For music lovers, Heardle is one of the most exciting things to look forward to daily. It’s a nice tribute to the puzzle, Wordle. The game puts a musical twist on the idea of ​​Wordle and is aimed primarily at music connoisseurs. It challenges players daily with a new song by asking them to guess the track and its artist as quickly as possible. The song automatically resets every day at 12:00 p.m.

So once the new song of the day is released, players can jump straight to the puzzle and try to figure out the title. A total of six attempts are available, but it is best to try to avoid using too many chances as this leads to increasing the length of the track, which takes away from the fun of the game. difficulties to solve the puzzle on Heardle, ask a friend or family member to play with you.

Heardle clues and answer: Thursday, November 24, 2022

According to the game’s official website, the tracks chosen for Heardle’s daily puzzles are among the most streamed songs of the previous decade, which offers a huge advantage to contemporary music lovers. But others can still give it a try since the game often features a variety of classics from artists of the past, including Nirvana, David Bowie, and Michael Jackson.

If you struggle with today’s heardle challenge, so don’t worry. Here is some clues shared by Fortnite Insider who can help you solve the puzzle:

• Hint 1: The song was released in 2016.
• Hint 2: The genre of the song is pop.
• Clue 3: Single by Calum Scott.
• Hint 4: Duration – 4:20.
• Clue 5: Four words.
• Clue 6: Begins with the word “Dance”.

Another interesting clue is that it’s a cover of a song by a famous Swedish pop star. You still haven’t cracked it? So today is probably the first time you’ve heard of this gem. So scroll down and enjoy the song!

The song featured in today’s Heardle challenge is Dancing alone by Calum Scott.

More details on Dancing alone by Calum Scott

Calum Scott’s version of Dancing alone was released on April 15, 2016, as part of Scott’s critically acclaimed album, Simply human. The original song was recorded by iconic Swedish singer Robyn in 2010. Robyn’s version is more upbeat and mixes elements of electronic and pop music, while Scott’s version is softer and more subtle. Scott’s version proved to be a huge hit and also received praise from critics.

Calum Scott rose to fame after his rendition of the song, Dancing alonein England has an incredible talent. He is known for his distinctive and expressive voice, which has garnered praise from fans and critics alike. Some of his most popular songs include You’re the reason, what i miss the mostand No matter what, to name a few. His music is primarily pop but also has significant R&B and soul influences. He took out two studio albums, Simply human and Bridgesboth of which were commercially successful.

Entertainment

The 2022 holiday season will soon bring the return of Thanksgiving. This family occasion can be a joyous or chaotic night due to the colorful personalities of friends and relatives. Whether you’re thrilled to have a rambunctious family reunion or are looking forward to some eggnog to get you through the long night, these celebratory songs will help you feel grateful this Thanksgiving.

#1: “Thank you for the music” by ABBA

Released in 1977 by the Swedish pop supergroup, “Thank You for the Music” is an anthem that expresses gratitude to the beloved family members who gave the band confidence. This song has the potential to be used as the perfect family greeting or send-off for Thanksgiving night. “Thank You for the Music” is a heartfelt song that celebrates family quirks.

The group remembers supportive parents who celebrated their childhood creativity. Plus, they sing about their goal of spreading that love through their music. If you want to show your family how grateful you are this Thanksgiving, “Thank You for the Music” presents a form of love and appreciation that’s hard to verbalize in words alone.

#2: “We Are Family” by Sister Sledge

In 1979, multi-genre musical group Sister Sledge released the disco-themed holiday track “We Are Family” on the album of the same name. This song is about the joy and confidence that comes with a supportive family. As a group made up entirely of sisters, Sister Sledge sings about the simple happiness of being surrounded by loved ones during the holidays.

If your family’s Thanksgiving needs a pick-me-up after a night filled with gossip and pandemonium, this is the perfect song to end the night. Small apprehensions are left for a cheerful dance song that evokes a house filled with laughter.

#3: “Everyone Eats When They Come To My House” by Cab Calloway

Calloway, an American jazz singer, is the perfect Thanksgiving night host on the 1942 single “Everybody Eats When They Come To My House.” Calloway glides through a groovy melody as he names each family member who attends his table. Additionally, the sweet story of the song involves providing foods that every guest craves during cold winter nights.

