• photography and art direction Adam Kaiser
    fashion Paloma Gonzalez Axeheim
    shirt and trousers Levi's shoes Eytys necklace All Blues
    bracelet and ring KSV Jewellery

    High Life: An Interview with Kimchi

    Written by Natalia Muntean by Josie McNeill

    Music heals. I hope mine does too,” says Kimchii, the part that brings more clarity to Kim Söderlund, a Stockholm-based artist. Kimchii is “an outlet for everything Kim can’t express” and, as the artist puts it, they make “a good team.”

    Kimchii released his debut single When You Feel The Time Is Right in 2020, on the legendary French record label Kitsuné Music. Since then, he has been refining his skills as a producer and songwriter. Embracing collaboration and exploring new genres has expanded his creative spectrum in all directions, and challenged what good music means to him. But believing in his ability to make a living out of his art made “the biggest difference” in how his music has evolved.

    In early 2023, Kimchii released Energetic Fields, an intriguing blend of organic instruments, electronic accents and feelings galore. The song was followed by Own the Night, a collaboration with Marseille-based artist Anoraak. Despite never meeting or speaking, their musical styles share a common language, reinforced by their passion for disco and electro-pop music. The two artists brought the idea of “owning the night” to life, and the single put Kimchii on BE Records' radar. 


    NM: What inspired the single’s sound?
    Kimchii: When writing my songs, I often get a clear vision that plays out in my head and translates into lyrics and melody. With Own The Night, I wanted to capture the feeling of standing at the edge of the world in the night, dancing with strangers, being confident and in control

    NM: What story is Energetic Fields telling?
    Kimchii: Energetic Fields was inspired bynightlife, having too much of a good time, and how easy it is to lose yourself in it. The video embodies the dark side of partying, three creatures dancing their way deeper into the night. I won’t say more. You’ll have to see it for yourself!

    NM: How has working with BE Records been?
    Kimchii: Bon Entendeur is an amazing band from France, and I’ve loved their music for a while. They heard Own the Night and wanted to feature it on their new compilation. It’s easier working with labels run by musicians, as there’s a deeper understanding of how things work, and it’s an honour to release music on their label.

    NM: Who is on your collaboration wishlist?
    Kimchii: I’m very inspired by the Australian band Pnau by the craft of their productions, and I am confident we would create something magical together. Another Australian band I admire is Confidence Man. Amtrac is a producer I’d love to collaborate with.

    NM: Do personal experiences play a significant role in your music?
    Kimchii: We all have different parts of ourselves - I get inspired by these and try to exaggerate them conceptually. We’ve all stayed out too long, not wanting the party to end, like in Energetic Fields. And as in Own the Night, we have all felt insecure on the dance floor.

    NM: Can you give us a sneak peek of your upcoming projects for 2023?
    Kimchii: I have some singles and collaborations coming up, including with two artists I love: Tensnake and Satin Jackets. I’m also performing live at the Porsche SCOPES festival in Stockholm, at the end of May. And there’s more to come!

    NM: How do you hope to develop your sound in the future?
    Kimchii: You can expect more alternative dance-driven & up-tempo sounds, while keeping a dream-like texture, influenced by 70s disco and 80s post-disco music. I don’t like to restrain myself. The sky’s the limit!

    shirt Rue De Tokyo blazer and trousers Levi’s
    shoes Dr Martens jewellery KSV Jewellery
    shirt Levi’s trousers Samsøe Samsøe
    sunglasses Dolce & Gabbana
            suit Rue De Tokyo shirt Samsøe Samsøe shoes Eytys                      
              sunglasses Dolce & Gabbana jewellery KSV Jewellery                      
                          photography and art direction Adam Kaiser
                          text Natalia Muntean
                          fashion Paloma Gonzalez Axeheim
                          groomingAlicia Hurst
  • photography Sandra Myhrberg
     total look Carhartt Wip
    shoes Timberland
    sunglasses Retrosuperfuture

    An Interview with Nils Albin

    Written by Fashion Tales

    Musician Nils Albin has certainly come along way since rapping with his friends in Västerås. The rapper-turned-indie/rock artist released his first solo album Pluto on June 2. The album is full of a mix of ballads, acoustic indie/rock tracks. and songs that are seemingly inspired by his earlier hip-hop days. 

