This is a true work of art. I don't know if I will find it in constant rotation, but I think it is so good for what it is that I bought the signed CD instead of the cheaper download because I wanted to pay my respect to the artists.
Sweet, sensual, dark vocals with a sort of poppy, folk-rocky Americana backdrop. They say there's an Ennio Morricone nod in the songwriting, and I definitely hear it. This is a truly artistic piece of genius, I just have to be in the mood 'cuz it's very mellow.
Devastatingly dark and beautiful orchestral ballads with a salute to the great Ennio Morricone, a love of old western film soundtracks set in the desert terrain of dust, heat and storms.
4 stars- "From my first moments with this album, looking at the cover art and then with the opening bars, I instantly had flashbacks to 2014’s smash hit television show True Detective. We Have Tigers could very easily have been used as the soundtrack to that wonderfully dark and mesmerising show. With understated but impactful use of instrumentation to set this brooding but also beautifully intriguing atmosphere, the vocals here truly stand out as the focal point. A unique use of non-traditional musical elements such as rain and storm sounds – alongside guitars, double bass, clarinet, flute, banjo and percussion elements – makes this album captivating throughout, and one that beckons multiple play throughs." (Jamie Apps, City Hub, Australia)
Top 15 albums of the year- "In the beautiful trip, here is the most "visual" Disc this year, audio description of locality, wind and rain, a still road movie, a wide passage from a plain to an emotional feeling river, a journey of a mountain wellness to a venomous sky. Inga and her sidekick Michael Lira weave movies without film of bright and strange spaces. Therefore an album to move without leaving." (translated from French, Guillaume Mazel, A Decouvrir Absolument, France)
"I've been listening to Inga Liljestrom's work for around 20 tears. And it has never been influenced by the marketplace. She has always been of another place, and her latest work on 'We Have Tigers' is, again, not looking to place in the space trends. Having said that, her work and styles have changed over time, they have become even less bound by what I thought was a genre her voice could sit in. Instead, and it really shows on some of the covers on this album, that Inga has an ability to remake songs. To put them into a place that makes them sounds as though they always should have been interpreted that way. And it is this ability to live outside the realm of popularist that makes her music so strong. This album doesn't sound of the now, but more like elements of the part and the future. All the while this is achieved without sounding confused or out of place. Simply a beautiful album that could be heard as dark and fragile, but equally it could be heard as strong and joyful. I don't give stars, but Liljestrom is one and so is the new album." (Tim Richie, Radio National, Australia)
"...an Australian woman whose name comes from a Nordic legend - she sings with the power of a Celt & the fragility of a porcelain Japanese with the heart of a tired Harlem together/combined with a sleepless Paris night"
(Guillaume Mazel, Le Cargo, France)
"...the warm & colorful voice of Inga Liljestrom brings instantly a mysterious & captivating signature/hallmark to the compositions/songs but even more it is the arrangements that draw the nail a bit deeper into the melodies that are already so addictive..."(fred Delforge, Zicazine, France)
"12 tracks combining traditional and original songs forming a dark soundscape of beauty and quiet danger. Those familiar with Inga’s previous solo albums will need no introduction to her spellbinding and hypnotic vocals, but Michael Lira’s eclectic sound palette also makes its presence immediately felt. In The Pines..perfectly captures the peace and unspoken chilling promise of the lyrics. …'Coo-Coo' features lovely fluid Nick Drake arpeggios, or ‘Tea To Boil’ which opens with banjo and takes us straight to some Appalachian campfire….’When I was A Young Girl’ features Inga singing with beautiful effect to nothing but a backdrop of rain and thunder. It has to be said though, that Lira has the knack of throwing everything into the mix without ever ruining the broth, besides which Liljestrom’s sensual melodies have always benefited from cinematic accompaniment. The album’s other originals are strong, with ‘Horses’ (‘bring your wild horses home’) expanding and contracting from solitary horse to full-blown musical opus, behinds Inga’s breathy refain of ‘he made me feel so alive!’. ‘Ah n Smoke’, though not a traditional folk tune, could easily pass for one, with a lilting ‘Scarborough Fair’ like melody and evocative lyrics. And final track “Girl Of Fire’ (‘I cut out my hear each night of you’) nicely encapsulates the spirit of the record, building into s slow burn climax and leaving you with the feeling that you’ve just woken from some vivid and sadly nostalgic dream. For this album is perhaps sonically as close to walking in a dream as one can get; ethereal, moving at a mostly funereal pace, it drifts in and out of your psyche like the echo of a lost romance which, while you were asleep, somebody was making a movie about. More haunting with every listen." (Val Gray, Rhythm Magazine, Australia)
'Beautiful simply beautiful! I refuse to see and tell you the background of the two artists, their collaborations, their interventions and many other things, there is no interest in my mind to...what interests me most is that they have had the good idea to meet, the good idea to listen, to complement and thus offer this perfect alchemy. This disc is of infinite delicacy, silky harmonies, fine and elegant orchestrations in which each note is discreetly advanced for singing, Inga could use her sighs, her tremolos and words in weightlessness. It is obvious that here we approach the concept of 'great music', those related by the charm and make you sad for a moment. Another notion, that of time, minutes and seconds tick sparingly, time seems suspended, appeasement is total, almost mystical. But who said appeasement in tone, in the atmosphere can also be said of the thoughts that sail at random. 'We Have Tigers' offers an extensive eye, they can serve for introspection, questioning, taking account of its own sensations, letting go or not, everyone feels the need and want to be alone face him/herself, almost in religious silence. 'Leaves',' Finally We Rest ', 'Coo-Coo ', and' Bury me Beneath the Willow "and are broken down, the softness of pearls, sometimes youthful purity. I would add my small list, a magnificent 'When I Was A Young Girl' á capella, very wet/ rainy indeed but terribly bewitching. 'Horses' and 'Ash n Smoke' also deserves absolute silence. All other parcels of happiness propose 'We Have Tigers' are in the same spirit, the same poetry, the same imagination, it's a great record, a very large disc, the perfect meeting, the silky melancholy, tremor, Whisper of each note, each new instrument- wind, strings, great!' (Yan Kerforn, fanzine Cafzic, France)
released August 25, 2015
Inga Liljestrom- lyrics and composer of track 2, 9, 11, 12
Inga and Michael lira composed track 4
Inga and Fran Cole composed track 10
Inga, Bob Scott and Mike Wells composed track 5.
All instruments played and arranged by Michael Lira.
All vocals and nylon string guitar by Inga Liljestrom.
Banjo on Tea To Boil by Dave Weir.
Violin on Girl Of Fire by Veronique Serret.
I am an Australian/Finnish composer, vocalist and performer. I've also begun to experiment with film, collage, music for
installations and an iPhone app, and have recently collaborated with universities in Australia and Finland in music and performance art.
Currently based in the UK.
Banner photography by Sarah Delaney. Profile image painted by Esmeralda Raven Aponte...more