“Everyone eats when they come to my house” is perfect if you want to give a certain family member a hint to be a better host this year. The song is also suitable for those who love soft jazz to help them dance through the holiday night. Calloway’s song is sure to get guests moving once they’ve finished everything on their plates.

#4: “I Have Much to Be Thankful For” by Bing Cosby

Released as part of the soundtrack to the 1942 musical film “Holiday Inn,” Crosby’s song revolves around the central theme of Thanksgiving: gratitude! Crosby’s rich tone and composer John Scott Trotter’s mighty orchestra combine in “I’ve Got Plenty to Be Thankful For,” in which Crosby sings of appreciation for the more mundane aspects of life.

The song is about the beauty of shopping at a convenience store, having arms to share love with, and simply having eyes and ears to gaze at the world. Crosby rejects desires for wealth and fame, showing a preference for day-to-day calm instead. “I’ve Got Plenty to Be Thankful For” is a universally positive listening experience, especially for those keeping to themselves during this year’s festivities.

#5: “Autumn in New York” by Billie Holiday

Released in 1952 as a revival of Vernon Duke’s 1934 classic, Holiday’s “Autumn in New York” is a uniquely atmospheric rendition. Holiday’s distinct and warm voice floats over soft piano melodies, performed by Oscar Peterson, to illustrate the beautiful changes in New York City after the arrival of autumn. From the changing sunlight to more company on her walks, Holiday sings about how the return of fall always brings her joy.

She observes that autumn can turn even the dullest slums into joyous places. However, Holiday also recognizes that these annual celebrations can be painful for those less fortunate. Despite this, she feels that autumn rectifies any potential gloom by also bringing the promise of new beginnings. Therefore, Holiday welcomes the fall season with open arms, thrilled to witness its colorful return every year.

This gentle melody helps soothe the soul by reminding listeners of the surrounding beauty. “Autumn in New York” is the perfect song to de-stress on Thanksgiving night.

#6: “Family is Family” by Kacey Musgraves

American country singer-songwriter Musgraves sheds light on the intricacies of some family dynamics during the holiday season on the 2015 album “Pageant Material.” A song dedicated to less-than-perfect families, Musgraves emphasizes that you don’t have to be like family members — or like them at all — to love them. In this brutally honest and sarcastic song, she tackles messy family situations with dry humor.

However, Musgraves also sings about the joy that fiery parents can bring, if only for one night. This song is perfect as a humorous song to listen to with the family, or as an icebreaker after the inevitable warm moments during Thanksgiving dinner. “Family is Family” is perfectly direct and heartwarming.

Genius welcomes writer-director Ryan Coogler and Swedish composer Ludwig Goransson to dive into the intricacies of Marvel’s sequel’s unforgettable music Black Panther: Wakanda Forever.

Not only are they the driving force behind the music in this highly anticipated and wonderfully received blockbuster film, but these two creators are also lifelong friends. As the duo discuss the fascinating story of how the musical score was created over years of hard work, we can see that the levels of depth in this film are endless. The process involved traveling to Nigeria and Mexico, working with hundreds of musicians and singers, and doing extensive research on different cultures past and present. The pair also address how the music was adjusted in light of the loss of beloved Chadwick Bosemann and his character T’Challa.

It’s fascinating to learn how the sounds and instruments are so carefully tied to the characters and story of the film. This Genius video invites us all to understand the true passion of Wakanda sounds.

If you haven’t seen the groundbreaking sequel to Black Panther again, so what did you do? Whether you’re watching the movie for the first time or coming back for more, be sure to watch the video above to take the experience to new heights.

DOUGIE B PROMISES TO “KEEP THE 100” ON A NEW SINGLE NOW

MORE MUSIC COMING SOON

Dump some more heat, the Bronx rap phenom Dougie B releases a powerful and hypnotic new single titled “Keep it 100” Going through Archives of the Republic today. To listen “Keep it 100” – HERE.

On the track, the guitar winds around a pounding rhythm between a breathless exhale, lacing the beat with manic intensity. Dougie B sinks its teeth into the production with a dominant, gruff flow. He admits, “I hear demons. All I see is red,” before watching, “My money gets longer, the older I get.” He illuminates the hard-hitting, passionate and powerful force at the heart of his relentless approach to hip-hop, bringing the grit back to the East Coast and taking no prisoners in the process.

