Anna Ternheim

Anna Ternheim

"On the day I was born, in 1978 there was a total power failure, I came at three o'clock in the morning by the light of flashlights to the world. Therefore I write nightly music ... it has always been so and will probably remain forever. " Anna Ternheim

2008. It was the year in which Anna Ternheim - not the first and certainly not seeking the only young musician - could be swallowed entirely of New York City. The light-hearted brutality of the city and the views of unpredictability seemed to be exactly what their torn soul needed. And so Ternheim returned her native Sweden at the beginning of spring 2008 the back and was determined to Expat in New York to roam the city.

2010 winter

completely exhausted from the grueling tour following the release of their third album, Anna Ternheim found suddenly in a situation where it seemed would have come as if you lost any creativity. She was exhausted. Your missing stimuli. While you groping in the dark, looking for the lost pleasure, they roamed aimlessly through the city, fervently hoping that her eyes saw something that her strange glowing appetite for the art, music and adventure other silent dignity.

Anna: "When I finish an album or tour, I feel usually cravings for new music. Then I would leave my own bubble and discover new perspectives. So I looked at a concert of the band Tinariwen in Bellhouse. She completely blew me away and definitely deepened my interest in the Desert Blues. These repetitive, hypnotic vibes are something that really appeals to me. One of my friends introduced me to David S. Ware attention, an improvising saxophonist. Its music is totally unconventional, miles away from what I myself do. But he is so much in harmony with his instrument that I wanted to put myself in him. "

These musical encounters Anna discovered something for which they had been starving unconsciously: the form of absolute control that gives a paradoxically more freedom and in which the instruments are mere extensions of his thoughts in the hands of the musician. She realized that there was only one way this place to reach: they had on their guitar practice. About discipline they would access to musical richness and lightness obtained. FOr Ternheim who led by natural instinct autodidact, this was a wide-open path they had hitherto never trod.

2010 summer

The time fOr shimmering hot nights on roof terraces and boiling asphalt had just dawned when Anna began to hear something. Notes, fragments, a burgeoning direction. As she sat with friends over tea and meringues at the kitchen table in Ditmas Park, Brooklyn and volubly about left out as they just struggled with her guitar, made a compassionate colleague the following fateful remark: "I know a place that can offer you more than you ever dreamed. Go there and you'll find exactly the guitar, you need to tickle the songs out of you, you're talking about. " The advice of her friend Anna led on a hot, humid afternoon in july before an unassuming storefront in a remote area of ​​Brooklyn. There Ternheim found what should be their beacon in the coming weeks and months, her brother in arms, the link between their thoughts and their hands. It was a battered Gibson from the 1930s.

2010 fall

When the next change of season was coming, Anna still felt despite their new battered guitar next step no. It was as if she were orbiting something, but without coming this a little closer. In October, she was slowly gripped by panic. Time seemed resistant to progress and leave them behind forever. So she turned to her friend Matt Sweeney, "One of the best guitarists I've ever played", and asked him for lessons and help in arranging their songs. The two met in a dingy rehearsal room at the 4th Street, where slow one began to come to the other. One night took Sweeney them to a performance by the largely unknown, but exceedingly influential Scottish folk singer Bert Jansch in an old warehouse in Brooklyn. Ternheim recognized the spirit of their own style in the back of Jansch and remembered a time in their history back when old folk songs, featherlight picking and twining melodies actually formed their whole musical essence.

2011 Another Winter

While dawned another icy New York winter, Sweeney and Ternheim met regularly. The songs were finally with a certain ease. Seemingly out of the blue presented Matt then an idea that he was for some time in itself: the joint work in Nashville, Tennessee, to continue.

Matt: "I was quite impressed by the new songs they had shown me in Brooklyn in the rehearsal room. They were forcefully and directly with their modal fingerpicking guitar lines. After a few weeks of productive work sessions she told me that she wanted to make an album that to our two guitars and the vocal approach that we had found, should be based. I had recently (best known for his work with cash in the past 'American' albums), recorded with Dave Ferguson, Johnny Cash's longtime engineer a bunch of songs in Tennessee. And I told Anna that I would like there to produce their album would. "

Anna had never heard of the Grand Ole Opry, Music Row or any of the other cult revered Nashville institutions and legends that usually attract musicians in the hope of finding those authentic, magical, native sound. FOr Matt this was actually an advantage because namely he had in mind something else: He wanted to combine the extensibility of Annas songs with the great instrumentalists from Dave Ferguson's musical family (of "Ferg" even to mention!). Nashville should be merely the shooting place, but do not affect the sound of the recordings typically. Anna, who had worked at that time for quite a while, like a madwoman, had not the faintest idea what she was getting into when she agreed without hesitation to the plan. But it should have a hell of fun. So grabbed Ternheim without being inaugurated in great detail about the upcoming things, quickly her suitcase and turned - with violently beating heart - it is a, their tents temporarily to pitch in a stranger's house. Then they just went on his way. And on a warm full moon on Friday, February 18, Anna Ternheim started with the recording of their fourth album "The Night Visitor".

