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Theresa’s breakout album that redefined her sound and established her as a tour-de-force one-woman band.
Melody, harmony, rhythm, timbre; these are the traditional building blocks of pop music. Yet although you will find them in abundance on Hummingbird, Go!, the new album by Swedish born Theresa Andersson set to be released on September 2, 2008, hardly sounds like conventional pop. That’s because the New Orleans singer-songwriter chose to approach her craft from different perspectives before she even began composing. Playing every instrument on the album with the help of a loop pedal, she took elements from her life and surroundings – her Swedish upbringing, New Orleans home, the locusts in her garden, the soda pop bottles in her kitchen – to create the uniquely beautiful tracks on Hummingbird, Go!.
Andersson’s kitchen-turned-recording-studio is just another quirky addition to her DIY approach. “The kitchen sounds amazing, it has wonderful, natural reverb,” Andersson explains. Even the room itself is audible, particularly on the vintage R&B of “Introducing the Kitchenettes.” She recorded and, ultimately, finished the album in her kitchen creating sounds to match what she heard in her head. The vibraphone on “The Waltz” is actually soda pop bottles filled with varying amounts of liquid, while the slide guitar textures on “Hi-Low” were coaxed from her primary instrument, violin. Mouth percussion doubled for drums. A classical guitar, tuned down, stood in for conventional bass. With her toes turning knobs, as her hands strum guitar or bow a violin, and singing with a charismatic smile that belies her intense concentration, Andersson’s performances are little masterpieces of functional choreography.
Andersson’s craft does not end with her music. While mixing the record in Sweden, Andersson also needle felted 1,500 individual CD jackets for the teaser EP “I the River.”
“… that is something else I really brought into this record; I’m fascinated with textures, and love the feel and look of things. When you color wool, the final results depend on how you sort your natural colors to start. It’s the same in music.”
“60’s-soaked sophisti-pop…” – MTV Buzzworthy
“The magic of Theresa Andersson comprises a collection of instruments and loops pedals carefully arranged flawlessly with fingers plucking strings and feet plucking strings…” – CMJ
Her clear, fearless voice combined with the unusual recording space and her trippy, synesthetic method of songwriting amount to a different, gorgeous kind of pop music with something for all of your senses.” – URB
“…a hefty helping of friendly dream pop.” – Wired
“Like Feist’s more granola sister, she delicately traverses sentimental territory, cooking up lovely moments (the breezy violin flecked ‘Hi-Low’) and slow burning songs (‘The Waltz’) that slip under the skin and linger.” – Blackbook
“Listen carefully and hear unique instrumentation composed of water-filled soda bottles and locusts buzzing in the breeze. The result is an innovative take on ‘60s pop: part Supremes, part psychedelia.” – Flavorpill
“… gifted with a beautiful, utterly moving voice… Andersson shows us the coming of the dawn.” – Filter
“… a symphonic good time… an orchestral delight..” – Metromix Los Angeles
“…Elements add splashes of unexpected color to these songs, bringing the extroversion of those styles to the too often introverted genre of indie pop and making Hummingbird, Go! sound to big for any kitchen to contain.” – Pitchfork
“…Her sound remains essentially organic as if her wisps of sound are whispering through the trees, not turning into pixilated bytes.” – NY Daily News
“There’s an undeniable earthiness and primal power on Hummingbird, Go!… From the very start, you sense you’re in the presence of something special…” – Blurt
“… [an] unconventional, focused and utterly charming disc…” – Paste
” Swedish pop is very much of the moment, and Andersson’s particular hybrid is our favorite… the album is as intimate and arresting as any we’ve heard this year.” – Observer Very Short List
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