Building for a major moment, Dougie B has been steadily releasing new songs over the past few weeks. “Keep it 100” serves as a worthy sequel to last week’s lyrical assault “madmax” with TG Cryppy. It came on the heels of her intense and infectious single and video. “Destroy” with Yagi B. The thrilling music video matched the energy as the duo and crew moved through a New York playground to perform their signature “geek” dance moves.

Share more than his music, Dougie B launched a new YouTube vlog series titled “The life of Dougie B.” The show chronicles his daily activity as he elevates his rap career while maintaining his fun personality. Watch the first episode —HERE.

These bangers landed in the wake of its eventful summer, which saw the release of “UZI.” Upon his arrival, he received critical applause. HotNewHipHop declared, “Dougie B has proven to be an important figure in the New York drilling scene.” DJ booth also boasted it among “10 rappers you should know right now on Audiomack” and praised, “On scattered percussion and sampled strings, Dougie B hurls threats and brags in a hoarse cry, turning something that once belonged to the internet into something intensely regional.” Also Variety included it in their highlight”The voice of New York is Drill” while COMPLEX applauded him as a key player in their feature film, “Sample Drill takes over New York rap.”

Accumulating tens of millions of streams, it made waves on Kay Herdis viral “Shake it” [feat. Cardi B, Dougie B, & Bory300] which earned him Billboard Hot 100 debut. He also landed on the New York Times‘ coveted feature The reading list and one of Billboard“Best songs of 2002 so far.” Meanwhile, Huffington Post Note “highlights New York’s ever-evolving drilling scene.”

“I’m back” and “Forever On It” finally made their way to retail stores. He first teased the songs on YouTube, causing a flurry of excitement in the process. The percussive and hypnotic “Forever On It” surpassed 6 million views when it was first uploaded to Kay Herdof YouTube and rose to number one on YouTube “Tendency.” Maintaining this momentum, the irresistible moment “I’m back” also jumped to #7 on “Tendency.” The two-pack highlights the strength of his airtight flow and his knack for a knockout hook. These songs affirm Dougie B as one of New York’s hottest rising stars right now.

ABOUT DOUGIE B
Dougie B walked through the flames of life and emerged on the other side with a mighty, powerful story to share. The 20-year-old rapper from Bronx, NY, opens with no shortage of street grit and mesmerizing hypnotic hooks, earning tens of millions of views and streams independently as part of a rising new vanguard alongside of Kay Herd and B-Lovee. He immediately turned to music when he was a child. He was first inspired by watching his uncle rap. At just 13, he witnessed the tragedy firsthand when his father died after a series of epileptic seizures. He moved upstate with his mother, but their relationship broke down and he moved back to town. Between two passages in the streets, he listened to people like Gunna, young thug, G Herbo, Chief Keef, Kodak Blackand the late King Von. In and out of prison, he spent a year behind bars before returning home in the summer of 2020. He partnered with Sha-ek and Kay Herd on the firecracker “More Dougie B Free”, racking up over 2 million views on YouTube. Next to Kay Herd and B-Loveehe dropped “Brotherly Love” in 2021, amassing north of 20 million views. Other hymns included ” Geek “ with CHII WVTTZ, SETTING THE TRENDand CBLU as good as “Turn” with B-Lovee. With all that momentum, he caught the attention of Archives of the Republic and signed a deal with the label at the peak of 2022. Now he approaches acting with unbridled ambition on a string of 2022 singles and his debut project.

About Republic Records
A division of Universal Music Group, a world leader in music, Republic Records has been recognized by Billboard as the #1 label in the industry for the past 10 years. It is home to an all-star roster of award-winning multi-platinum legends and superstar artists such as Ariana GrandeBilly Porter, Bo Burnham, Ciara, Clairo, Coi Leray, Conan GrayPapa Yankee, Drake, Eddie Vedder, G Herbo, glass animalsFlorence + the Machine, Greta Van Fleet, Hailee Steinfeld, Jack Johnson, James Blake, James Bay, Jessie J, jimmy fallon, john legendJohn Mellencamp, Jonas BrothersJulia Michaels, Kid CudiKim Petras, lil wayne, LordeBoomin Metro, NAV, Nicki MinajOf Monsters and Men, Pearl Jam, Post MaloneSeth McFarlane, Stevie Wonderswedish mafia, Taylor Swift, The weekend, Twice, TXT, etc Founded by brothers and CEO Monte and Avery Lipman, it also includes innovative business ventures including American Recordings, Boominati Worldwide, Brushfire, Casablanca Records, Cash Money, Federal Films, HYBE, Imperial, JYP, Lava Records, Mercury Records, Republic Records: Kids & Family, Republic Nashville, Universal Arabic Music, Uptown Records, Victor Victor, Wicked Money Family, XO, Young Money, among others.

