“Time Is on My Side” is Swedish experimental composer Tobias Lilja’s second full-length album and first on n5MD. This follow up to his sonic debut “Ex-leper” (nonresponse) has all the controlled visions of decay as its predecessor but with the addition of Tobias’ desperate yet controlled vocals. These vocals bring to the fore-front a humanistic layer of melody to the tonal blizzard of Tobias’ music yielding new dimensions which are to most, unclassifiable. Said by the artist to be somewhat loosely inspired by some of David Sylvian’s recent work, this comparison though is almost a moot point due to Tobias’ originality in his instrumental composition and his vocal delivery, melody and cadence. “Time Is on My Side” is truly in a world of its own. A teetering balance of contradictions… Frigid yet in some way invitingly warm, desperate with a false sense of hope, other-worldly yet somehow familiar, this balance is where Tobias Lilja excels and is proof of an artist who has found “his” sound. “Time Is on My Side” is one of those rare works of art that comes along to help you through those dark times when everything seems hopeless…

gaffa

Der skal mod til at udgive en plade med 70 minutters massive klangflader stemt i mol, suppleret med messende vokal. Og det kan da også umiddelbart synes som en stor mundfuld, men overraskende hurtigt suges man ind i Liljas repetitive konstruktioner af lyd. Dette skyldes ikke mindst hans utrolige evne til at flette fine små melodistumper ind i lydbilledet. Noget, flere af Liljas kolleger i den ambiente del af electronicagenren burde lære af.

De umiddelbart ensformige kompositioner åbner sig langsomt som melankolske blomster. Små særkender adskiller de enkelte numre. Som i Beginners Optimism, hvor bidder af drum’n’bass skaber en skarp modvægt til de bølgende flader af lyd. Og det er netop disse små skift i ensformigheden, der gør, at Time Is On My Side virker så stærk og dragende. Når Tobias Lilja med underspillet røst halvt synger, halvt mumler ”It’s out of my hands, a chain of events”, er det bestemt ikke det indtryk, pladen efterlader. Time Is On My Side fremstår som et gennemtænkt værk, skabt til elektronisk messe i melankoliens katedral. evilsponge

"Caressing the marble and stone."

Coming from the aesthetically peerless n5MD label, it would not have surprised me in the slightest if this album had borne artwork akin to Peter Seville's funereal sleeve concepts for Joy Division. For this surely is consecrated ground we tread? The spectral hush is punctured by sonorous droning and Lilja's hymnal reflections or, to use his own words, "controlled desperation". It feels like permafrost on a mausoleum slab.

Tobias Lilja, a graduate of audio engineering sought to infuse his latest electronic work with more spontaneity and personality via the inclusion of lyrics. Yet the resultant effect is provocative rather than warmth. Imagine Helios arranged by David Sylvian. If 4AD house project, This Mortal Coil, had continued and evolved to this day, it might have sounded something like this. 'A ruthless beast' a descendent, perhaps, of Come Here My Love?

Like a masterwork of fiction, this is a record that captures the imagination, pulling the listener into its world - a landscape that might have been conjured by Ballard or Shelley; Mervyn Peake or TS Eliot. Alternately dark, yet hopeful, Time Is On My Side is a concept album, whose themes explore choices and longing while reflecting upon the cost in lost opportunities. At 71 minutes, this is not for the jog/shuffle as each consecutive piece builds and develops on those preceding.

Many consider Time as a blank canvas - an optimistic, 'anything-goes' outlook. For others, like Tobias Lilja, the passage of time is felt acutely, like an ever-tightening constraint. As though watching the falling grains in the Reaper's hourglass, Lilja knows that the sand of our lives falls no less steadily from between our own fingers. Can destiny be escaped, or denied? "Am I tied up or am I clinging on?" he questions. Yet if Old Father Time is his chief tormentor, then equally only he can comfort Lilja. And this is the question he poses. For this is no morbid contemplation but rather a hope, a yearning even, that time could be a salvation.

Like death in reverse, Tobias Lilja takes us by the hand and leads us on a journey out of the cold, ivy covered ground, beyond the crumbling necropolis walls and back through the mud and wire of his wasteland. Back to where we lived (or died even?) until we arrive at the staggering Pyromaniac, a moment of such tension and fragility'. Here, with smoke-filled lungs, our very grip on life seems tenuous. Chalk outlines appear through the shadows. Was this the moment? The moment we died?

