Los
caminos por los que atraviesas hasta ir encontrando algunos discos
que te arrasan al encontrarlos, sumergen y perturban son
inexplicables. La puerta de entrada por la que llegué a la obra del
sueco Peter Scion (Peter Sjöblom) es posiblemente la más remota
dentro de su obra como es su trabajo junto a Caroline Fritzon
como Modryn. Aunque
parecía una búsqueda costosa , la suerte volvía a aliarse conmigo
al encontrar su propio blog " The
Peculiar Sounds of Peter Scion. " y
en este encontrar documentada toda su obra desde las razones por las
que nacieron las canciones o qué versiones tradicionales retoma en
cada uno de los discos, nos entrega material inédito y pone todo su
catálogo además de en nombre propio, añadiendo sus discos
como Pangolin y The
Continental Soul Searchers.
Sus motivos:
"WHY
GIVE AWAY THE MUSIC FOR FREE?
First
of all, I want to make my music easily available to anyone who cares
about it. I've never had any illusions making big bucks from it
anyway. I also fully grasp the importance of free music: I am, or at
least I was, a more or less invisible artist on the fringes of the
music world, and if I want to keep my music alive and want it to
reach potential new listeners, this is the only sensible way to go.
And
so, there's also a slightly political side to it: With the current
international inquisition against filesharing, I want to take a stand
against the furious hunt for music fans all over the world.
Therefore, it is free for anyone to download my albums, and in turn
publish them on blogs or share them through other filesharing
channels. THIS MUSIC WAS BORN A FREE SPIRIT AND IT WANTS TO REMAIN
THAT WAY! However, if you plan to use my music for commercial or
profitable purposes, I eagerly advise you to get in touch with me
first. I consider that a fair deal."
Pero
un disco como "Devachan" retuerce desde el espectro
del folk fantasmagórico y de ánimo oscurantista sureño y una
potente versión tradicional primitivista a la que se une ese tono
barítono imposible que pelea entre Calvin Johnson, Leonard Cohen,
Matt Elliott, David Eugene Edwards o Mark Kozelek, la extrañeza en
esos ecos tremendistas de tantos otros autores que acabaron en
clásicos privados del folk como Mark Melanson y así una ristra
imposible que últimamente estoy recopilando. En 1998, Scion debutaba
con un salto al vacío y era capaz de estirar toda esa magia entre
composiciones propias y tradicionales a saltos al vacío como el
corte titular que me recuerda al malvado ingenio de Current 93 en sus
poco más de veinte minutos de duración, una suerte de cataclismo
similar a los que se enfrenta Michael Gira.. Música que parece
foltar entre ecos y que llega susurrada por una ventisca en una
oscura noche. Peter Scion nos detalla algunas circunstancias en torno
a esta grabación:
"After
a few musical miscarriages, "Devachan" came to me as
my firstborn album. As my debut, it will always have a special place
in my heart. It also seems to me that this is the record of mine that
people like the most.
I have to thank my dear friend Christer Bäckhage for setting this weird thing into motion. After hearing some of my earlier recordings, he suggested that I should go all the way and try to make something more psychedelic. That pulled the plug. Or rather, that broke the levee. As soon as I started recording, I couldn't tape enough songs. It took only a week to finish the entire album, but more songs were coming which eventually made up the two albums that followed it.
Whether "Devachan" is psychedelic or not is up to other people to decide, but it was definitely a trip into my own mind at the time. Listening to it is listening to someone slightly lost in and baffled by his own creativity, somewhere between a slightly uncomfortable past and an unknown future. And so "Devachan" is the perfect title for the album. The word is Sanskrit for the place where the soul dwells after death but before rebirth. That's where you found me as an artist in early 1997.
The name "Scion" came from a headline in a British music magazine (and not from the Ian Matthews song that some have believed). I liked the meaning of it although I was a bit uncomfortable with its sound to begin with. But the name stuck, and soon I was as much the Scion persona as I was the ordinary, everyday me. Actually, when I became Peter Scion I became more of my real self, because Peter Scion could say things I couldn't.
Before
my friend Lars Holmquist founded the "kitchen table label"
Domestica (simply because he thought the album was so good that he
wanted it out in some way, even if he had to do it himself), I sent
out a tape with a three track selection to various record labels in
Europe. I got only one reply, a year or so later. I can't remember
now who from, but he had suddenly found the tape behind a shelf,
forgetting he had recieved it in the first place. Now he had listened
to it, and was interested in releasing "Devachan" on his
label. "Sure," I wrote to him. I never heard from him
again."
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