Taken by Trees
Open Field - Album Review
2007 brought the release of Sigur Ros' comprehensive film and double disc,
Hvarf/Heim, but a lady from nearby Sweden made a smaller splash on the
ambient indie scene. Victoria Bergsman, best known for her memorable
vocal contribution to Peter Bjorn and John's "Young Folks" single (2006),
released her solo album Open Field under the name Taken By Trees.
Reminiscent of the atmospheric qualities of Cat Power and lesser-known
Amy Blashke out of Seattle, Washington, listeners who enjoy quiet
contemplation and inherent sweetness are sure to be interested in
a run through this album. Open Field has been discussed as a whole
piece with a coherent flow as opposed to a collection of songs and
singles thrown haphazardly together. With Bjorn Yttling of Peter
Bjorn and John at the production helm Ms. Bergsman was certainly
in good hands to create a mood rather than just a repertoire.
Open Field starts slow, a disappointing start to what later turns out
to be a very thoughtful collection of songs. As far as three tracks
in one seems doomed for formulaic, chorus-less songs with no more
than three chords per. Then...a bit of fresh air. "Sunshine Lady"
cuts in with a touching soprano string and catchy, upbeat lyrics.
Next, "Lost and Found" steals the show with a full-bodied orchestra
compared to the sparse instrumentation of the rest of the album.
This radio-worthy track is written by Tracyanne Campbell of Camera
Obscura. It's a happy thing she contributed but a little vexing as
to why this is the only toe-tapper on the CD and it wasn't written
by the Bergsman. Nevertheless, it's a welcome addition and gives
hope to the next six songs.
Title track "Open Field" (instrumental) is represented in the CD
jacket as a blank page of bleeding watercolors where all other
songs' lyrics are illustrated. Although this one sounds a bit
like the intro to a British TV drama it's O.K., because it's
the perfect denouement to the two previous tracks and portrayed
artfully in the packaging.
The rest of Open Field rises and falls to complement what came
before, with nothing truly notable happening until "Cedar Trees"
combines a pentatonic intro with an elementary vibraphone beat
punctuated with innocent lyrics free of pretension the rest of
the album can't seem to get away from.
Although there is a good 50% of Open Field that lacks the ability
to compel, it's also during this time that the listener is provided
a foil to the more notable tracks, shining brightly in contrast to them.
If given the opportunity to listen several times one will truly appreciate
the quiet and reserved just as much as the tracks that break beat and wow the ears.
Originally published in Spare Change News 3/27/08