Leaving on a Mayday

Anna Ternheim

Product Details

• Audio CD (August 11, 2009)
• Original Release Date: August 11, 2009
• Number of Discs: 1
• Label: Verve Forecast
• ASIN: B002DBG0JY
• In-Print Editions: MP3 Download
• Average Customer Review: 4.3 out of 5 stars  See all reviews (3 customer reviews)
• Amazon.com Sales Rank: #12,292 in Music (See Bestsellers in Music)

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Track Listings

1. What Have I Done

2. Damaged Ones

3. Terrified

4. Let It Rain

5. My Heart Still Beats For You

6. No, I Don't Remember

7. Summer Rain

8. Losing You

9. Off The Road

10. Black Sunday Afternoon

Editorial Reviews

About the Artist

As backwards as it might sound, for a singer/songwriter to be able to touch people with their music, the actual process of writing is one centered on solitude: You have to be able to spend a lot of time with yourself and inside your own head, confirms Sweden's Anna Ternheim, noting that that's where the songs composing Halfway to Fivepoints originated. "Part of me likes being social and spending time with other people, but, with my writing, I've always had a big need for solitude. That's when I get sorted out, put words on thoughts and feelings." she says.

As some of the more somber relationship songs on Halfway to Fivepoints suggest, the 29-year-old, Stockholm-based Ternheim isn't always happy about some of the things happening in her life. If the elegant, thoughtful collection maneuvers between folk and pop, conjuring the excitement and vitality of Beth Orton's early records, there's a melancholic thread tying the songs together. But it's a good melancholy, at times shot through with moments of sonic and lyrical uplift.

It's maybe one of the singer's favorite tricks; one that's not lost on her-sad can be beautiful. "I don't think sad is bad," she says. "I always look for some sort of darkness in good love songs. If there's no pain, I have a hard time connecting to it. Even happy songs, good happy songs have some darkness to them and love always has it- to different degrees"

Her first official full-length release in the U.S., Halfway to Fivepoints is something of a journey through Ternheim's already successful international career. A critical darling in her native country-where her debut album, 2004's Something Outside, earned her a Swedish Grammy for Best New Artist-Ternheim has included some of her oldest and newest material on this album. The lone cover song on the disc is an exquisitely stripped-down and slowed cover of Fleetwood Mac's eighties hit "Little Lies."

Together, this collection features quickly-written love stories, tales of loneliness, messy lives, stalkers and therapeutic kiss-offs to formers lovers. In tracks like "Lover's Dream," which she calls a "creepy love song," she sought to bring the listener into another realm, one akin to the grainy, black-and-white world found in the memorable 1922 film Nosferatu. It's appropriate, as Ternheim's voice lends a cinematic quality to the disc, at times conjuring Orton's contemplative alt-folk and even the timeless wisdom of Joni Mitchell-sometimes within the same song (as on the album-ending title track). Throughout it all, there's a class to these songs, a beauty to them, and to the transportative quality of Ternheim's sometimes breathy, sometimes sweet voice.

"In terms of lyrics, I try to stay pretty simple and clear when I write," she says. "Some feelings are impossible to describe in words, that's where music enters the equation. I want music and lyrics to feel like one single entity"

Growing up outside of Stockholm, Ternheim wasn't even ten years old when she started writing songs, having realized that melody was all that was needed for such a task, not instruments. She wrote fairy tales, songs about "everything and nothing, just as I do today."

Between her tenth and eleventh birthdays, her parents bought her a guitar-even though she wanted a piano, she says with a laugh-and after learning three chords, she began writing on guitar.

But it wasn't until she spent time abroad, living in Atlanta, Georgia, that she upped her game. It was there where she played with a band for the first time and heard her songs filled out by instrumentation for the first time. With that band, Sova, she gigged "wherever people would have us"- coffee shops, bars, house parties, open-mics.

The same opportunities weren't as available in Stockholm. Yet, when she came home, she formed a new band there, and hit pretty much "every basement in Stockholm," and plenty of "small crappy clubs."

While Halfway to Fivepoints is her first full-length album to be released in the U.S., it is something of hybrid of the Ternheim music available in her native country and across Europe. In 2004, Sweden's Stockholm Records released her debut, Somebody Outside, featuring then-new songs and songs she wrote as a teen.

Born out of longing-longing to cut an album, to see these songs recorded, and to finally to make music her life-the disc was what she calls her "lovechild": "They were songs that I wrote when I was living by myself; they were my steady companions. There are ten songs on there that come from ten different times and ten different places but somehow it all sticks together."

