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Pop - Released September 20, 2019 | BMG Rights Management GmbH

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This is Anna Ternheim's seventh album, and A Space For Lost Time fits the popularity of today's Nordic pop, thanks to this mixture of sweet melodies, refined vocals and subtly poppy arrangements. This project with a Proustian title sees the Swede supported by uniquely fine instrumentalists: the string quartet that accompanies her suave singing on Remember this; the tentative piano (and the evanescent Tina Dico) on Walk Your Own Way, and the spirited guitar on When You Were Mine. But Anna Ternheim is more than bubbles and sweetness. A lively piece like Everytime We Fall shows off her skill with retro-tinged, affecting pop. The production work by Bjorn Yttling (of Peter Bjorn & John) lends this album a fresh, energetic feel. Recall that Yttling has also worked with other stars like Robyn and Likke Li. A sort of Scandinavian Suzanne Vega, Anna Ternheim's lofty poetry is on display throughout this album, and the listener is gripped from start to finish. This release is an extended version of the album with 8 extra tracks. © Nicolas Magenham / Qobuz
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Alternative & Indie - Released June 11, 2021 | BMG Rights Management GmbH

This is Anna Ternheim's seventh album, and A Space For Lost Time fits the popularity of today's Nordic pop, thanks to this mixture of sweet melodies, refined vocals and subtly poppy arrangements. This project with a Proustian title sees the Swede supported by uniquely fine instrumentalists: the string quartet that accompanies her suave singing on Remember this; the tentative piano (and the evanescent Tina Dico) on Walk Your Own Way, and the spirited guitar on When You Were Mine. But Anna Ternheim is more than bubbles and sweetness. A lively piece like Everytime We Fall shows off her skill with retro-tinged, affecting pop. The production work by Bjorn Yttling (of Peter Bjorn & John) lends this album a fresh, energetic feel. Recall that Yttling has also worked with other stars like Robyn and Likke Li. A sort of Scandinavian Suzanne Vega, Anna Ternheim's lofty poetry is on display throughout this album, and the listener is gripped from start to finish. This release is an extended version of the album with 8 extra tracks. © Nicolas Magenham / Qobuz
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Pop - Released September 20, 2019 | BMG Rights Management GmbH

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This is Anna Ternheim's seventh album, and A Space For Lost Time fits the popularity of today's Nordic pop, thanks to this mixture of sweet melodies, refined vocals and subtly poppy arrangements. This project with a Proustian title sees the Swede supported by uniquely fine instrumentalists: the string quartet that accompanies her suave singing on Remember this; the tentative piano (and the evanescent Tina Dico) on Walk Your Own Way, and the spirited guitar on When You Were Mine. But Anna Ternheim is more than bubbles and sweetness. A lively piece like Everytime We Fall shows off her skill with retro-tinged, affecting pop. The production work by Bjorn Yttling (of Peter Bjorn & John) lends this album a fresh, energetic feel. Recall that Yttling has also worked with other stars like Robyn and Likke Li. A sort of Scandinavian Suzanne Vega, Anna Ternheim's lofty poetry is on display throughout this album, and the listener is gripped from start to finish. This release is an extended version of the album with 8 extra tracks. © Nicolas Magenham / Qobuz
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Pop - Released March 26, 2021 | BMG Rights Management GmbH

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Pop - Released May 11, 2018 | Universal Music AB

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Pop - Released November 25, 2016 | Universal Music AB

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Pop - Released January 1, 2006 | Universal Music AB

Produced by Johan Lindström, Separation Road is the second studio album from Swedish folk singer/songwriter Anna Ternheim. Her first major-label release, the 2006 follow-up to Somebody Outside includes the singles "Girl Laying Down," "Lovers Dream," and "Today Is a Good Day." A limited edition featuring 11 acoustic renditions of several album tracks and unreleased songs was also released at the same time. © Jon O'Brien /TiVo
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Pop - Released April 9, 2021 | BMG Rights Management GmbH

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Pop - Released January 29, 2016 | Universal Music AB

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Pop - Released November 17, 2017 | BMG Rights Management GmbH

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Jazz - Released January 1, 2005 | Universal Music AB

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Pop - Released April 9, 2021 | BMG Rights Management GmbH

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Jazz - Released January 1, 2004 | Universal Music AB

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Pop - Released January 30, 2012 | V2 - Cooperative Music

