Alisa Larsen defines work as many things: »these days I mostly write, though sometimes I design objects too, being a freshly graduated interior designer. As a writer, I immerse myself in the subjects of art, architecture, design, music and food. Lately I have returned to writing more about cooking and food, as both are essential to the way I live life. Life is lived by the stove, in the kitchen and at the table, at least my life is. Wine is an integral part of that too.«. This is what Alisa plays softly during writing, cooking, living.
»Music is always present in our home. I listen to anything when working - ambient, folk, hip hop, classical, new wave, jazz, funk, choir music - as long as it feels good. The other month I listened to fast techno for a full two weeks while working and it contributed with such energy to the writing process. I become obsessed with songs and listen to them over and over again till I move on to something else - I suspect much to the annoyance of a very understanding partner.
Whenever I work, I listen to music. And anyone who has seen me sit by a desk (or bike with my headphones on) knows I usually a) nod my head to the music, b) sit and dance, c) play the air drums or bass to what I listen to. These tunes all somehow evoke that.
While the playlist starts with a very bouncy, groovy one, it builds a brooding mood culminating in utter darkness (with synthesizers!). A mixed bag for the witching hour. «
Angel of the Night av Angela Bofill
Just what the doctor ordered, every time. The grooviest disco tracks with the loosest bass in history. Makes me raise my arms in the air and dance like a maniac when cooking or sitting by the computer. There is no voice like Angela Bofill.
Hope For A Heartbeat av Bill Nelson
»I cannot believe I did not know Bill Nelson till this year. I have been catching up on lessons missed and ›The Love That Whirls‹ is my absolute favourite album of his. Impossible to choose a favourite track, ›A Private View‹ is fabulous too. ›Hope For A Heartbeat‹ is ice cold and avant garde yet intensely catchy.«
Compulsion av Joe Crow
»Just discovered the post-punk singer Joe Crow from Birmingham. He recorded and released ›Compulsion‹ in 1981, which Martin Gore of Depeche Mode did a much lesser version of and subsequently gained much more attention with. The original is so sore it stings, a rustic tune smothered in low-fi synth and Crow’s chilly voice that somehow lingers far longer than the song itself. I must admit I have listened to this at least 100 times this week.«
Cold Café av Karen Marks
»It always pays off to ask ›what are we listening to?‹ in the company of people with great taste in music. This song came on at my friends David Lundin and Alison Cosson’s place after a dinner of rabbit ragu and steamed syrup sponge for dessert, while all of us were laid flat-out on the couch, too full. Karen Marks recorded it in Melbourne in 1981 (a spectacular year for electronic music it seems?!) and it captures everything I love about cold wave / synth wave / wavey music in general. Dramatic yet simple. Composed yet bursting at the seams. By the way, David is opening a little restaurant in Stockholm called Bistro Mirabelle – you should most definitely go.«
Caramel av Cluster
»Perhaps one of the sexiest songs I know of? Hans-Joachim Roedelius and Dieter Moebius are both pioneers of krautrock, avant pop and early German synth music. I have listened a lot to their ambient solo works, but always return to good old Cluster and the record ›Zuckerzeit‹ for the goods (it has the most beautiful cover). Here are the Farfisa organs we love and know so well from Stereolab songs served to us in a slicker, more minimal manner.«
Remember av Smerz
»I haven’t minded experimental electronica duo Smerz much until I heard this R&B tune about people we used to love and how they linger in us. Hard to explain what makes it so great, but I attribute it to Catharina Stoltenberg’s intimate, tongue-in-cheek lyrics and a once-in-a–century phenomenal beat.«
Lost Arcane City of Uppåkra av Darkthrone
»The oddball selection and a nod to my Norwegian heritage. I first heard it at the incredible Copenhagen-based DJ Sakena’s live set at Strøm Festival, squeezed in-between drum & bass and minimal techno and it made perfect sense. Dense and analogue, ›Lost Arcane City of Uppåkra‹ is a turn of events for Darkthrone, leaning more on classic hard rock than ever. It is a play in two acts, the latter starting at 3:20 - a revelation doused in Moog. Spooky, ethereal, magical.«
Plays Softly frågar jag vänner, bekanta och obekanta om sju låtar som [plays softly] i antingen bak- eller förgrunden när de gör vad de gör. Deras svar får du i din inkorg – med tillhörande spellista – genom att skriva upp dig här: