Swedish quartet Dina Ögon, featuring Anna Ahnlund, Christopher Cantillo, Daniel Ögren and Love Örsan have been involved in an unnumerable amount of Swedish rock, jazz, soul and pop projects, recordings and tours.
“We hear music from all era and countries” says bassist Love Örsan. Sounds from Brazil, Nigeria, Sweden, France, Germany, Turkey, the band, who have been playing together in various guises for 16 years, have now formed a melting pot of musical discoveries and intermingling tastes. Or as drummer Christopher Cantillo puts it: “It’s definitely a melting pot, we all have our own tastes, but we also have many common denominators.”
Their second album, Oas, does just this. Colourful stylistic magic appears on every track, such as in the form of strings that trace out a soft background. In addition, hip-hop, jazz, bossa nova and R’n’B clouds gather, which finally dissolve into folk-rock pearls like gentle rain. Whereas the self-titled début from 2021 emphasised even more clearly the references to the groove era of the 70s, Oas is free of rigid styles and engages in skilful genre-hopping.
Between themselves they’ve played in different constellations and played back up for each other, assisted even more in one form or another for more than a decade. But now they’ve formed a more remarkable quartet than what transpired from any of all the shenanigans they’ve previously been involved with. Oas goes deeper down in the underworld of influences that rarely ever have been given that much light on a Swedish album.
Support comes from Mr Bongo DJ