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Home / Artists / Hans Appelqvist / Bremort

On his new album Bremort, Hans Appelqvist seeks an alternative technique of musical story telling, a search which seems to be founded in a sort of restlessness or maybe a mise en cause of those simple and solidly established parameters which have been established in instrumental and conventional popular music. Appelqvist mainly derives his particular form of musical story telling from feature film, where the music is paralleling the story so as to amplify it or comment it. It is in this form, where sound and image converge, that Appelqvist is conducting his search for unexpected emotional expressions.

Bremort is the name of a fictitious city where the listener takes part in scenes in the lives of the people of this average Swedish town. The album has no comprehensive theme but is rather built up around several small episodes, which have nothing in common other than the fact that they all take place in this same fictitious city during a limited period of time. The depictions are accompanied by different musical themes in which the beige existence of some of the inhabitants of Bremort are portrayed and linked together in recurrent intermezzos. As such Bremort is in a way a place of refuge, a sanctuary for the commonplace.

Appelqvist?s music infuses the debate on the musical qualities of music. The newness of his acoustic image, where the choice of sounds are not always evident or natural in there context, makes the listener react, certain musical nuances might generate strong emotions while others leaves the listener indifferent. The same is true for Appelqvist?s scheme of using untrained, hand-picked voices, a device which by many might be construed as provocative. It raises the question of whether we are actually listening to music and/or taking part in a staging. The crude voices are intimately interlinked through the underlying narrative and bring a dimension of agitation on top of the melancholy and suggestive coulisse of sound.

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