Vilde has been putting together the most intricate of jigsaws.
And he’s just laid down the final piece, a hazy gem of an indie song; ‘Just Visiting’. Completing the ‘non-album’, but rather collection of songs released one by one and collated in a record, Study Dance is a romantic whirlwind. Born in Australia, with stints in Germany and Brighton, and now based in Stockholm, the man of the world has concocted a delicate blend of glamorous vocal and groovy synth making a sound that is unmistakably his own.
Once you dip one toe in to the magical world of Vilde, you won’t be able to resist. The album is a confident dive into warm waters; where blanket layers of electronics envelop glitchy beats and emotional depth washes over, taking control of your mind, heart and soul.
Delicately crafting wonderful soundscapes that stretch from every corner of the world and soar across the night-sky, tactile textures of glittered keys and haunting strings, robotic techno and metallic grunge, slot side by side in this peculiar but lovable mix. Each song is a world left to be explored, with an atmosphere to get lost in and new characters to be greeted by. Each song stirs a new emotion that you may have suppressed, and celebrates the glory of embracing it.
It’s wonderfully human, and it’s wonderfully Vilde. He talks us through, track by track.
Produce & Dreamboat
“I moved to Stockholm in the summer of ‘15. By November my old band Kins had decided to go separate ways. I was pretty lost for ideas as to what to do. Kins had become a very intense and heavy thing creatively, it was quite serious and it was quite dark. I was often somewhat upset after shows because it was such an intense experience performing that set each time. I loved it and miss it though it certainly had its place, bound to that time. Whatever it was that would follow would have to independently reconcile itself, coming through patience and experimentation rather than conscious thought. I asked my buddy, Mats, if I could head up his summer house in Dalarna to be alone for a week. I knew there was a piano there and no internet. I came back with ‘Produce’ and ‘Dreamboat‘. Those two tracks at last felt like the right road to take into the next phase, it felt like the gridded teeth-grit restrained aggression had been replaced with a sort of sweetness and more groove based core.”
There’s a few tracks on Study Dance which were intended for the Kins LP2, which was never released, this being one of them. They’re the ones I wished had seen the light of day, with a bit of extra work done on them. I wrote it in Düsseldorf after moving there in 2014. We had just come back from tour, upon which I was listening to Little Dragon all the time. I wanted to take a similar production and songwriting approach as they had. Before to the tour I was pretty much listening to only Tim Hecker & Heitor Villa-Lobos, so a bit of a weird blend there.”
“I decided in early 2017 that I’d get another band happening and play bass in it. I missed playing bass. I’d studied bass in high school, performed a Victor Wooten piece for my exam. Weird times. I started noodling one day and this song kind of just fell out.”
“A comment on life as I saw it at the time. I don’t fully connect to it now. Has a strong sense of inadequacy and worship for human greatness in it.”
“I wrote this some weeks before releasing it, which was a buzz. Don’t usually have so little time to think about how much I like something I’ve done before releasing it. Bird samples, 7/4 timing, wacko lyrics. I went for a lot of pushing myself to do stuff I wouldn’t usually do this year, tried to experiment a bit more.”
“Already bored of ‘High Horse’, trying to do ‘simple’ again, I guess. I zoned out on the old synth over that opening arpeggio for an hour and then fancied a straight up driving beat to contrast it. The rest kind of just fell out, pretty quickly, took about 48 hours.”
“Also written in 2014 in Düsseldorf for the Kins album. Yup.”
“The oldest of the 12. I wrote this one whilst living in Brighton in 2013. It fell in the gaps in between other releases but I always liked it. I think this track really takes Study Dance to a new level of ‘mixed bag’.”
“One from the 2014 / Düsseldorf batch. Never gets old for me. I zoned out playing those piano chords for about an hour, I zone out a lot.. before recording it, I got pretty sleepy, so the timing is a bit wonky. I re-recorded it a couple of times but always preferred the original take.”
“The strangest thing about this track is that I wrote it in the same sitting. It sounds like two (three?) completely different songs amalgamated. I only wrote it last year but have barely any memory of the process I undertook. Probably my favourite of the 12.”
“Another oldie from the Brighton days (2013). I’d never forgotten this one, always wanted to find a way to release it one day. Definitely feels a perfect closing track for the compilation. It’s always fun when lyrics pour out so connected to the raw emotion or feeling. I still connect to the me, 4 years ago, that said ‘I wanna feel the pain after the fall’.”
Words by Tanyel Gumushan