A wedding is brewing. The family, in Marie-Louise Ekman’s pajama outfits with pearly pink highlights, dance in rhythm but without apparent affection. Emily Suzuki’s mischievous daughter runs around the stage, hopping from side to side or heading for the exit, as if hoping to escape fate. Bad luck – she’s encased in a statuesque white dress and veil.

Marriage seems like a bargain between men – but the girl and her inexperienced husband (Fernando Carratalá Coloma) finally find some space alone. Apprehensively, they bow around each other, until the Girl throws her veil to the ground. They unfold in a tactile and playful duet, coltishly baring their bodies in private desire rather than communal duty.

The community interrupts their idyll, with devouring jumps on the ground and forbidden arms in sharp diagonals. The women beat the girl with their dresses – none with more anguish and disgust than Erina Takahashi’s mother – while the father (James Streeter) pecks her like a grotesque cock.

Stravinsky’s frenzy suggests both the Girl’s frustration and the implacable tradition that weighs on her. Ek’s versions of ballet classics always push hard on victimization, and his Rite turns into melodrama. ENB’s repertoire also includes Pina Bausch’s cataclysmic Rite of Spring, an undisputed modern classic. It’s interesting to see Ek’s take, which resists the rushed tragedy – but despite the engaged dancing and live music, it feels like a lukewarm response to a heartbreaking score.

Earlier, Tamara Rojo’s final program as ENB director replayed two of her recent hits – a perfect pop track and a winning jazz number. Blake Works I, by American master William Forsythe, beautifully interprets classic structure through seven James Blake songs. Rigorous technique and bravery is unfolded with easy flair, alongside Blake’s melancholic voice, aching and cracking.

The dancers seem to love this piece: it’s so nice to watch. Alluring hips, swaying shoulders, big woofing leaps: virtuosic stuff, but executed with pure liquid confidence. The men are superb and Suzuki shines again, battling Junor Souza in a wonderfully evasive duet.

Stina Quagebeur extends her confinement tube Take Five Blues, on the jazzy violin of Nigel Kennedy. It’s a soft treat. Under globe lanterns with soft apricot lights, dancers slide on the ground. They could almost joke on the move; Ken Saruhashi’s pointed arms scribble in the air and the room has the fervor of a cheeky lockdown.

Sadler’s Wells, through November 12; sadlerswells.com

A unique Experience Hendrix concert – inspired by the annual all-star concert tours of the same name – will take place on December 4 in Austin, Texas.

Held in honor of what would have been Jimi Hendrix’s 80th birthday (November 27), the concert will take place at Austin City Limits Live’s Moody Theater and will feature a jaw-dropping lineup.

SAN LUIS OBISPO — The Cal Poly Choirs, which include Cantabile, Chamber Choir, PolyPhonics and University Singers, will perform the sixth annual “Holiday Kaleidoscope” at 7:30 p.m. on Friday, Dec. 2 in the Performing Arts Center Christopher Cohan Center.

This year, the Cal Poly Choirs will be joined by the Cabrillo High School Madrigal Singers, led by Cal Poly alumnus Jennifer Peterson (Music, ’95); and the Cadence Choir of the Central Coast Youth Chorus, led by Cal Poly music majors Danna Dumandan and Katelyn Caron.

Cal Poly Director of Choral Activities Scott Glysson created the concert in 2017 to showcase and celebrate Central Coast choral traditions and collaborations. The four university choirs and the two guest ensembles will each perform a short selection from the repertoire, then unite for larger works.

A student orchestra of 20 musicians will accompany the choirs on several pieces and during the Christmas carols. The evening will include other fun features, such as the Dean of the College of Liberal Arts, Philip J. Williams, recounting “It was the night before Christmas.”

