This song is special to me, most of all because of how it was written, but also how I've followed the original idea all the way to the end. When the news of Lhasa de Sela's death reached me I was quite shaken. I truly admired her voice, her songwriting and her emotional depth. Perhaps her last performance was a small concert in someone's loft in Montréal, which was filmed and put online. When I had written the first lines of Tapestry I knew I wanted to produce the song as to sound like I was playing in that loft, with her. A rather simple idea that turned out to be extremely difficult. When I added the reverb drenched hammond I knew I had nailed it.

Pulling on every part of me
Frozen on every part of me
And all the gritty things I've done
They are bleached by the sun
All the little wims and desires
I throw them on the fire
And they burn...

Woven into every part of me
Taken from every part of me
And all the little things you've done
They are bleached by the sun
All the little wims and desires
They are thrown upon the fire
And we burn

Oh, no matter how hard I try
No, I can't hold you in my mind

Oh, no matter how hard I try
No, I can't hold you in my mind

My musical biography.


Drinking soda.

My musical history started around the age of four when I nagged my mother to get me a cassette of the eurovision song contest which I then listened to for hours and hours on a primitive portable cassette player. I am happy to say that my exposure to these songs did not seem to have harmed me in any serious way, although my grandmother once recalled that it was "rather annoying". A year or two later, after more nagging, I got an electric organ to play with which later resulted in piano lessons for many years. The only real memory of this organ I have is a minimalistic song I composed on it using some tritonus intervals (no, I'm not kidding) which was called "tuta", which translates simply as "honk". Probably even more annoying than the cassette player.


Drinking vodka.

Later when I started school I listened alot to Jean-Michel Jarre, Kraftwerk and Depeche Mode and by my early teens I had convinced my parents to get me a syntheziser. For some strange reason I had an obsession with old analog syntheziser sounds which was a bit problematic at the time as all keyboards were digital (like roland d-50), those were dark days indeed. Anyways, after a musical project together with my brother I started making analog synthpop songs myself and actually had a gig. By the age of twenty however, I abandonded this project after it had been ruined by sticking too hard to a single idea: I wanted to do as varied songs as possible without changing the bass note. This means lots of sus-chords, 6ths, 7ths, 9ths, 11ths and other variants. The big flaw however was that I couldn't master making proper chord progressions and that all the songs sounded suspiciously similar.


Drinking coffee.

This musical simplicity and my limitations bored me and I started studying musicology. I remember these two years as rather insane, trying almost desperately to learn and apply every chord known to man without really succeeding in understanding them or their proper use. And yet, almost everything I know about music comes from this brief period of my life. Afterwards I spent several years stuck making complicated beatlesque songs that never seemed to get finished, with wierd chains of chords that never could find their way back to neither the beginning or a proper ending. Dark days again.

The next obsession to reach me was singing. I had been singing ever since the age of 13, but I believe it was when I heard Thom York in 1995 that something really changed. I have not taken any proper lessons so there's not much to tell really, other than that it took a long time for me to find my own style. The singers who have been most important to me are as different as Neil Finn, John Lennon, Miquel Gil, Yasmin Levy (yes), Jónsi Birgisson, Dylan and Ray Charles. The music I like, these days, is almost 100% controlled by whether or not I like the singer.


Drinking Beer

After some years of trying to become a writer I backflipped, bought new gear and started writing songs again. They are of a different style than before, in some ways a merger of my minimalist tendencies and my over-the-top-too-complicated-chord-progressions tendencies. I'm not afraid to do strange things, but I now always weigh it against the melodic expression. If there's no emotional advantage in giving a melody some fancy chord I just drop it and move on. At the same time I seem to think that a song just isn't worth writing if it doesn't contain something odd. I probably obsess about this, but at any rate my obsession with chords is what defines me as a song writer.

These new songs come remarkably easy, I'd estimate that recording a song takes about 100 times longer than writing it, but perhaps that's a common truth, I dunno. I am now working as fast as I can to record enough songs to make an album and set up some sort of live set, hopefully you will hear alot more from me in the future.


PS. Yes that is me in all of the photos.

Review in the Gothenburg Post

Magnus Reimer got his first review last week when Göteborgs-Posten gave this website a high mark and wrote some wonderful things.


"My good friend Charlie likes a lot of music, but has only one idol: David Sylvian. The former Japan singer has a faithful fan base who follow him through the atmospheric experiments he ventures into these days, and it wouldn't seem very unlikely if Magnus Reimer was a fan. He makes the same kind of music filled with expression, songs that have a will to truly caress the entire world and show themselves in their full glory. Music that really wants to fill the void and does so. He doesn't hold back on the production gun powder and samples harpsichords and mix them with ambient hammond and combines it all into a very exciting trip. With completely brilliant vocals. I am impressed!"
Daniel Claeson - Göteborgs-Posten

Well, what do I say? That is a very good start.


Världen was actually the first song I recorded in this Magnus Reimer project and one of the few songs I've done with an almost naked mic. Also, some of the lines below I consider to be my best lyrics to date. Swedish pop music is something I've always found difficult, so this is an attempt to make it into my own thing, I guess.

Allt vimlar så fjärran
Men du når mig
Vad kan jag begära?
Men du rör mig
Hur kan jag svära
Att du får mig

När världen nu brinner
Flagor svävar i vinden
Gnistrar ut och försvinner
Kan jag nå dig?

Jag räknade orden
Som du dolde
På den rämnande Jorden
Som du rörde
Allting som jag borde
Dina tårar

Nu brinner den världen
Och alla som bär den
Med dom få som tär den
Och jag når dig

Kan jag nå dig?
Kan jag nå dig?


Vakna by Magnus Reimer
I really wanted a swedish song on the album, so after many trials and errors, this is it. I did Världen before, so I used sort of the same technique with this one; I let the Swedish words dominate the process and find their own melody rather than the other way around. English is more versatile the Swedish, there are, musically, many things you can't say in my dear language which can be easily squeezed into a normal english sentence. On the other hand, and I guess this is saying a bit too much (SHAME), there is so much that hasn't been said in swedish music and that is something I'd would like to rectify. So boldly, this is my attempt at some serious swedish art.

The lyrics are difficult to explain. I will probably never tell anyone just the setting in which they are proclaimed, it's much too personal.


Vakna mitt hjärta
Vada i smärtan
Lova mig värme
Tryck dig närmre

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