All things must end



Releasing music is like travelling back in time. It’s now just over three years since I completed Vowels. The music was originally made for the dance performance Vowels  created by contemporary dance group Iraqi Bodies. The piece premiered at Atalante in Gothenburg on October 4th 2012.

Three years… At first I had no plans whatsoever to actually release this music. I just couldn’t see how it could be presented in any suitable way without the visual aspect – the dance piece itself. And at that point in my life it didn’t really matter to me anyway. So after the performances were done at Atalante I shelved it and it wasn’t until late 2013/early 2014 that I actually went back and re-visited it. With some distance, I realised to my surprise that I actually felt this worked as a standalone piece, in its own right. The original piece for the performance was sequenced into one long continuous track, but for this release I felt it needed to be more clearly broken down into segments. So for this release I also took the liberty to re-do some of the mixes and cut out some segments that I didn’t really felt worked when it was to be a stand alone work. The way I see it though, and the way it was always intended, this is one piece divided into four parts.

This is probably some of the most sparse and introvert pieces I have ever done. It’s dark and bleak and there’s a restraint permeating this entire piece. That said, it’s not really difficult music, but it’s a piece that requires silence, time and focus to be fully absorbed, and I hope you give it that time.

The album is released by the lovely UK based Awkward Formats. It comes as a clear vinyl with a beautiful insert printed on semi transparent paper and can be ordered here.

Thank you Matt for releasing this, thank you Liam Frankland for the amazing photos, thank you Taylor Deupree for mastering this (twice) and thank you Thomas Ekelund for helping me out with the finishing touches on the cover design!

The Forest Diaries

Today marks the release of my album The Forest Diaries. The music was created for the dance project The Forest Diaries created by Florida based, Swedish born choreographer Jenny Larsson. The album is released by the lovely Eilean Records.

Jenny and I went to high school together in the 90’s but lost touch after graduation, so when I got an email from he last spring I was quite surprised. But when she started telling me about this project I immediately knew this was something that I wanted to be a part of. The project revolves around the forest and our relationship to the forest. I was asked to think of a place in nature that held significance to me, and I knew instantly that I would have to go with Store Mosse. Store Mosse is a giant bog situated just a few kilometers outside the small town where I grew up. We used to go there a lot when I grew up and I have many happy memories of it. The scent of pine and stale water, stopping for hot cocoa and sandwiches (nothing will ever taste as good again). Store Mosse is a barren landscape, quite otherworldly but serene. I guess you have to see it for yourself to know what I’m talking about. It was also one of my mother’s favorite places in the world.

The entry point for The Forest Diaries is the track Summer that was originally released on the Jasper TX album In A Cool Monsoon back in 2007. And the track itself actually dates back as early as 2002 or 2003 perhaps even earlier. I’m not entirely sure why I choose this track as an entry point for this project, but instinctively I knew this was what I wanted to do. Perhaps this was my attempt at trying to return to a simpler time in my life? And maybe I’m growing old and maybe I just need to try and understand why I have become what I am.

The music on The Forest Diaries is intentionally sparse, the main elements being pump organ, piano and field recordings from Store Mosse. To further add to the whole memory lane thing I actually re-used the rain sample that was originally used for Summer, recorded in my old apartment in Gamlestan in Gothenburg back in 2001. And you know what, I still remember when I recorded that. Funny what stays with you right?

The Forest Diaries is available in a limited edition of 180 copies over at Eilean Records.



So, it’s that time of the year again. 2014 is coming to an end. Another year is done and I just realized I haven’t posted anything here since May. 2014 has been a hectic, strange and tough year. And I’ve been doing the only thing I know how to: keeping busy.

2014 saw the release of Fall Into Fire (n5MD), my first solo album as Dag Rosenqvist. An album that I am immensely proud of. Sadly the album sort of disappeared off the radar after its release. But sometimes that’s the way things go. It’s still available form the label though if any of you missed it. I also released the cassette Music In Three Movements For When The World Fall Apart on Dauw. The music on Music In Three Movements was culled together from things I had been playing around with during fall 2013 and features three lengthy drone pieces. I made this because I needed calm and warmth around me, because I needed something I could rest in. 2014 also saw the re-release of the long out of print self-release Vintermusik that Rutger Zuydervelt and I released back in 2007. This new edition was released by polish label Zoharum and featured the 24-minute bonus track Feberdröm, also released in 2007 on Odradek. I made music for the dance performance Alina by Gothenburg based choreographer and dancer Astrid Boons and I also created an albums worth of music for the dance project The Forest Diaries by Swedish choreographer and dancer Jenny Larsson. I made a few remixes and other contributions here and there and I’m sure I’ve done even more things, but memory fails me.

As for 2015 we’re finally getting ready to release the next From The Mouth of The Sun album. Don’t know when yet though, but will try and keep you updated about this as we go along. I also have a solo album entitled Vowels that will be sent to the printers in January. Vowels will be released by Awkward Formats some time during spring 2015 if everything goes according to plan. We’re currently getting the first The Silence Set album ready for release on Edinburgh based label mini50 records as well, more on that to follow. In addition to this I also have two solo albums done (well, almost) that are basically just sitting on my hard drive at the moment and I have no idea where or when they will be released. The albums sort of mirror each other and they both revolve around people I’ve lost during the last couple of years. Will let you know more when I know more.

I’ve worked a lot and I’ve traveled a lot this year, and I’m sure that, in the midst of all this, I’ve neglected some of my friends and for that I apologize. I’m not always that good with people, sometimes I just need to shut the world out. I try to be a good person but sometimes I fail and for that I also apologize. I sincerely hope 2015 turns out better than what 2014 did because I’m tired of saying it’s been a bad year…

See you on the other side.


Fall Into Fire

When I started working on Fall Into Fire, my father-in-law had passed away just a few months earlier. And in the mess of work, grief, touring and making music I didn’t see it coming. I thought it was just a phase, something she had to go through to deal with it all, something that would pass. I thought that it was just the vastness of life and sorrow. But now I know first hand how grief can profoundly change people.

This album is an aural diary of a break down. It is escaping into a haze of alcohol, it is the emergency psychiatric ward in the middle of a cold winter’s night. It is broken and fragmented, it’s medication and depression. It’s defeat, sorrow and the sleepless nights. It’s the will to go away and it’s life as the inevitable consequence of actually getting out of bed every day. It is a life that somehow stumbles on. The black lump of coal in your chest that weighs a ton and that’s light as smoke. A cavity and a void. It is the loss, the mourning and the emptiness. It is the realization that you’ve lost what used to be your best friend. You are nothing but ghosts to each other. It is a life forever broken that can’t be fixed.

I started this album in the aftermath of one death and as I write this only a few months have passed since my own mother passed away. Death is all around us, it is the circle that binds us, the fear and the certainty, that which keeps us alive. And somehow, in the midst of all this, life goes on. I know this because I see it all around me. I just don’t feel part of it anymore.

I wish I’d never had to make this album, but life wanted differently. So here it is, with all its flaws and imperfections. It’s my life, the only life I have, the life I somehow lost along the way.

Fall into Fire will be out on vinyl on American label n5MD on May 20th. It has been mastered to retain dynamics, all perceived silence is intentional. There’s a volume knob on your stereo, use it.

You can pre-order your copy right here.
you can listen to it on Spotify here.

Still life?

Today I buried my mother. It was the most painful thing I’ve ever had to endure. And people tell you you’ll always have the memories. They tell you she will always live on in our minds and in out hearts. They tell you she’s now at peace. And sure, on an intellectual level I know all of these things, I really do. But knowing all of these things isn’t the same as accepting them on an emotional level.

Going through her books, her DVDs and her records. Her life. Choosing what to keep and what to throw away. Choosing what music to play at her funeral, choosing if we want a birch or a pine casket. It all comes down to the practicalities, about tiny choices that will forever define a fraction of the memory of her in the eyes, the ears and the hearts of those who attended her funeral. I don’t think I can ever listen to those pieces of music the same way again.

People tell you “yeah I know 2012 was an awful year, but trust me, 2013 will be better in every way”. They tell you “yeah I know 2013 turned out bad as well, but trust me, 2014 will be the best year ever”. And they tell you time heals everything, and they tell you things will get better and they tell you to try and move on. But truth is things won’t get better. People will still die, people will still leave you and break your heart.

I’m angry all the time these days. I’m angry because she didn’t deserve this, because it’s just so brutally unfair. Because she deserved more, she deserved to live a life without illness and pain, without medicines and constant visits to the hospital. She turned 65 this summer and in a way I always knew she wouldn’t ever get to become old, but I hoped so much we could still keep her for a few more years at least. But I know that’s a vain and selfish hope and I know she’s better off now when she’s not in pain. But I’m still angry because I think life is just so unfair, because I kind of figured I would be due for some happiness soon. But I guess that hope was just as vain and I guess this is just how life goes. But I’m still angry.

Today I buried my mother. She’s gone and I have to live the rest of my life without her.


You gave me books. My dad gave me music, but you gave me books. And I don’t just mean the physical, actual act of giving me books, although you did plenty of that, I mean the act of giving me literature as an art form, as a way of letting the mind wander and expand. I remember how you would bribe me into reading books, how you would even force me to read books. I remember reading books in English at the age of 14, books that was way beyond my age and scope. I remember afternoons that disappeared in the pages and in the stories. Days lost but days still living in me.

When we helped you and dad move a couple of months back, my brother was complaining about the amount of books we had to move. And yeah, I agreed with him, you had too many books. But to be honest, I’m the same. I love books. It makes me feel at home to be surrounded by books. And I know you felt the same. You can never have enough books right?

