If Ivar Lantz gave us the expanse of Scandinavia's forests on Monika, the debut album from 2018, and the darkness from all the villages of the sparsely populated area on the sequel Klappen, in 2019, then Golden Ivy's third album Kammarn takes us even closer to the Nordic epicentre of the universe. Kammarn picks up where Klappen ends and continues softly down into the darkness with strings and slow pulsing rhythms.
Still with one eye on Jon Hassell and with the same roots in the soil as Joakim Skogsberg, but with a decade as a Malmo resident, the roots go down just as much in the soil of the streets of Malmo's outer edges, from Norra Granges to Inre Hamnen.
Folk music for people who have never been outside the city limits. In addition to music, Ivar works as a graphic designer and with large-scale textile printing, for the cover of Kammarn he has created violin-playing sculptures printed in two-colour PMS, black and silver.
Malmö Inre, 2023