The Cal Poly Chamber Choir will perform Johannes Brahms’ choral masterpiece “Es ist Das Heil” from “Zwei Motetten” and a setting of “El Niño de la Madre” by Cal Poly teacher Antonio G. Barata.

Cal Poly’s Cantabile will perform part of the program he plans to perform at New York’s famed Lincoln Center in March. His set will include music by Sarah Quartel, Jacob Narverud and an arrangement of the Puerto Rican Christmas carol “Ábreme la Puerta”.

The University Singers will perform a variety of arrangements of familiar English and Hebrew melodies.

PolyPhonics will close the program with English, Latin, Spanish and Swedish songs, including a beautiful setting by Kevin Memley of the text “O magnum mysterium”, a modern work by Steven Hansen, entitled “Vinterskymning” and “La Navidad del Señor”. by South American Baroque composer Juan de Araujo, who will be accompanied by Cal Poly professor emeritus Craig H. Russell on guitar.

Cal Poly University organist Paul Woodring will accompany the choirs on piano and organ.

Tickets are $15 and $20 for the public and $10 for students. Event parking is sponsored by PAC. Tickets are available at Cal Poly ticket office between noon and 6 p.m. Monday to Saturday. To order by phone, call 805-SLO-4TIX (805-756-4849).

The concert is sponsored by Cal Poly’s music department, College of Liberal Arts and Instructionally Related Activities program. For more information, visit the Music Department website website calendaremail [email protected] or call 805-756-2406.

Connections

The Cal Poly Choirs perform in 2019.

November 2, 2022
Contact: Michele Abba
805-756-2406; [email protected]

In a video which went viral last week, Caleb Gamman, a video producer, guesses every song Jack Antonoff produced and co-wrote on the new Taylor Swift album, Midnights, in a few seconds. No – milliseconds. When he gets to “Midnight Rain”, Gamman hears Antonoff’s fingerprints on the track when it has just started.

Later, in a interview with Vice, Gamman said he could immediately recognize Antonoff’s sound from factors such as “vocal clarity”, “same drum samples”, “digital harmony”, and “breathing vocals”. “There are elements that I like,” he says. “But when they’re all together, there’s something that’s slightly dissonant and just a little off-putting.”

You might think Gamman is a unique music nerd. How could someone recognize an artist’s sound in milliseconds? Additionally, Swift and Antonoff are longtime collaborators, having worked together for the better part of a decade on several award-winning albums (1989, Reputation, Lover, Folklore, always). It doesn’t take a genius to assume that most Midnights would continue this winning combination.

But listen a little closer to your favorite pop songs and the Antonoff sound is indeed hard to escape. Hear the breathless, blue-tinged sentimentality of Swift’s ‘You’re On Your Own, Kid’ – don’t you think it could have appeared on Lorde’s Melodrama, which Antonoff co-produced? What about the quiet euphoria of “Maroon” – isn’t it reminiscent of Troye Sivan, with whom Antonoff worked on blue district? Or the muted drums on “Midnight Rain” – haven’t you heard them all over St Vincent’s Masseductionalso co-produced by Antonoff?

I am not saying that Antonoff is solely responsible for the breadth of these artists’ sounds, nor that these artists are the vessels of Antonoff’s creativity. Musicians like Swift, Lorde, St Vincent, Lana Del Rey, Troye Sivan, Kevin Abstract, Sia and Florence and the Machine are creative forces in their own right, with their own musical stamp, and enjoyed success for years before collaborate with Antonoff. But it’s hard to deny that over the past five years, Antonoff’s sound has become deeply entrenched in the pop landscape. Where it was once here and there, now it’s everywhere. It is unavoidable.

What’s even weirder is that Antonoff, now 38, seemed to appear out of nowhere. At one point, he was just a member of the group Fun (you might remember their 2012 song “We Are Young”, which had awful lyrics, such as “My friends are in the bathroom bath rising higher than the Empire State”). The next day he was working with Taylor Swift on 1989, winning Grammys and being snapped up by many of pop and rock’s biggest stars for some of their most critically acclaimed work to date. In the span of a decade, he went from being Lena Dunham’s boyfriend to being a world-renowned mega-producer.

