PREORDER! 

Artist: Amanda Bergman
Title: embraced for a second as we die
Label: The Satchi Six & Arketyp
Publisher: Universal Music Group Scandinavia
Release date: 16 January 2026
Written by Amanda Bergman & Petter Winnberg
Producer: Petter Winnberg
Mixing Engineer: Gustav Lindelow
Mastering Engineer: Hans Olsson

Side A

common, like the end

mexico

grasp

groby

sick of time

Side B

never known like that

is this how you said you’d be gone

a mindless dark

ours is a silent sun

the moon in e minor

Classic heavyweight hoodie in regular fit with print on the chest and back.

Poster 50x70 cm 

Dina Ögon - Orion (Crystal Clear)

A1 - Jag Vill Ha Allt
A2 - Håll Avstånd
A3 - Det Läcker
A4 - Glitter
B1 - Firad
B2 - Milton
B3 - Orion
B4 - Mellan De Sju Fjällen
B5 - Tomma Lådor

Orion is the third outing from Dina Ögon (“Your Eyes” in Swedish), the band that surprisingly flew in over the Swedish music scene from the sidelines two years ago. 
Dina Ögon have managed to condense the best from their self-titled debut and the sophomore effort Oas, without losing any of the playfulness. The first two albums were steeped in a rampant nostalgia that redeveloped old music into new. Orion however steps forward, even though the band can’t refrain from nodding back to their beloved musical influences of old the soundscape is so modern. 
Dina Ögon seem more focused on the heavens above than on the earth below them, their vision is more out- and upward bound on Orion than in comparison with previous albums. The laidback sound of Håll avstånd and Glitter reminds you of space. The scent of space aside, the band still has its feet on the ground, the drumming on Milton is firmly rooted in Brazilian soul and the sound is at once beautiful, melancholic, and joyful, like a song by Milton Nascimento, the artist it is named after, and Det läcker comes across like a four plus minute long road movie.
Orion seduces with a confidence greater than on all previous efforts from Dina Ögon. It’s a testament to their strength. At one and the same time the album winds up and about through different moods and a coherent expression. The music fits neatly together with songs that explore a darker subject matter than before, without losing a playful lyricism. The title track is like a curious and joyful walk through a forest, and the opening track a bittersweet cavalcade of emotion that sets the bar for everything that follows. When the record progresses to Håll avstånd the listener is bombarded by a relentless groove that’s bound to find its way on to myriads av mixtapes from more adventurous DJ’s.
Just as with the previous albums, any radio-DJ contemplating what songs to play is bound for some tough decisions, because the album is devoid of weak tracks. You could pick what tracks to promote the album with blindfolded. The electric organ on Firad feels lifted from the soundtrack of an obscure cult movie. Orion moves in between city and country, great expanses and great clubs, bars, and chambers, and you can tell – this is an album that will ignite dancefloors as well as ride the airwaves and end nights, even more than its predecessors. 
Dina Ögon have struggled with describing their music. Bass player Love Örsan once suggested “ordinary pop”. Which is way too humble, this is altogether extraordinary pop. Extraordinary because the album seamlessly forms a whole you want to dive and exit your everyday life into. It’s easy to get lost in the world created between Anna Ahnlunds suave vocals and the ridiculously tight general musicianship. Few ordinary pop albums have that quality.
Dina Ögon have developed their alchemy with Orion. The impressive ability to manage wildly disparate musical influences is subsumed under the unfailingly original expression.

180 g vinyl
PGMLLPX177

Dina Ögon - Oas

A1 - Bakom Glaset
A2 - Mormor
A3 - Berget
A4 - Vi Smälter
A5 - År
B1 - Oas
B2 - Mellan Slagen
B3 - Docka
B4 - Docka Kväll
B5 - Pumpan

Dina Ögon is like a bumblebee – big and fluffy and it should be impossible for it to fly, but it does it anyway – quite simply as well. Anna Ahnlund, Christopher Cantillo, Daniel Ögren and Love Örsan have had forty fingers involved in an unnumerable amount of Swedish rock, jazz, soul and pop projects, recordings and tours and all kinds of hush hush. Between themselves they’ve played in different constellations and played back up for each other, assisted even more in one form or another for more than a decade. But now they’ve formed a more remarkable quartet than what transpired from any of all the shenanigans they’ve previously been involved with.
Oas kicks off with the optimistic sounds of Bakom glaset to rush forth between the soundscapes of pop from both sides of the Atlantic in the sixties. Not least on the summery Berget or the low key, soft rock of Docka. When the latter is followed up with Docka ikväll – that in other circumstances would be categorized as a dub remix – it becomes adventurous and the reinvent what they just assembled in a new form. 
Whoever had the laborious duty of choosing singles from this album must have had a tough task; the biggest weakness is that this is solidly good to the point of making it absurdly hard to name what the obvious standout tune is. Mormor is a sonic Rorschach test, one moment it sounds joyful, the next it’s melancholic bordering the sad. But the title track Oas might be the boss cut here and the lyrics about love and its complexity, about the everyday that follows infatuation, might have the lines that will linger in memory and rule the airwaves. With a tone and a text wholly cognate with the greats of seventies pop.
It’s not conventional wisdom to mix every delicacy you like when cooking, but Dina Ögon seem to have gotten away with it and their time spent in the studio seems to have been dedicated to a rebuttal of that wisdom. Folk rock, soul, bossanova, jazz and hip hop beats get on well together in this space and seem to infect each other and the listeners. 
The self-titled debut was like a tilted “Whodunnit” detective story; rather than “who has done it?” you ask yourself “how did they do it?”. On the sophomore effort it feels as if the band is even more playful, perhaps because they’ve simply found their form, but that never leads to an overdose of comfortability because the tracks go off in so many different directions. Just when you figure you’ve got the name of a possible original source of inspiration on your tongue the song suckerpunches you and charges on towards futurist sounds of the past. As a whole, Oas takes the form of a cinematic carpet, one moment it’s as if a soul big band orchestra got to compose the soundtrack to an unreleased blockbuster movie recorded in the sixties, the next moment it’s a message in a bottle in the shape of pop marinated in slick r’n’b and hip hop.

PGMLLP163
180g vinyl