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On Dead Magic, the fourth full-length record from Swedish singer/songwriter Anna von Hausswolff, the listener will encounter sustained moments of darkness and experience immersion in tense, enigmatic, and unnerving sonic environments that evoke the kind of distressing emotions hinted at by the album's overall aesthetic presentation. But the music is also generously shot through with powerful beams of beauty and mystery and conveys a richness in harmony and melody through which, at times, one cannot fail to feel uplift and relief.\n\nDead Magic wears a surface of bleak experimental rock music and moody cinematic soundscapes. The two longest songs exceed 12 minutes, and they rise, fall, swell, glow like embers, and fade. Drumming, where it appears, is used more in the orchestral rather than the rock style, rarely locking into syncopation but added for emphasis and the generating of tension and drama. It's as though there is a sinewy network of emotional turbulence, anguish, and worry that pulses from within the music.\n\nBut the real wonder and power of Dead Magic, taken as a whole, is not how von Hausswolff taps into themes associated with darkness and decay, nor even that she pauses over them for long periods \u2013 and certainly in this vein a partial musical lineage may be traced back to experimental rock and post-rock like Swans and to doom metal like Skepticism and Earth \u2013 but it is that she is equally adept at finding beauty where beauty is rare. Dead Magic goes into to dark places but also offers paths out of the darkness./..Najuo\u010dljiviji alati za von Hausswolffa su njezina dva glavna instrumenta: njezin glas i orgulje. Oboje je poma\u017eu izdvojiti od bilo koga drugog u suvremenoj glazbi i oboje podupiru emocionalni jezik Dead Magica. U dva najdu\u017ea djela albuma - \"Istina, sjaj, pad\" i \"Ru\u017eno i osvetoljubivo\", u 12, odnosno 16 minuta - ona se divlje, ali virtuozno prebacuje s kori\u0161tenja glasa za usmjeravanje jednostavnih, lijepih melodija na upotrebu to za komunikaciju bez rije\u010di bez rije\u010di.Na primjer, u prvoj od ove dvije pjesme postoji jednostavna, ali upe\u010datljiva melodija valcera koja se pojavljuje kao sredi\u0161nji dio i osje\u0107a se nje\u017eno i spasonosno, poput ispra\u0107aja prije nego \u0161to netko nestane u prostranoj ti\u0161ini. U ovom na\u010dinu relativno konvencionalnog pjevanja usporedbe s Kate Bush i Joannom Newsom mo\u017eda bi bile prikladne, ali u drugim \u0107e trenucima ekvivalentne ili odgovaraju\u0107e referentne to\u010dke napustiti slu\u0161atelja. \"Ru\u017eni i osvetoljubivi\" ekspanzivno se kotrljaju poput Dead Can Dancea ili Loreene McKennitt sve dok von Hausswollfov glas zvu\u010dno i dramati\u010dno ne otvara pjesmu, samouvjereno preoblikuju\u0107i raspolo\u017eenje i smjer. U nevjerojatnom \"Tajanstvenom nestajanju Electre\" ona pjeva u potpunosti u nekakvoj pani\u010dnoj toni, a kulminira katarzi\u010dnim izljevom o\u010dajnih, elokventnih osje\u0107aja. To je jedno od najsna\u017enijih glazbenih djela koje sam \u010duo u neko vrijeme./There is a correspondence between her use of the pipe organ and the emotional shadings of Dead Magic. The instrument has a long history and a prominent place in traditions associated with devotional music. The album was recorded in a Danish cathedral \u2013 Marmorkirken, \"The Marble Church\" as she notes on her website. In the Western European devotional tradition, the pipe organ has been utilized to exude sound, to fill a space, and to immerse and to hold the performer and the listener together fully in a shared experience. That dynamic and experience are ideal for sacred and secular purposes, to wonder at the beauty, to feel consolation for the frailties of a fallen condition, and to aspire for redemption.+A presumed sensitivity to this tradition helps to explain in part why the darkness and the light of Dead Magic are both deeper and brighter than is typical in popular music formats. Another part of the explanation is that she exhibits technical skill in the composing, arranging, and performing of these songs with their array of emotional and textural contrasts, all of which increase with vitality on subsequent listens. Undoubtedly there are other elements to account for the magnetic appeal of this record. 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