Album of the Week: Tor Lundvall’s Under the Shadows of Trees (2003)

Not gonna lie, when I discovered this album I assumed Tor Lundvall was someone in Scandanavia, perhaps making experimental records for Oslo’s Rune Grammofon label. But no, my man Tor is a good ol’ American like me, born in Jersey and based in Long Island. His self-described “ghost ambient” music is soothing, spectral and perfect for Fall, the spookiest season.

Lundvall’s primary output is his paintings, and his website hosts a gallery where you can view hundreds of them. The album cover above is a good representation of what you’ll find: tree-filled landscapes as well as costumed characters who are occasionally a bit creepy. And his painting style is absolutely reflected in the music: pastoral and gentle tones abound.

I’ve probably mentioned before that I love music with no drums, and like a lot of ambient music, Under the Shadows of Trees fits that description. It is a a collection of reverb-soaked synthesizer and piano pieces, many featuring vocals with discernible lyrics (“Distant Children” is almost a pop song) or muted cries (adding to the “ghost” theme).

At just over an hour, Under the Shadows of Trees is fairly long and many tracks sound the same, but this is rarely a problem for me when it comes to ambient music. If quiet, contemplative full-lengths are your thing, then this is a beautiful choice. On its Bandcamp page, Lundvall suggests that listeners play the album outside as the sun sets, “just as the evening ghosts call softly from the woods”.

Listen to Under the Shadows of Trees on Spotify.

Album of the Week: Mariah Carey’s Memoirs of an Imperfect Angel (2009)

Mariah Carey is snarky. After Eminem repeatedly dissed her and then-husband Nick Cannon, she made “Obsessed“, a smash hit that still ranks among the most popular songs in her extremely successful catalog. And she wasn’t afraid to bite back at Em: “See, the difference is, my song is on the radio and his, you have to search for it,” she said in 2009.

Of course I knew the brilliant “Obsessed” back then, but I just discovered Memoirs of an Imperfect Angel earlier this year and my first thought was, “how did it take so long for me to hear this album?” I’ve followed The-Dream for the past decade as a big fan, so it surprised me that until 2020 this album, almost-entirely penned and produced by The-Dream, somehow Mandela effect-ed its way from seeming nonexistence into my ears. And – surprise! – it’s her best work.

Most Mariah full-lengths are scattershot. And that’s ok! She’s made a lot of music, and plenty of it is top-notch. But for every “Vision of Love” or “Fantasy”, there’s usually some sappy filler that lines the rest of the album. Memoirs, however, hits over and over.

Much of Memoirs sounds exactly like what Dream was doing on his first three albums (AKA The Love Trilogy), and that is a good thing. “Candy Bling”‘s beat is almost identitcal to “I Luv Your Girl”; the screwed “lovin’ on my mind” vocals on “Ribbon” recall the same effect on “She Needs My Love”; the whole album is filled with ay-ay’s and oh-oh-oh’s that are hallmarks of Dream’s sound. No complaints there.

What separates the album from being just another Dream record is, of course, Mariah herself. Besides contributing her iconic vocals, the female voice in her songwriting is the antidote to what we hear excessively on Dream’s solo albums, namely the licentious tales of an extremely horny guy. Take “It’s a Wrap”: over a silky piano line, she begins, “Yet another early morning and you walk in like it’s nothing / Hold up, hold up, hold tight / Ain’t no donuts, ain’t no coffee / See, I know you seen me calling and calling / I should crack you right in your forehead”. Damn, MC. Sass is a consistent lyrical motif in this album, and she pulls it off. For the last few songs, however, Mariah changes her tune and goes full ballad mode, covering Foreigner’s “I Want to Know What Love Is”. She pulls that off, too.

In fact, Carey’s cover of “I Want to Know What Love Is” got the nod of approval from Foreginer’s Mick Jones, and broke the record for longest-running number 1 on the charts… in Brazil. It’s a euphoric end to her tightest album. I only wish that Spotify had a version of the album without the bonus remixes, so that I don’t have to hear a ridiculous techno mix of “Obsessed” every time the main album ends.

Listen to Memoirs of an Imperfect Angel on Spotify.