Flowers Must Die have released their fifth album, Där Bloomor Dör, is all about life and death, birth and rebirth. The double album whose title translates as Where Flowers Die, marks the end of both the record label rev/vega rec. who released the band’s first three albums and the first phase of the band’s career, when they were still a five piece.
However, there is no cause for sorrow as the album is a celebration of old meets new, in slightly dissonant harmony. The old comes in the form of four of the albums eight tracks which were all originally recorded before sixth member Lisa joined in 2015. The new comes in the form of three droning psych-folk jams from one of the band’s first sessions as a six-piece.
Opening with ‘Gör Inte’, they waste no time in making a raucous array of sound which sounds initially chaotic but on further inspection is clearly carefully orchestrated. ‘Gömma’ is a more melodic number, with swathes of haunting violin harmonies taking the forefront, whilst a jazz background beat keeps the pace. As the track progresses an eerie organ and vocal duality come in and add a cutting edge, changing its presence. ‘Oroa Dig Inte’ is the perfect track to follow, as it continues in much the same vain with its ethereal vocals, a rhythmic beat but with added guitar presence and hints of woodwind. ‘Oro’ starts off sombrely, with competing priorities that shift almost imperceptibly as it progresses.
‘Träd, Gräs & Hö’ starts with off in a minimalist fashion, with ringing piano notes and a soothing guitar riff. It maintains this essence throughout, with only the featured instruments changing; this is one to drift away too under a hazy summer’s sun. Title track ‘Där Bloomor Dör’ is a slow burner, clocking in at just over eighteen minutes with subtle changes in the repetition, very reminiscent of techniques employed by the krautrock greats. ‘Dööm’ shows a return back to the mellow, jazz lounge style before ‘Ejefjallajökull’ channels woodland spirits with its vast array of musical instruments and a violin melody, which becomes echoed by other instruments, so catchy that I challenge you not to be humming it for days to come. ‘Syntsylt’ is a bonus track with a more electronic feel that’s the rest of the album, and hints of fellow Swede’s Goat in its repeated percussion patterns.
The musicianship on display in this album is simply sensational with such an array of musical sound it’s hard to take it all in on one listening. I’d recommend listening a few times, and at loud volumes.
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