and The Swede
The foundation for individualized dependency can often be brought on by the
bleakest aspects of life. If I were to say that loneliness can be used as a
source of immense production, I would expect many to laugh, shake their
heads, and strongly disagree. After all, who uses loneliness to their
advantage? Well, I can think of dozens of artists who, without loneliness,
would have absolutely nothing to write about. Their motivation would also
be uninspired, driven by superficial tendencies that are already much too
common in our daily sociological interactions. Matthew William Kohnle is
one of the newer artists that comes to mind when I think of such
controversial topics. His solo musical project, The Swede, utilizes this adept
formula of taking loneliness by the throat, staring it straight in the eye, and
portraying it in the form of beautifully executed music. This presentation
may seem somewhat bleak to a variety of people, though as Kohnle puts it,
simply “making the most of isolation” should not be considered overly
dramatic. Based out of North Carolina, Kohnle has been involved with a
variety of local bands, including the instrumental quartet Daybed and the
free-form noise group Hat City Intuitive. Kohnle has been working on his
debut solo album for over two years, following the formation of his own
independent Shotty Merchandise label. Finally, last fall, he finally released
and The Swede, his long awaited solo debut under the moniker “The
Swede”. Kohnle may have some Swedish blood in his veins, though it is
certainly not similar to the typical Swedish upbeat pop music we hear today
from Peter Bjorn and John or Love Is All. As enjoyably catchy as those
other bands are, Kohnle’s music contains some of the most honest material I
have heard lately. It will not have you singing along or tapping your foot,
but Kohnle’s debut leaves a lasting impression through talented
musicianship, veracious lyrical content, and stellar production. Immediate
comparisons have been made to Jim O’Rourke or Nick Drake due to
Kohnle’s display of downbeat moods and tempos, all contained within an
innovative approach that borders between both acoustic and electric
standards. Kohnle describes his own album competently, feeling as nice as a
“warm hug” or “comfy as an old couch”. If you are fond of paced
songwriters who have a vivid skill for capturing emotion through progressive
composition, that description should be quite accurate for you.
The cover of and The Swede is hardly reflective of the intricately layered
album that it is, providing nothing but a photo of Kohnle’s dog, Pumpkin,
and a languid background of wood. Understanding Kohnle’s deep intellect,
the artistic representation of anguish and solitude is entirely present, from
the artwork to the most substantial aspect, being the songs involved. Apart
from Todd Knapp’s bass clarinet on “They Hate This Where I’m From”,
Kohnle wrote, recorded, and performed the entire duration of and The
Swede. The aptly titled “The First Song on This Record” establishes a
structure that is portrayed consistently throughout the rest of the album.
With the gentle strums of an acoustic guitar and a balmy piano line, Kohnle’
s vocals can almost be interpreted as a whisper, even if his melodic
capability is still at a peak. After a brief introduction, an outburst of
percussion ignites a capably ostensible chorus that welcomes the entries of an
electric guitar, an occasional synth, a more apparent piano, and an
enlivened set of drums. Sliding back into a verse with the mere collaboration
of a piano and acoustic guitar, Kohnle falls back to a whisper. When the
chorus is revived, Kohnle maintains the whisper, sounding just as effective
through his distinctively alleged tone of hurt, loneliness, and desperation. “F
U My Friends” contains more pop sensibilities, though a similar approach
is used with a vigorous chorus that is built upon successively by the preceding
verse. Oddly enough, the chorus reminded slightly of Modest Mouse, thanks
in part to the melodic presentation of the backing vocals, one of which is
supplied by Kohnle’s wife, Andrea. It is a joyous track, one of the best on
the album, that is a true showcase of Kohnle’s distinctive talent. “The Last
Song on This Record” also reminds me of Isaac Brock, though this one is
mainly attributed to Kohnle’s rougher vocal output. Other tracks that
slightly abandon the bleak element of other songs for a more optimistic
approach include the lighter “No Hurry” and “No Loud Crash”, which
makes nice use of a synth implementation. “They Hate This Where I’m
From” is one of the most creative songs on the album, using Knapp’s bass
clarinet and a saxophone, both of which are used loosely with an
experimental aspect looming large. The structure is unpredictable and the
song represents the O’Rourke comparisons quite well. Though the song isn’t
for everyone, those who find enjoyment in distinctive tracks that hold no fear
in taking risks will leave satisfied. Kohnle’s debut, and The Swede, is an
exceptional debut that holds a variety of different experiences. From
memorable gems like “The First Song on This Record” and the delightful
“F U My Friends” to the more ambitious “They Hate This Where I’m
From” and the lush acoustic “Birds Around Yr. Head”, and The Swede is
certainly worth several repeated listens.
- Mike Mineo
obscuresound.com