    While Albin's music style is everychanging, so is his fashion. 
    Odalisque sat down with Albin, along with Caliroots, to discuss the musician's evolving style, inspiration, and finding his own niche in the music world. 

    Nils. Albin. MC Hans - “kärt barn har många namn” as we say in Sweden (direct translation - a dear child has many names). Tell us more!
    When I started rapping, we would perform in Västerås, and they needed a name for the poster. So, I chose MC Hans because I thought it sounded funny, and the thought was to change it after the show. But then, I started liking it more and more, so it stuck. When it was time for me to go solo, I thought it was suuuuuuper hard to come up with a new name. At first I was considering calling it ”likblek” because it sounded cool and punky, haha. But after a while, I decided to go with Nils Albin, my real name, because the music was closer to me than anything I’d done before, basically.

    You’ve started doing music with friends in the Swedish rapgroup Fridlyst at a young age. Take us through the journey!
    I met Phil and Shanti through mutual friends when I started high school. I had secretly started writing rap lyrics and wanted to make music but didn’t have a context, and I was a bit too afraid to start for real. But when I met them, they immensely helped and encouraged me. Their friends were also involved in many creative things, like one who made films and directed our music videos, painted and designed our album covers, and then a bunch of skateboarders. So, we were like a big gang in Västerås, just hanging out and thinking we were the coolest in the world. After high school, we all moved together to Malmö. Time spent in Västerås and Malmö is a time I hold very close to my heart.

    How would you describe your music today? You started with rap and are leaning more towards indie now.
    As indie rock/pop. The lyrics are very personal and the songs were created after a breakup from a long-term relationship. So, it reflects a time post-breakup, when I was going out clubbing a lot and just living it up. I felt very sad but at the same time free.

    From Västerås, to Malmö and then Stockholm - do you have a favorite city?
    I would say that I have beautiful memories of all the cities. Childhood in Västerås was nice and good, where I met my first real friends, you know. Malmö was nice too because that’s where I felt that I developed as a person and a musician. But I would probably say that Stockholm is my favorite city so far! I think a lot of it has to do with it being the latest. But I think my personality fits Stockholm the best; I’m a big city cat, haha.

    What is the go-to outfit for a gig?
    I love to throw non a tracksuit and some cool sunglasses. I want to feel like a rock star from Manchester in the ’90s. But I’m not afraid to wear a shirt and tie either. But usually, my go-to is a tracksuit for sure.

    Do you think your clothing style in any way reflects on your music?
    Yes! My music is a bit mixed with soft ballads and then some indie rock jams. So, as I mentioned before, I usually alternate between tracksuits and dressing up with a shirt and tie. So, it’s a mix up just as my music.

    Favorite brands?
    Adidas, Stuzzi, and like Umbro. Preferably vintage for all of them. Also, I think CHPO makes really nice sunglasses!

    total look Polo Ralph Lauren
    sunglasses Retrosuperfuture X Briko
    shoes Veja

    jacket Kenzo

    shirt Market
    trousers Carhartt Wip
    shoes Clarks Original
    hat Sci-Fi Fantasy
    sunglasses Retrosuperfuture X Marini

    shirt and shorts Polo Ralph Lauren
    sunglasses Retrosuperfuture X Briko

    shirt Timberland

    trousers Carhartt

  • photo courtesy of Albin Dahlström / Moderna Museet

    An Interview With Curator Matilda Olof-Ors

    Written by Josie McNeill by Josie McNeill

    A large sculpture composed of stacked wooden logs greets visitors as they enter the Moderna Museet’s “Pink Sails – Swedish Modernism in the Moderna Museet’s Collection,” exhibit that was unveiled on June 17. The sculpture, “Horizon of Me(aning)” by Carola Grahn, is a part-performance piece that, per the artist’s instructions, must be privately assembled in the exhibit while having a conversation about mental health.