Her second full-length album, Separation Road, followed in 2006, and garnered two Swedish Grammy wins in the best female artist and best lyricist categories. Both albums were released with complete second discs, with acoustic and alternate versions of songs on the first disc. In between, Ternheim has released a string of Swedish and European singles and EPs full of covers and originals. Some of the songs on Halfway to Fivepoints are culled from those releases as well.

While turning her into a rising star within her own country, Ternheim's releases have also earned her support slots on bills with Okkervil River, Patti Smith and Joseph Arthur throughout Europe.

Now writing music for the production of The Light, which being staged in Gothenberg, Sweden, she says that picking the songs that comprise Halfway to Fivepoints, wasn't an easy task: "I see it as sort of an introduction. It gives you some kind of picture of what I do."

"I want people to listen over and over again. What you hear the first time might not be what you hear the tenth time. There are layers to it. And I also hope that it brings you away somewhere and gives you a chance to project your own ideas and dreams onto the songs. I have my own stories, and that's where I always start, but songs can be bigger than people and even life sometimes, because you can fill them with so much."

Product Description

2008 album from one of the most popular singer/songwriters at the moment in Sweden. 10 tracks. She released her debut album Somebody Outside in 2004. The Swedish Grammyjury awarded her as Best Newcomer of the year, and was nominated for Best Female Artist, Best Lyricist and Best Songwriter of 2005. She also won the P3 Guld award for Best Newcomer 2004. For her second album, Separation Road released on September 27, 2006, she was awarded Best Female Artist and Best Lyricist of the Swedish Grammyjury, again she was nominated for Best Songwriter and Best Album. P3 Gold awarded her Best Female Artist the same year. April 22, 2008 was released her US debut album Halfway to Fivepoints. Universal.

Customer Reviews

Most Helpful Customer Reviews

2 of 2 people found the following review helpful:

5.0 out of 5 stars Dark, Brooding, and Beautiful, September 18, 2009

By	j.s. "mr z" (Bloomington, IN United States) - See all my reviews

I was milling around Barnes & Noble yesterday and just HAD to ask one of the booksellers, "What album is playing in the store right now?" The sexy drums, haunting strings and detached vocals were striking and catchy. Turns out, the the album is "Leaving on a Mayday" by Anna Ternheim.

This Swedish singer's voice sounds like a mix of Beth Gibbons (lead singer of Portishead) and Emiliana Torrini. Some of the strangely filtered tunes, too, slightly reminded me of Portishead's "Third" album. However, Anna Ternheim is more mainstream than Portishead.

I appreciated the moody atmosphere that infected the whole album. It manages to be dark but not depressing. I actually found myself dancing in the car listening to these beautiful tracks.

Any complaints? Well, sort of...The first song (and single), "What Have I Done," is amazing. The rest of the album doesn't really live up to the promise of that song, BUT it is still great. I hate when a first song affects you so much that the rest is a letdown...because this whole album is truly wonderful. It just doesn't match that first note.

Recommended to fans of Portishead, Emiliana Torrini, and other indy pop/alternative singers looking for something a little dark and fun.

4.0 out of 5 stars THE NEWEST SWEDE TO HIT THE U.S., October 16, 2009

By	Margaux Paschke (New York) - See all my reviews (TOP 1000 REVIEWER)    (REAL NAME)

I have never heard of this singer before but she was recommended as something different for me to try. After listening to the whole album, I was impressed.

The drum and string background on most tunes blends well with Anna Terheim's lush singing voice. I found this album very appealing although the same could not be said for every song. "Damaged Ones" and "What Have I done?" are my favorite songs. I seem to be in a mini explosion of Swedish exports and this artist is my newest favorite "indie" discovery.

4.0 out of 5 stars A mix of foreboding and anticipation., October 1, 2009

By	John W. Dunner "Jay Dunner" (Atco, NJ United States) - See all my reviews (REAL NAME)

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This should be the Stateside breakthrough album for this Norse night owl. Ternheim's tales of melancholy remain consistent, one to the next. From lacy laments ("Summer Rain") to quavering resolution ("Make It on My Own"), Ternheim builds on the cymbeline styles of Suzanne Vega, Joni Mitchell, and Stevie Nicks, creating an aurora borealis of ephemeral emotions and hardened memories. Most tracks include quietly thrumming tom-toms and light string accents that give a mix of both foreboding and anticipation. On most releases, Ternheim's cover art has tended toward blue-gray -- patches of night sky, windmills, and storm clouds. And it's left vague whether the storm has come or gone.