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Dina Ögon & Broder John - Mellan Slagen / Docka (live)

1 - Mellan Slagen
2 - Docka (Live)

Two of Sweden’s most interesting artists collaborate on this brand-new version of “Mellan slagen” from Dina Ögon’s celebrated album “Oas”. The song – which was originally inspired by glaciers and fjords lit up with neon lights and permeated with a smokey club feel – weaves together Broder John’s nasal, soft flow with the slow, almost ghostly groove which brings to mind the 90s Bristol trip hop scene.

Broder John has made quite a name for himself as a force to be reckoned with on the Swedish music scene. 
This Umeå-bred artist has contributed to shaping the music of today and leading the way for a new generation of artists. Following his debut album “Cool” and the sophomore album “DRIFT”, he was picked as the first-ever artist singing in Swedish to perform on the international platform COLORSXSTUDIOS.

Broder John says, “Dina Ögon is the best thing to have happened to Sweden in the last 10 years and ‘Oas’ is an instant classic. I don’t think I’ve ever been as quick to accept an invitation as I was when this one came in.”

Broder John on the new lyrics: “If you’ve listened to my previous lyrics, you can see that I’m often drawn to writing about different contradictions in life. I’m very inspired by Anna’s lyrical writing, and I heard her words in the chorus “finns inga krav” [“there are no requirements”] and I wanted to explore if there was something I could take from that into my world. I’ve had this idea for quite a long time about the scenario in which someone says that “everyone is lying” and what that means for the person saying it – are they lying too in that case? So, in combination with Anna’s world and the incredible production, it felt like a perfect painting to continue painting. I think the last sentence ties it together nicely, “Kan inte lita på nån här, det är sjukt, så tro mig när jag säger att det är sant – alla ljuger” [“Can’t trust anyone here, it’s insane, so believe me when I say that it’s true – everyone is lying”].

Dina Ögon on the collaboration: “Broder John is one of the best ones we have, we like that stuff, please listen!”

Limiterad upplaga 7” vinyl

PGMLS176

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
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