When I make music, I don’t get inspired by music, I get inspired by books. By sentences, by word. By images the words produce, by a phrase or a silence between words. Somehow that opens up my imagination and my creativity in a way that any other art form can never do. And you gave me books. And for that I’m forever grateful.

I don’t believe in an afterlife but I really hope we’ll meet again, because I miss you so much.
I love you, now and forever, mom.

Lena Margareta Sjöström Rosenqvist
1948-06-15 – 2013-12-03

Out of touch

Since I quit the Jasper TX moniker I kind of figured it would be a bit harder to get someone to wanna release my stuff. As Jasper TX at least I had some kind of history, as Dag Rosenqvist I’m no one. I don’t exist and I never have. But I never imagined it would be quite this hard to be honest. A year ago I finished an album called Fall Into Fire. And to be honest I think it’s an amazing album full of broken melodies, huge drums, weird sounds and beautiful, albeit a bit skewed, songs. It was made with the vinyl format in mind: two distinctly separated sides, just under 40 minutes in length. And all the labels I’ve spoken to like it, but they don’t know how to categorize the album because it’s not drone, it’s not noise, it’s not modern classical, it’s not kosmische, it’s not folk… To me it’s a step in a new direction, while at the same time hinting backward to The Black Sun Transmission and the track Days Above The Tide off of An Index Of Failure. But people don’t know what to do with it, so they say “it’s a great album, but I don’t think it fits our label”. I actually have a label interested in releasing it. And it’s a lovely little label, but at the rate it’s going now, the album probably won’t see the light of day until 2016… So what am I really complaining about here?

I’m complaining because something has happened. Since virtually no one buys CDs anymore there’s no point in making or releasing them. So then we’re basically left with three options: vinyl, cassette tapes or digital or any combination of the three. Vinyl is of course the first choice for artists and labels alike. Vinyl records have amazing sound quality, big format so you can really go all out with the packaging. But vinyl records are expensive to produce and therefore the labels run a risk with every album they make. And with increasing shipping rates, it’s become harder and harder to ship vinyl records over seas. Cassette tapes on the other hand are cheap to manufacture and cheap to send. It’s a lovely format in every respect. But the sound quality just isn’t there. It’s amazing for some music, but if you want transparency and clarity, this is definitely not the way to go. And then we have digital. Digital is cheap, there are no postage costs and it’s instantly accessible everywhere. It also has no soul.

You know that vinyl album that has a scratch about a minute in on the third track? It’s really not supposed to be like that you know? But to you that is the way the album sounds, the way it’s supposed to be. So when you hear it on Spotify for the first time, something is missing. Something that was yours is missing and something is lost in translation. One might argue that digital distribution and digital streaming sites are the only way to go, that we are already there and that I’m fighting a struggle I can’t win. One might also argue that the digital format sounds way better than the other formats. And yes of course, digital is crisp, flawless and completely perfect. And that’s the big problem really. The truth is, we don’t want perfection in things. We think we do, but really, we don’t. Symmetry only works if there’s something that breaks the symmetry, something out of place, something that triggers our imagination. Perfection is never perfection, it’s your idea of perfection and your idea will differ from mine. What you perceive as beauty, I think is mundane. What you see as art, I think is amateurish. What you discard, I cherish.

When it comes to music, I’ve always loved the physical thing; the vinyl, the cd, the cassette tape. It’s something tangible. More than that, it’s something that you can actually touch, hold in your hand. And you can sit and look at the covers, at the booklets and inlays. Read about who wrote what, who mixed what and where it was recorded. You get the full artistic vision and at the same time you get the background. The who, the when and the where, the full scope. Digital is just a file on your computer or in your iPhone. You can never tell if the cover was supposed to have a glossy or uncoated surface, if it was presented in a thick cardboard box or in a thin, hand sewn paper slipcase. Gold, copper, silver embossing won’t translate to the digital domain. Neither will braille.

Digital music has no history, it will never be worn or get surface noise or pops. It will never get stained from that time you and your girlfriend got really drunk and spilled red wine all over it. It’s the modern equivalent of The Portrait of Dorian Gray. It never ages, because it doesn’t really even exist. But you do. You age, you get stained and worn but the music stays the same; crisp, bright, perfect. And the fact that it doesn’t exist makes it easier to steal without considering the consequences of your actions. Who cares, it’s not like it’s a physical thing you steal, it’s just data and it’s a victimless crime right? The only one’s who get affected are the major, blood sucking, money greedy records conglomerates right…

So, what am I getting at here? What I am getting at is the simple fact that, due to the changes in the music “industry” over the last couple of years; the decline in CD sales, the whole Spotify/digital streaming thing, if I want this album to see the light of day any time soon, I will have to swallow my pride, go against everything I believe in and release it digitally through my Bandcamp page, and it fucking sucks. On the other hand, I could just make music the labels would wanna release, but that’s a different discussion altogether… The bright and shiny future is here and I love it.

Hail and kill!


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