was the idea behind the LP?
With time I’ve noticed that creating albums is somehow a process of entering a new era, or a new phase. For me that comes with a will to sum things up and look back and head in new perspectives or lights. Find different ways of telling stories. After releasing my second album Contra I knew I was heading in a new direction. Writing Domino I faced a lot of self doubts and my main goal became to let my fears go and be honest to my emotions. It might sound cheesy, but it’s easier said than done. Battling those demons. I wanted to surprise and not repeat myself and I experimented a lot with different ways of writing using different instruments.

I also experimented a lot with my voice. Testing boundaries. While recording the album I had a feeling of wanting to explode, add sparkling energy and to speed things up. Especially in the rhythm section. But during this process I discovered that the explosion I was aiming for was not about speed – it was about the dynamic in the songs and the dynamic in the relationship between them. I’ve had the pleasure of working with my favourite drummer Thomas Hedlund (Phoenix, Deportees, Cult Of Luna etc), and musicians Rasmus Kellerman (Tiger Lou), Carl Ekerstam (Winnerbäck) and Rolf Klinth. They all have very personal ways of playing their instruments which was very important for the sound of the album.

If someone only had time to listen to one song from the album, which should it be and why?
These days when people discover new music or a new artist it’s often through the album singles. Therefore I would recommend the song Shallow Light. It is the final song of the album –  it’s dramatic but stripped down. Somehow it’s about a search for that perfect and painful goodbye.

Lead single Talk To Trees has a soft, soulful strut which lingers long in the mind. How well does it represent the rest of the LP?
Hmmm.. yes it has a soulful suggestive airiness to it. Talk To Trees gives me a certain feeling of hopeful strength yet still in a melancholic way. I think that’s quite representative for the rest of Domino.

Opener White Noise is a fab slice of electronic pop. How big an influence is ‚pop‘ to the music that you make?
Thank you. Wow.. the concept of pop includes such a huge wide range of music… and of course it has a big impact on my way of writing. Especially when it comes to melodies and structures of songs. But I also think that my classical background has influenced me a lot. I started to play the cello when I was a kid and I remember that certain composers, like Dvořák and Bach, really moved me with their ways of creating a musical drama. Hits a nerve. I’ve always been drawn to melodies that tell a story. No matter what genre.

One of my favourite tracks on the album is the melancholy swoon of Solar Still. Can you tell us a bit more about this song?
It’s somehow about those powerful highs and lows and the journey in between…about movement towards clarity.. the urge to get closer to the core vein and the reason why. To me it’s also about the effort it takes to build trust with others.. letting go of the ego.

You’ll be playing in Germany this June. Where will you be playing?
May 25 I played a release show in Berlin (at Monarch in Kreuzberg). Then I will support Mitski in Hamburg (Nochtspeicher) June 16th.

You’ll be supporting Mitski, whose Puberty 2 album was a highlight of 2016. How do you feel about playing in front of such a large crowd?
Scared and excited. It’s the beauty of playing live. Every show and every crowd is like a new adventure. You never know what to expect. I’m very honoured to be opening for Mitski. She’s an amazing artist.

Do you have anything special planned for the show?
To do at least two stage dives. The best way to build trust. Kidding aside. I’m playing solo so it will be a quite stripped down show with electronic and acoustic elements. From the heart, as the songs were written.

What’s the best thing about playing live?
It must be the combination of feeling scared and excited. Meeting people that I’ve never met before. The fragile humbleness of sharing your music with others.

And, the worst?
The same answer as previous question.

If people could learn one thing from your music, what would it be?
That’s a tricky question. Not being able to answer that question somehow defines the mysterious magic of sharing music. I guess what I mean is that there are as many ways of listening as there are people. Songs can be interpreted in so many different ways.

Which five songs should everybody hear at least once in their lives?
David Bowie – Life On Mars.
Bon Iver – Holocene.
Simon and Garfunkel – Song For The Asking.
Bonnie Raitt – I Can’t Make You Love Me.
Edvard Grieg – Solveig’s Song.

Do you have any final words for our readers?
I really hope I’ll get the chance to meet you on the road! I promise I’ll stage dive if you promise you’ll catch me.

Domino is available now in all good record shops and download stores now. To be in with a chance of winning a guest list pass for you and a friend to see Cajsa Siik support Mitski in Nochtspeicher Hamburg on the 16th of June simply send an email to quiz@titel-kulturmagazin.net telling us why you would like to go.

| JOHN BITTLES

Ihre Meinung

Your email address will not be published.

Voriger Artikel

»Was mache ich hier?«

Nächster Artikel

Die Hand an der Wand / Fledermaus

Weitere Artikel der Kategorie »Bittles' Magazine«

For the Love of Music: An Interview With Mat Playford

Bittles‘ Magazine | Interview: Mat Playford Fans of deep, groovy house music with a warm Balearic twist are in for a real treat this month in the form of ›Too Big To Fail‹, the sparkling new album by dance music icon Mat Playford. The record is made up of eleven lush tracks and is a calm, sedate affair whose laid back feel betrays a razor-sharp political edge. When you combine this with Mat’s gleeful will to experiment and constantly push past idle genre restrictions it makes the album one of the most stimulating and engrossing of the year. By JOHN

Synthesen

Music | Bittles’ Magazine: The music column from the end of the world

Diesen Monat geht es um Synthesen in der Musik oder: »Man muss das Rad nicht immer neu erfinden«. Dieser platte Spruch wird der Arbeit der Künstler*innen natürlich nicht gerecht, also anhand zweier Beispiele. Ich möchte unbedingt auf meine große Neuentdeckung aus dem Mai aufmerksam machen: Interstellar Funk hat die Compilation Artificial Dancers – Waves of Synth veröffentlicht, auf der 80er Wave und Synth Raritäten aus den letzten vierzig Jahren grandios koexistieren und der DJ zeigt, dass feinfühlig zu kuratieren, Kunst ist und schafft. Und dann werfen wir noch einen kleinen Ausblick auf die neue EP der Collective Cuts unter Cinthies Label 308 Crystal Grooves Collective Cuts: « Pages » Epilogue von S3A und Sampling als Kunst. Von LOUISE RINGEL.

A Time For Rebirth: An Interview With Jazzuelle

Music | Bittles’ Magazine: The music column from the end of the world Sometimes it feels like I am alone in thinking that house music should be sexy, sultry, and appeal to the heart and head as much as the feet. Recently I have become bored of clubs where you get accosted by drunken assholes, the dance floor is too jammed to permit the concept of personal space, while the night’s soundtrack is a limited palette of frantic, functional techno beats. Now, maybe it’s because I am getting a little older, but when I go out I want to hear

A Regal Conversation with The Queen of House!

Bittles‘ Magazine | Interview with Screamin’ Rachael Rachael Cain, or Screamin’ Rachael as she is better known, is a bit of a legend in the house music scene. Labelled the »Queen of House« by those illustrious people at Billboard magazine, the name has stuck since it seems quite apt. Over the years Rachael has had a string of releases and been heavily involved with the legendary Trax Records. She has also invented her own musical genre (hip-house) together with Africa Bambaataa, and released some of the most sleazy, euphoric and downright funky music to be found. By JOHN BITTLES PDF

What Hip Reindeer Will Be Playing This Christmas!

Bittles‘ Magazine | Record Review You have to be very brave to release an album of new material in December! Any money that people have is being spent on presents, protection money to Santa, or on getting as drunk as humanely possible. So let us raise a glass and give a warm round of applause to those who have brought out new records in this most festive, yet culturally void of months. By JOHN BITTLES PDF erstellen