To say that Swedish singer/songwriter Anna Ternheim found a sympathetic figure for collaboration in Matt Sweeney turned out to be an understatement, given that their resulting effort, The Night Visitor, with Sweeney handling production and arrangements at a series of Nashville sessions, is one strikingly enjoyable listen. The realm of stately country/Americana productions, from Lee Hazlewood and the Band to the Walkabouts and beyond, is a pretty long and storied one, and The Night Visitor fits well within that tradition, but Ternheim's enjoyable singing and the appropriately moody though by no means constantly downbeat music result in a series of strong, well-sequenced songs. "Solitary Move" kicks things off with hushed, stark chamber pop with steady acoustic guitar and swirling textures, down to lovely filigrees on the concluding break, a sense of cryptic melodrama that rarely leaves the record. A song like "All Shadows" is almost all cryptic melodrama, doing the combination of stinging feedback, distant drums, and string parts very well. Some other notably strong moments include the excellent "Bow Your Head," which takes a statelier, lofty folk stance, sweetly moving the chorus along before a bit of a quieter rock snarl breaks in a further verse, and the gentle "Walking Aimlessly," quicker and a little more freewheeling, reflecting the title just enough. "Ghost of a Man" is much more hushed and focused in contrast, with swift but still genteel acoustic guitar leading the way, while the fiddle on "Lorelie-Marie" and the accordion on "What Remains?" add to the sense of place and history being invoked throughout without feeling like museum pieces of authenticity as fetish. © Ned Raggett /TiVo
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Jazz - Released January 1, 2006 | Universal Music AB

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Pop - Released January 1, 2008 | Universal Music AB

For her third album -- which would become her second U.S. full-length, following the compilation release Halfway to Fivepoints -- Swedish songbird Anna Ternheim enlisted the assistance of Björn Yttling, best known as one-third of Peter Bjorn and John but increasingly prominent in his own right via production work for Lykke Li, Shout Out Louds, Primal Scream, and others. It was a savvy move -- for one thing, the collaboration netted Ternheim a Swedish Grammy for Album of the Year -- and the results were a modest but significant step away from the accomplished but slightly faceless and overstuffed jazzy lounge-folk of her earlier work, toward an edgier, more distinctly pop direction. While hardly as gritty as Yttling's work on Lykke Li's Youth Novels, or his own band's 2009 album Living Thing, Leaving on a Mayday shares with those records an inventive sparseness -- achieved more through a spacious openness in the sound than a reduction in the number of instruments, per se -- and in particular a relative paucity of guitars in favor of, among other things, surprisingly prominent percussion. That's especially true of the album's first half, where the pulsing, stripped-down grooves are colored by majestically thick string arrangements (penned by Yttling, who also contributed his multi-instrumental talents throughout.) For all its sonic distinctiveness, though, this is still fundamentally a singer/songwriter album -- the arrangements may sometimes be more initially striking than the songs they are designed to serve, but with further listening, they emerge as well-conceived if unconventional complements to a fine slate of lyrical compositions steeped in the autumnal melancholy favored by so many Scandinavians (Ane Brun, Stina Nordenstam, Britta Persson, Sarah Assbring,etc.), with an especial tinge of romantic desperation (Ternheim sometimes seems just as distraught and unsettled by the prospect of an actual romantic connection as she is over the absence of bygone and unattained lovers.) That said, several of Mayday's finest and most striking moments are at least musically upbeat, as with gloriously harmonized choruses of the sweeping opener "What Have I Done" and especially the thundering, Fleetwood Mac-ish "Make It on My Own" (one of two Yttling co-writes, and a key track added to the album for its U.S. release.) The tail-end of the disc finds Ternheim in a folkier vein, with the simply, sweetly strummed "Summer Rain," the tense, fingerpicked "Off the Road," and the foreboding, folkloric dirge "Black Sunday Afternoon" offering a nice reminder of her stylistic breadth. © K. Ross Hoffman /TiVo
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Pop - Released January 1, 2008 | Universal Music AB