Anna: "We arrived at the Butcher Shoppe, the studio of Dave Ferguson and John Prine, and spent several days in order to receive live. Only me and Matt with our acoustic guitars. I may have appeared calm on the outside, but in fact shot me the adrenaline through the veins. But it does not take long, after a couple of days I felt in the studio at home and familiar 'Ferg' no less than Matt. 'Ferg' called a few of his friends: 'Hey, I'm just taking shots with this girl named Anna to make, she use a great voice and great songs, we might your help with one or the other number ...' "

Matt: "As 'Cowboy' Jack Clement, Kenny Malone, Ronnie McCoury, Tim O'Brien and the rest of the great guys who play on 'The Night Visitor', appeared in the studio, they do not gerierten as 'Nashville legends' but presented themselves as outspoken musicians who wanted to put at the service of the songs. Peter Townsend also (Not to be confused with the Ex-Who Pete Townshend!) and Will Oldham brought their talents as a singer, songwriter and drummer. Ten days flew by, and we had something in his hands that already sounded like a plate. "

In fact: the Butcher Shoppe swarmed sheer legends. Some were buzzing in the form of sensational stories through the rooms, other than real figures. The spirits of Cash, Orbison and Perkins were everywhere: in the stories on the walls and the stories of visitors ... even in the dust which covered the ground. The whole place exuded a unique atmosphere, permeability, workmanship. After 18 days of full shots, barbecues, home cooking and fingerpicking parties the twelve songs for "The Night Visitor" were almost finished when on Mardi Gras day was a half moon again.

They Night Visitor

"The Night Visitor" has been described as an album, telling the stories. this is of course just as accurate as obvious name, when it comes to music with lyrics. If it were up to Anna, then this designation would but for most shots aptly be, even for those without words.

Anna: "As a child I was attracted to the harmonies and lyrics of old folk songs. I knew the entire lyrics of 'Scarborough Fair' by heart, when I was four years old. Matt played me 'The Night Visiting Song' by Luke Kelly before, and I loved the piece immediately. It had exactly the same atmosphere, and we both thought it was a good title for the album would be. "+

Anna Ternheim insists that all stories also depend on the ears and eyes of the recipient. Therefore it considers it important to consciously leave out certain things to make fOr between the airy layers room interpretations. That does not mean that the songs are not full of vivid images that were charmingly veiled with simplicity. In this regard, the song "Bow Your Head" may be the secret prime example of the album. It is a haunting, epic tribute to the beauty of nature, to spend the day with a lover and to be perfectly unconscious of what the future may hold. In "Walking aimlessly" to want Ternheim can only drive, and she hopes that the people, whenever they hear the song, drifting just and create their own safe haven in space. And then there's songs like the duet "The Longer The Waiting, The Sweeter The Kiss", which was written by Pat McLaughlin and Anna, sang in heartrending sincerity along with Dave Ferguson, the owner of the studio.

Dave Ferguson: "We were in the studio to give us the first real know when Matt Sweeney remembered this song. Matt Sweeney is one of the most prolific musicians in the world. I was fortunate to work with some pretty great people ... I myself am a regular guy, but Matt is really great. I sang the number so when we sat there together, and Anna liked. They immediately began to sing. It is one of my favorite pieces. And I love the recording that we have made of it! Now it needs no one to take. Matt, Anna and I have decided to make Anna the song to the skipper. She is a fantastic skipper! I can not wait to work with her again. Actually I should not call work ... "

The album "The Night Visitor" should be wonderful. However, it should also have a certain audacity and emit more than all previous albums Tern home a live atmosphere. The voices were therefore taken bold along with the guitars. Such chutzpah place nowadays only very few musicians of the day.

Anna: "I wanted to miss this album an immediate and timeless quality. I wanted my voice stands out and that the instruments sound like instruments. It was absolutely amazing to work with Ferg, Matt and all the musicians. The sound was in the studio walls, in these people the fingers and brains. Kenny Malone is the first drummer who, before he played me a song to bat the corresponding lyrics, because he found it so easier to detect 'heartbeat and the deeper meaning' of a piece. "

Anna Tern home fourth album illustrates in a way, the essence of her being: she is an old soul with a fearless, almost childish desire for the unexplored. She sings like an earthly angel of defeats and victories, acquaintances and companions, life and death.

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