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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