Elin Palmer – Postcard – Review
Posted by Staff on August 29, 2009 – 2:42 am -
Release Date: October 17th, 2009
Record Label: None
The Swedish are always able to surprise me. I mean who starts a band with only a bass player, a drummer, and a keyboard player? Well apparently the ostentatious folk singer/songwriter Elin Palmer and the two friends that make up the band of her name are just that loony (and Swedish). This is the first solo record for Elin Palmer and if her collaborations with bands such as The Fray, The Czars, and Crooked Fingers foreshadow anything, it’s that “Postcard” might just be the popular step away from her Munly and The Lee Lewis Harlots past that Elin needs to become recognized.
I must first comment that Elin Palmer is highly unorthodox. Almost everything, from her use of jittery violin, to her playing of a Nyckelharpa (an ancient Swedish instrument apparently), to her hauntingly memorable voice, is something just a bit off kilter. You will notice from the very start of “Postcard,” that this record is meant to be odd, and it relishes in every moment of confusion it causes. But it’s in that quixotic time frame that you realize how memorizing this record is. With no guitar to hog up listening space, Elin has taken somber bass lines and delicate percussion and mixed it with a gypsy’s closet (violin, accordion, piano) to create a flourishing bit of forest-nymph folk. Of course she takes out her acoustic guitar as well, but leaving the 6 string presence to wood alone, keeps every track that features it, still quaint and personal.
Elin even sings in her native language on a track or three, giving “Postcard“ an even more authentic feel. And even though this album is only 8 tracks long and goes by fairly quickly, there is plenty to be pleased with. It doesn’t feel like traditional folk as most of us know it, and I believe that is what draws me into it. Instead it is a striped-down (no guitars) indie rock with heaps of culture and earthy instruments. All which are motioned by Elin’s talented and beautiful vocals, making the effort even more remarkable.
“Postcard” feels like, what amounts to, a waking dream. It is ethereal and magical, but still modest and genuine. And if you don’t have a problem hearing a repeating accordion, then this record should be a folksy indie surprise that you never saw coming. (We never suspect the Sweeds) ~Staff
4. Stora Stovlar