Unlike Gamman, I’m a fan of the Antonoff sound. I didn’t listen to Swift before 1989and Melodrama is one of my favorite albums of the last decade. Lana Del Rey and Antonoff made Norman fucking Rockwell! – an iconic, experimental and delightful view of the drama. If such a thing is possible, Antonoff managed to make Lana look even more like Lana. He makes Lorde look even more like Lorde. And while Gamman identifies many of Antonoff’s technical characteristics, he doesn’t note the emotional ones: the bright colors Antonoff injects into the tracks, the swirling sentimentality, the tonal storytelling, the shimmering bursts and chord progressions. moving.

But even a fan like me can listen Midnights and realize that we may have reached a tipping point. Hearing Antonoff so often is a bit like eating the same chocolate bar every day. Delicious at first, then boring, then heartbreaking. There must be room for other sounds in contemporary pop music. If Rihanna, for example, turned around and released an album produced by Antonoff, I would get up, open my window and scream.

If you were to go on MTV in the late 1990s, you’d hear Swedish producer Max Martin’s slick, colorful, stereotypical pop hooks everywhere. The Backstreet Boys, Britney Spears, NSYNC…much of what looks like the 1990s and 2000s is actually just Martin: cookie-cutter, maximalist earworms. And while Antonoff may not yet be as prolific as the 51-year-old Martin, looking at today’s album charts, it’s clear that contemporary pop is also dominated by one man.

For what it’s worth, artists clearly love working with Antonoff — and not just because he can release a hit. Like all good producers, he seems to have the ability to recognize natural magic and bring it to the fore. “There is craftsmanship and there is magic”, Antonoff say it New Yorker This year. “I have craftsmanship up my ass, but all that really matters is finding those rare magical moments.” It’s a skill that artists appreciate. “Jack is special,” Del Rey told the New Yorker journalist. “His chords are so classic I could sing them anything.”

But pop music can’t stay the same forever. Styles build, they peak and they deepen, or evolve, and there will come a time when Antonoff’s sound – those breathy vocals, those sentimental synth lines, that understated yet dramatic tonal shimmer – will become painful to the ears. Maybe that time has come now. Even Martin – who produced more number ones than anyone else except Beatles producer George Martin (the former produced 23, the second 30) – loosened his grip on the charts when listeners wanted something less stereotypical, more experimental, less expected.

Until then, Antonoff’s reign remains heavily on us. And like the rest of the world, I too will stream Midnights until I’m fed up.

[See also: The Spiceworld generation]

Early in his career, First Aid Kit felt he had to be the best at everything he did. “As women, we thought we had a lot to prove,” says Johanna Söderberg, who formed the acclaimed folk duo with her younger sister Klara in high school in Stockholm.

“Our genre – Americana, country-folk – was for bearded old men. Going into this sphere, we felt that we had to be very serious. Prove that we know this music. That it comes from the heart.

More than a decade later, Johanna (32) and Klara (29) have come to terms with their impostor syndrome. With a string of hit albums and over three million monthly music streams, they know their worth. This explains the confidence and breeze that emanates from their fantastic fifth album, Palomino. Created in the silence of confinement, it’s a record that sees them looking to their thirties and the next phase of their lives and careers with serene confidence.

“We were accepted. We are older, more sure of ourselves,” says Johanna. “Where we started, we were grateful to anyone who wanted to come to our shows. We couldn’t believe what was happening to us. We just kept going.

We were 14 and 16 when we started. I don’t think we realized how young we were

Palomino takes its name from a class of horses with auburn coats, as often seen in classic westerns. True to that title, the project has a galloping quality that contrasts sharply with their latest studio album, 2018’s Ruins.

It was a bitter breakup album in which Klara struggled with her guilt at the end of a long-term relationship. It was furious and heartbreaking – and the boredom-riddled recording process was not an experience the sisters were looking forward to repeating.

“I felt like I did something – that I hurt someone really bad and it was all my fault,” Klara says. “Now I’m older and I can see that there are always two people in a relationship. On Ruins there was a lot of self-mockery. That’s something I don’t think is present on this record – because it is not present in our lives.

Romantic angst is still one of the defining themes of their writing. “I’ll love you even if you don’t love me,” they sing on Angel, a harmonic meditation on low self-esteem that combines exuberant melody with brutal wordplay. However, Palomino also runs with genuine joy.

