The Embassy makes comeback with a tour

By on October 29, 2018

The Embassy is neither “right in time” or “timeless”, neither historical nor eternal. The Embassy is against the present and current values. The Embassy is constantly out of date, thus untimely. The Embassy now returns to Stockholm. At the same time a new album is released.

– How do you get back into society!? 

The Embassy, as Pitchfork really called “overlooked architects of some of the past decade’s best new sounds”, undoubtedly belongs to the 21st century’s most rewarding Swedish band. With influence inside and outside Sweden’s borders, it would be easy to say that without the Embassy, modern music had not sounded like it does. Their Futile Crimes (Björn Olsson’s first production) opened 2002 a new era in Swedish music, crowned and perfected in 2005 with Tacking (with singles like Some Indulgence, It Pays to Belong and Stage Persona). The light, elegant and melodic pop produced in a mix of acoustic and digital elements is in many ways the model for recent pop music. But it’s not for its influence and its audible elegance The Embassy goes to history. It’s rather how they go out of history, in a constant turn from the present.

The collective glimpse of Life in the Trenches (2011) reminded that it was always about a low-intensity stagnant war against the present. The Embassy compromised music journalists with small bribes, their concerts were performed in karaoke form while the band was in the audience, other bands had their coverings, performed plays on two-dimensional instruments of paper, launched anti-rock and subclass disco . They deconstructed, reflected and disinformed. All to underscored tones of the finest cut: the revolution comes to us on pigeons.

The labels on the vinyl release of The Embassy’s forthcoming White Lake release (released in autumn / winter) are characterized by two crossed tools consisting of a tomahawk and wrench, a symbol for “monkey wrenching” – sabotage directed at the functionality of engineering and machines aimed at deforestation and exploitation. This form of tampering turns technology towards itself. The wrench, just like The Embassy, is not violently destructive, but is an extended arm that opens what has been closed. (A Negative Dialectical Aufhebung) We can probably expect continued pop attacks.

But how does something like The Embassy return? It can only happen through a reflection of the time itself, and probably the peculiar temporality is the real adventure with White Lake. “Sometimes”, for example, with its kinetic-reduced house emerges from the past as a wolf. “You could speed it up a little please.” With the chorus, the intensity suddenly increases and forms a relatively present now, which expressly expresses the album cover’s dial and its twist over time.

It is also this temporality that creates the opportunity to appeal to himself: in it I am the same, but only as another. That’s how I can meet myself, but just like a problem that always accompanies me. “Hey trouble” It is of course the condition of each transcendence, for the constant shift out of the present, which at the same time is what constitutes each now. Björn Olsson is thus back as the sound technician on the album and presents an indisputable experience of “classical” The Embassy. The Embassy has always been essentially about time. But they are neither “completely right in time” or “timeless”, neither historical nor eternal. The Embassy is against the present and current values. The Embassy is constantly out of date, thus untimely. In the ancient times, there are truths that are more durable than all historical and eternal truths together: the truths of the future.

That is why as the return into the present age, which has been left for ages ago, can only happen through a black hole in space: Up your arse!

Do not miss The Embassy at Debaser Strand on Friday, December 28th.

Culture & Music | Debaser Strand
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