Booklet
For her third album -- which would become her second U.S. full-length, following the compilation release Halfway to Fivepoints -- Swedish songbird Anna Ternheim enlisted the assistance of Björn Yttling, best known as one-third of Peter Bjorn and John but increasingly prominent in his own right via production work for Lykke Li, Shout Out Louds, Primal Scream, and others. It was a savvy move -- for one thing, the collaboration netted Ternheim a Swedish Grammy for Album of the Year -- and the results were a modest but significant step away from the accomplished but slightly faceless and overstuffed jazzy lounge-folk of her earlier work, toward an edgier, more distinctly pop direction. While hardly as gritty as Yttling's work on Lykke Li's Youth Novels, or his own band's 2009 album Living Thing, Leaving on a Mayday shares with those records an inventive sparseness -- achieved more through a spacious openness in the sound than a reduction in the number of instruments, per se -- and in particular a relative paucity of guitars in favor of, among other things, surprisingly prominent percussion. That's especially true of the album's first half, where the pulsing, stripped-down grooves are colored by majestically thick string arrangements (penned by Yttling, who also contributed his multi-instrumental talents throughout.) For all its sonic distinctiveness, though, this is still fundamentally a singer/songwriter album -- the arrangements may sometimes be more initially striking than the songs they are designed to serve, but with further listening, they emerge as well-conceived if unconventional complements to a fine slate of lyrical compositions steeped in the autumnal melancholy favored by so many Scandinavians (Ane Brun, Stina Nordenstam, Britta Persson, Sarah Assbring,etc.), with an especial tinge of romantic desperation (Ternheim sometimes seems just as distraught and unsettled by the prospect of an actual romantic connection as she is over the absence of bygone and unattained lovers.) That said, several of Mayday's finest and most striking moments are at least musically upbeat, as with gloriously harmonized choruses of the sweeping opener "What Have I Done" and especially the thundering, Fleetwood Mac-ish "Make It on My Own" (one of two Yttling co-writes, and a key track added to the album for its U.S. release.) The tail-end of the disc finds Ternheim in a folkier vein, with the simply, sweetly strummed "Summer Rain," the tense, fingerpicked "Off the Road," and the foreboding, folkloric dirge "Black Sunday Afternoon" offering a nice reminder of her stylistic breadth. © K. Ross Hoffman /TiVo
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Pop - Released January 1, 2009 | Universal Music AB

For her third album -- which would become her second U.S. full-length, following the compilation release Halfway to Fivepoints -- Swedish songbird Anna Ternheim enlisted the assistance of Björn Yttling, best known as one-third of Peter Bjorn and John but increasingly prominent in his own right via production work for Lykke Li, Shout Out Louds, Primal Scream, and others. It was a savvy move -- for one thing, the collaboration netted Ternheim a Swedish Grammy for Album of the Year -- and the results were a modest but significant step away from the accomplished but slightly faceless and overstuffed jazzy lounge-folk of her earlier work, toward an edgier, more distinctly pop direction. While hardly as gritty as Yttling's work on Lykke Li's Youth Novels, or his own band's 2009 album Living Thing, Leaving on a Mayday shares with those records an inventive sparseness -- achieved more through a spacious openness in the sound than a reduction in the number of instruments, per se -- and in particular a relative paucity of guitars in favor of, among other things, surprisingly prominent percussion. That's especially true of the album's first half, where the pulsing, stripped-down grooves are colored by majestically thick string arrangements (penned by Yttling, who also contributed his multi-instrumental talents throughout.) For all its sonic distinctiveness, though, this is still fundamentally a singer/songwriter album -- the arrangements may sometimes be more initially striking than the songs they are designed to serve, but with further listening, they emerge as well-conceived if unconventional complements to a fine slate of lyrical compositions steeped in the autumnal melancholy favored by so many Scandinavians (Ane Brun, Stina Nordenstam, Britta Persson, Sarah Assbring,etc.), with an especial tinge of romantic desperation (Ternheim sometimes seems just as distraught and unsettled by the prospect of an actual romantic connection as she is over the absence of bygone and unattained lovers.) That said, several of Mayday's finest and most striking moments are at least musically upbeat, as with gloriously harmonized choruses of the sweeping opener "What Have I Done" and especially the thundering, Fleetwood Mac-ish "Make It on My Own" (one of two Yttling co-writes, and a key track added to the album for its U.S. release.) The tail-end of the disc finds Ternheim in a folkier vein, with the simply, sweetly strummed "Summer Rain," the tense, fingerpicked "Off the Road," and the foreboding, folkloric dirge "Black Sunday Afternoon" offering a nice reminder of her stylistic breadth. © K. Ross Hoffman /TiVo
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Pop - Released September 18, 2020 | BMG Rights Management GmbH

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Pop - Released September 20, 2019 | BMG Rights Management GmbH