    Horizon of Me(aning)” speaks on how nature is animate, and although it is from 2015 originally, the work's theme of trust in nature connects to many of the other pieces in the exhibit from the 20th century. 'Pink Sails' explores this theme, along with other progress and changes in society in this age, through the lens of modernist artwork.

    Pink Sails,” curated by Matilda Olof-Ors, is a part of the museet’s new exhibition program in which each exhibit aims to explore art historical contexts instead of simply showcasing the chosen pieces chronologically.

    The exhibit draws its title from Ragnar Sandberg’s 1934 painting of the same name. For Olof-Ors, she was inspired to name the exhibit after this painting because “the lyrical and open character of the title also speaks to a strand of Swedish art at the time that existed side by side with the more well-known modernist narratives of transition and progression.”

    Can you start off by just giving me an overview of the exhibit?
    It's based mainly on works from the Moderna Museet’s collection and covers the period from 1900s to the 1940s. I’ve been interested to see how the very drastic and rapid changes in society, of course, also reached the realm of art. You find it in both the artists’ quest for new motifs, and in the motifs themselves, capturing the new society-–everything from the fast growing cities to the industrial sites. But also I think it’s reflected in how the artists’ constantly strive to push the boundaries in search for new expressions, as well as in the artists that were rather turning their gaze inwards, using inspiration from fantasy, from fairy tales, from literature, and from sort of a non-visual world. It is also interesting that these tendencies exist side by side; it’s not like one thing or the other.

    What was your process of curating the exhibit? Did you come up with the idea first and then find paintings to fit in or were you inspired by the collection of paintings?
    The museum has a fantastic collection of works from these periods, so it’s been most inspiring to go back and look into that to explore. As the exhibition is based on our collection, limitations are of course inevitable, and I have included a few loans from neighboring institutions like National Museum and an institution in Uppsala, Bror Hjorths Hus, The Hilma af Klint Foundation and the Swedish Radio. The curation process, of course, has involved the compilation of a few monographic rooms, and also outlining some more thematic contexts.

    How did you choose the sub themes for the exhibit?
    It’s been a combination of posing questions and exploring: What art works, artists, and themes do we have in the museum’s collection? What sort of stories can we tell? What is interesting and relevant today? I think this period is interesting to look at now, almost 100 years later. Today, there’s another war going on in Europe. We experience very drastic changes in society, still going faster and faster as well. And I think we again gaze at nature as a way of searching for solutions to the challenges that we face today. To conclude, some prevailing themes in the early and mid 1900s are still very present or reoccurring today.

    I was gonna ask you to talk about that a little more. How do you think ‘Pink Sails’ is still relevant in today’s world?
    I would say that history is always relevant. We both get to know the history and get to reflect on contemporary society. As I mentioned earlier, many of the things that we are facing in the show are also very present today.

    Was there a piece of exhibit that stood out to you as being particularly impactful?
    One of my favorites is that wall [pointing]. I really like the texture, and the combination of the textile work by Anna Casparsson and the Vera Nilsson painting. I think they grasp some of the atmosphere that I was aiming for in this room. But also, I do have so many favorites.

    And then is there like a central message you want people to take away that are visiting the exhibit?
    Not particularly. It’s more that I hope that everyone would see and find something that they could relate to in the exhibition. And then did it come together the way you initially visualized it? In a way, yes. I think it’s so interesting working with contexts and ideas that you could start at one end, and then you realize you end up somewhere else once you sort of set the tone.

    And then how do you think Swedish modernism has evolved since the 20th century from when these paintings are from?
    That’s such a long story to tell. Of course, history is always changing. I would say the way we look at these paintings now is totally different than how they were perceived in the 1920s, or even in the 1970s, or the 1980s. I would argue that our relation to what we see is always the present one – both the artworks and how we look at them, but also how we interpret them is in a totally different way today than in the past

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