Kwame is something quite unusual, a collaboration between an African trumpeter and metal musician (Kwame Boaten) and a Swedish guitarist who has previously devoted himself primarily to classical music (Carl Ljungström). They met a few years ago in a music student dormitory in London. This would be the beginning of “Volatile.”
On the album cover, I see a blurry image of a dark-haired guy with dreadlocks. Yes, I think it’s another Swedish hip-hop artist hanging out with Ken and the guys. Oh, what a mistake I made. Ghanaian-born Kwame Boaten has brought new light into the pop fog with his calm, captivating music. After a few years, he found Calle Ljungström, a former metal musician, at music school in London. The two began a slow and cautious collaboration, and now we hear the final result. It quickly becomes clear: when you bring two musicians with such different backgrounds into a studio, it works really well.
The album Volatile is difficult to describe precisely, as it differs so markedly from other productions in this genre. Calle Ljungström is responsible for the beautiful strings and guitars, and Kwame for his wonderfully beautiful, bright voice. Also in the studio are names like Magnus Frykberg, Pontus Olsson, and Lars Halapi, who have also never performed in similar contexts before. An exciting collaboration that I’d like to learn more about. If it’s long enough for another album.
The danger of rehashing unbearable, sleazy music is in the air when a classical guitarist of Ljungström’s caliber is about to release an album. But to be blunt, that’s not a good way to get off. The sound is a bit too clean and suitable for a living room at times, but it also avoids unnecessary gimmicks.
Furthermore, this could probably be described as music for adults, and some songs have an almost baroque touch at times, but it never becomes intrusive. Ljungström, on the other hand, provides striking tones with his six nylon strings, which, together with Boaten’s tasteful voice, create cool, slightly melancholic songs of the quiet variety. One danger of this restrained music is that certain elements tend to become repetitive. This is partly the case here, as the same mood runs through almost the entire album. And it’s nice, isn’t it, but a little more variety wouldn’t have hurt.
The vocals are at times Jeff Buckley-esque and at least as intense and captivating. The fact that the strings also play a fairly large role makes the whole thing even more exquisite, and it’s impossible not to curl up and enjoy it—as is usually the case.
1993 he has worked at the theatre of Kiel / Germany.
https://www.smp.se/artikel/kwame-volatile