Poised and regal — Like a sunburst breaking through a rift in the clouds.
With gleeful echoes of Enya, Mike Oldfield’s Voyager and Y2K Eurodance,
Melting Songs is almost comforting, a welcome slice of Celtic-tinged escapism.
-Deeply mesmerising. A unique and utterly captivating body of work.
An enlightening experience.
-A peculiar little masterpiece.
Bergens Tidene -5 out of 6 stars
-Without a doubt the most beautiful and captivating
music you can listen to in the month of May.
-An unusually distinct personal voice. Fundamentally human.
Klassekampen – 5 out of 6 stars
-A pure delight.
-A raw and direct melodic presence.
-Brings the soft glow of deadpan camp to the next level.
-An unpretentious and unique listening experience
that is guaranteed to make a lasting impression.
-Music for easing into a new spiritual peace while
sitting naked on moss, laptop in lap, at one with nature.
-A long-awaited sonic hug in the age of isolation.
A boundary-shattering experience that makes me blissful.
-It makes me want to roll around in the grass! Finally, it has happened:
The recorder is back in the limelight. Extraordinary.
Vilde Tuv, known as one of Norway’s greatest lyricists, has lost her words and is now expressing herself through a wooden recorder.
Tuv rose to prominence as a “one woman band”, and she still is – the album is produced and mixed by her, and released on her newly minted label Poesy. It is an instrumental flute album for our times – it sounds busy, but it’s more of an antidote to busyness – a remedy to toxification and boredom.
Along with the recorder, we meet characters such as the Supersaw, usually known for its euphoric potential. Having grown up, it plays a softer, introspective and more caring role. Heavenly droplets (and other “dancefloor toolkit” classics) invite us into an unpretentious space to meet our feelings. The flute serves as the human guide in the electronic landscape. We also meet the fallible side of the computer. Of course we do!
Melting Songs consists of love songs, devotional songs, alchemical songs of fusion and melting. The record is a manifesto in defense of The Melody – fusing the the melancholy and the humorous in one hand, letting them melt and move together. It moves both soothingly and against the grain.
“When I listen to Melting Songs I imagine a beautiful green valley with a variety of stone temples and statues. Spread across the valley are computers, refrigerators and synthesizers. Although they have been there for so long that they’ve come to be integrated in their botanical surroundings, they’re still working. In this space, the human world and the natural world are one. And come to think about it, maybe it is everywhere?”
-Norwegian music journalist Eirik Kjøs Usterud on Melting Songs
Artist, composer, songwriter and producer from Bergen, Norway.
famous for her performances as a “one woman band”. Playing bass drum and electric guitar while singing, she mesmerized a growing audience which eventually lead her to tour Norway, Scandinavia and abroad.
Her Norwegian Grammy nominated album D´meg from 2016 met universal acclaim for her musical originality, her strong lyrics and stage presence.
The last couple of years, she has been an active DJ on the club scene in Bergen, Oslo and Copenhagen, playing a range from pop, folk and ambient to hardtrance.
On the monthly talkshow Borealis Listening Club, she has been exploring genre-defying, contemporary and experimental music together with co-host Peter Meanwell.
Her last years experiments has led her to play for full houses in venues such as Le Guess Who? (NL), Mayhem (CPH), H0l0 (NYC), EKKO (NO) and The Munch Museum (NO).
Recently started the record company Poesy, which has signed artists such as Shikoswe and the debutant o00o.
Composed music for the currently performed dance performances Island Express (De Naive 2020) og Hot Moon (Ida Haugen 2021).
- Released digital and on vinyl the 7th of May.
- Released on Poesy, digital distribution by the Orchard, vinyl distribution by Diger Distro.
- Title cut “Melting Song” premiered on BBC Radio 1 the 19th of April
Written, performed, produced and mixed by Vilde Tuv
After her first album D’ meg, Tuv relocated to Copenhagen, where she started making a new type of music, performing regularly on the electronic experimental scene. In 2018 she debuted her flute music at a cruise ship exhibition on the Seaways ferry between Oslo and Copenhagen. The new songs also found their way to a lauded commissioned piece for the EKKO festival, and shows at Le Guess Who? in the Netherlands, clubs like H0l0 in New York and Mayhem in Copenhagen and the Munch Museum in Oslo.
Melting Songs is an album of great panoramic utility: It can be played at weddings and funerals alike. On your bike, alone in the forest, confronting your own dread on the A row of the airplane, in Savasana, as alternate film music. Or for the necessity of leaving, and for the joy of coming home.
Melting Songs was recorded in Sandviken Church, BunkerBauer, Konsept X, Bergen Center for Electronic Art, LOG House, Duke Studio, Home, Metronomicon Audio, No-no studio, and most importantly the brand new Poesy Studio at Bergen Kjøtt, which also houses Poesy Records – Vilde Tuv’s new record label, where Melting Songs is the first release.
The music on the album is written, performed, produced and mixed by Vilde Tuv. The track Flute Navigation is recorded by Henrik Skauge. Melting Songs is mastered by Jørgen Træen. Cover design by Vilde Tuv, featuring artwork by Frans Ibon, Melanie Kitti, Tore Winsents and Håkon Hoffart. Vinyl backside and label contains artworks by Gabriel Kvendseth and Ulrik Dybvig.
Critical reception of previous releases:
Vilde Tuv is a jewel; a prodigy of a singer-songwriter who both sings and speaks with a presence that is unlike anything else.
Aksel Kielland, Bergens Tidene
Vilde Tuv is on a crest of a wave, with good reason. Even pop connoisseur Bob Stanley from Saint Etienne noted her name while visiting Bergen. Whoever watches her live will be spellbound.
Eirik Kydland, ENO
One of the strongest identities of any artist operating in music today, with a razor-sharp poetic claw.
Audun Vinger, Dagens Næringsliv
Provides chills of several dimensions. It is so human and intimate that you almost get bothered. A bit scary maybe, but you do not let go of her grip.
Alisa Larsen, Bergens Tidene
Sounds like nothing else I’ve heard.
May Linn Clement, Dag og Tid
The quietest, slowest, but also perhaps most beautiful little album released in this country in a long time.
Eskil Olaf Vestre om D´meg (2016), Gaffa
Unsightly poetic, and one can easily get engrossed. Although the music at first listen is most reminiscent of pop, there is something about the performance that is more reminiscent of punk.
Eivind August Westad Stuen, Aftenposten
A unique mix of post rock, folk and trance. In every way an acquired taste experience. Good luck finding a more innovative, equally fascinating and not least equally catchy release in 2016.
Tor Martin Bøe om D´meg (2016), VG