The extent to which the sisters have reset is explained with the single Out Of My Head. The lyrics are a declaration of loyalty to a loved one: “But look at me, I’m always happy / If I turn to you”. It’s happiness in a heart-shaped box.

[ First Aid Kit: Stay Gold review ]

This sense of peace stemmed in part from the great silence that fell during the lockdown. Filming since adolescence, they relished the opportunity for a break (while Sweden remained wide open, their international itinerary dried up overnight).

“It gave us a lot of time,” Klara says. “With that, there was a lot of hindsight on everything we went through. It made us appreciate [their success] much more. When you’re in the eye of the storm, it’s hard to see all the good things. You’re just very, very tired, that’s what we were. Or at least I was. With a pandemic, it was a good chance to no longer take it for granted. There were no people to visit. In a way, it’s a nostalgic album that looks back on everything we’ve been through. Because nothing was happening. »

First Aid Kit is one of the great country rock institutions of the last decade, even though it hails from suburban Stockholm rather than downtown Nashville. With their first two albums, released right out of school, they were hailed as the heirs of Dusty Springfield, Stevie Nicks and Emmylou Harris, while winning over a new generation of fans in the ethereal Americana scene.

Additionally, they had an old-school hit with 2014’s My Silver Lining, which featured in TV commercials and was the closing music for Sharon Horgan’s recent Apple TV hit Bad Sisters. It was met with lavish praise – like everything else they shared with the world.

I was a workaholic. I lived and breathed the first aid kit for years. Now I can’t be in this role all the time

“Vocals transcend gender distinctions – you may not hear a more beautifully sung record this year,” Rolling Stone said of their second LP, The Lion’s Roar, from 2012. best Americana record of the year would come from two Swedish siblings?, wondered the NME

Despite all the acclaim, overnight success was a challenge for these quiet-voiced siblings. Within months, they grew from small venues around Stockholm to being celebrated by the international music press and heralded as the second coming of Dolly Parton. They were delighted with the attention – but slightly impressed too. Above all, they were determined to seize the opportunity presented to them and not let go.

“We were 14 and 16 when we started. I don’t think we realized how young we were,” Klara says. “We have a brother who is now 18 and we have some perspective. At 18, you’re not very old.

They were women in a male-dominated industry, traveling the world years before the #MeToo movement. “When we were touring as kids, we had our dad with us. That definitely helped. It would have been a lot scarier to be together,” Klara says. only after #MeToo. We talk about a lot more things now. At the time, you sort of swept it under the rug – comments or something. We are fortunate that we had not experienced anything too serious.

They also feel they have been denied a normal youth. By the time they reached their twenties, they were veterans of the road. In the decade that followed, recording and touring was all they knew. And though venues were getting bigger and bigger – they were selling out Dublin’s Olympia by their third LP – they recognize there were aspects of a ‘normal’ young adult that they never got to taste. Their lifestyles did not allow it.

“We missed some things. It was the hardest part. It was difficult for our friends too. Thank God we always got along. But it was hard to come home. Our friends were studying and we couldn’t quite understand what they were going through. And they certainly couldn’t understand what we were going through – what our daily life looked like to them.

[ First Aid Kit: Ruins review – As soothing as a warm coat ]

This busy schedule put an emphasis on their relationship as sisters. They had gone from siblings to musical collaborators. At times, the pressure to succeed as the artists strained their sibling bonds (in 2015, they needed time for each other and didn’t talk to each other for months).

“There’s a lot of pressure on our relationship, because we were the only ones,” Klara says. “It’s something we have to work on – to bring our relationship to a nice place.”

The lockdown was crucial in more ways than one. Johanna had a daughter in June 2020. With Palomino, she must reconcile her responsibilities as an artist with those of a parent. Everything is very new. But, as with so much else with First Aid Kit, she steps into this challenge with a big heart and a determination to push forward.

“I was a workaholic. I lived and breathed the first aid kit for years,” she says. “Now I can’t be in this role all the time. It’s like, ‘Okay, today I’m a rock star. And then, ‘today I am a mother’. You juggle these very different lifestyles. It’s nice – and quite healthy, I think.

Palomino releases Friday, November 4