Audrey - Visible Forms

a great and wonderful album of carefully controlled beauty. this is »visible forms«, the lp debut of gothenburg's audrey. two years after the release of their splendid debut ep, sinnbus records is happy to once more be the home of the quartet's sketches, songs and concerns of the heart. »visible forms«, released in sweden by tenderversion and in the uk by stereo test kit, will be out on sinnbus on november, 17th 2006. for first impressions, november 3rd 2006 will bring the single »mecklenburg«. The first glance reveals More. More events, sounds, courage. Following a self-titled EP, the swedish quartet Audrey releases a debut album that transforms sketches into works of art and that makes ideas become wonderful music. »Visible Forms« is the home of patient songs, humble melodies and plain devastation. Modest in its baring and advancing with the speed of pause, the music of Rebecka Kristiansson, Victoria Skoglund, Emelie Molin and Anna Tomlin is of immense beauty and infinitely moving. What you hear isn't slowness. It's the exact affectionate precision with which Audrey have arranged their sounds, ways and surroundings since 2002. As a collective they work, invent and discover, they pull strings or hand them over to best friends. With love and care they develop an environment in which the beauty, inscribed in every semibreve and hesitating snare beat, shines as bright as possible. And so it captures. And so it enchants. There is a reason why people like producer Paul Bothén (Kristofer Åström, The Bear Quartet) chose to work for »Visible Forms« on his own account and for more days than planned. Together with him, Audrey not only captured the many steps they've made since their debut EP. They also documented the elegiacally exciting sensation of Audrey's live shows. »Visible Forms« is music that has discovered new ways by and in itself. In its sounds, ways, shifts and turns we still hear the echo of early steps, but it has learned to take us further and to tell us so much more. At the same time, it hardly matters when which instruments play and share themes and ideas, when and how exactly voices and choirs paint scapes and walls. Everything sounds, works and moves as a whole. Sometimes it's as if Rachel's had discovered true vocals on »Selenography«. Sometimes it's as if the spite of Low had made room for a friendly, shattering gloom. In the end, it's always and mostly the sound of a band that has found, developed and defined the language in which their own ide

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