Time is only truly on the side of the lonely, and this is a lonely place indeed. Some tracks here (Blood Tracer) can prove almost overwhelming. When the tension finally snaps, we're treated to one of the climactic pieces of dub electronica I have ever heard. Beginners Optimism is the title, and herein lies Tobias Liljas's point. Symbolically giving us back our lives, he is asking, "what are you going to do with it this time?"

Lilja's slow burning, aching waves of melancholy usher in this years first great album. A unique recording that will haunt our thoughts and dreams long after its looped finale has faded away. urban pollution

Swedish musicianTobias Lilja infuses his second album of experimental electronics with a surprisingly powerful new instrument, the sound of his own voice. Consisting of dense, syrupy layers of digital sound that swarms and swells in unexpected places, Time is On My Side let’s Lilja’s resonant baritone fill the corners that his synthetic compositions do not. The result is both sonically and emotionally engaging, in a way that usually eludes the average electronic musician. Somber and serious, and not without it’s flaws, Lilja’s very personal document is a refreshing reminder that there are still those that sincerely believe in the power of music to provide nourishment for the world-weary soul.

The rough demo that led to the recording of Time is On My Side was recorded following a two year period Lilja spent studying music production at a university in Växjö. Somewhat stifled by the rigorous demands of the structured composition imposed by his studies, Lilja used his available studio time to record repetitive, unconventional pieces that allowed him to develop his vocal improvisation and lyric writing. This period obviously left a heavy influence on his music. The pieces billow in undulating strands that weave in and out of the background. In the middle rests Lilja’s multilayered vocals that pair repetition with strange, unexpected changes in direction. Spacious and pastoral, Lilja’s voice also melts into the music, creating a living, breathing organism.

Lyrically, Lilja is somewhat blurry in meaning, choosing to let mood rule over logic. They are not completely abstract however, but instead ambiguous. “My Authority” uses military imagery to depict self destructive tendencies. “I’m pointing my guards, in the wrong direction/locking up my allies”. The “Gas of Forgiveness” seems to suggest the strong desire of sleep in the midst of insomnia, recalling when “I had slept as a king/I had slept like I never slept before”. By far the most cohesive lyrical imagery is with “The Pyromaniac” whose subject is exactly what the title indicates. You can envision the beauty that a pyrofilliac sees as smoke makes his “lungs lose color, but the fire makes the colors of the world look stronger, more intense”.

Lilja has said he drew inspiration for the record from David Sylvian. Indeed, Sylvian’s pairing of textured ambiance with emotion-laden vocals isn’t an inapt comparison. However, Lilja’s voice is actually a bit richer than Sylvian’s somewhat reedy quality. This isn’t to say Lilja has exceeded his role model as Sylvian’s nuance and lyrical depth are no match for Lilja. However, they both share a sense of the serious, as well as an appreciation for dynamic diversity. Lilja’s atmospherics may lack the delicacy of Sylvian’s, but he makes up for it with haunting, bleeding edginess that leaves a mark of its own. As a role model, Sylvian works well for Lilja, who is not keen to merely ape his mentor, instead using him as a starting point to establish a distinct musical identity.

The record does have its share of flaws. While the at times rough nature of his compositions are obviously intentional, the sense of immediacy it lends instead tends to drag at times. Additionally, the consistency of Lilja’s sound can begin to blur the songs together indistinguishably. While likely a desired effect, the sense of sameness serves to detract at times from the record overall. Lilja’s voice also has a limited range. His baritone is soothing and comforting, but borders on monotone at times. This flatness is counterbalanced by an obvious depth of feeling that fills in any cracks. And any flaws ultimately make the album more human and vulnerable. Perfection would only serve to overwhelm the emotional content with vapidity.

Those that enjoy dreamy art-rock or melancholic computer generated music will appreciate Lilja’s mostly successful blend of the two. The dazzling swatch of gently pulsating bursts of ambiance, paired with his deep, meditative singing serves as a comfort for anyone that is searching for something. Especially if you’re not quite sure what. Lilja has successfully distinguished himself from the pack of digital based composers by eschewing intellectual rigidity for an intuitive form of aural painting that comes straight from the gut. A beautiful record that deserves to be heard, hopefully Lilja will continue to distinguish himself in the future. Boring Machines Disturbs Sleep

n5md base the concept of their label around the mantra "emotional experiements in music". Last year saw the release of their most emotional recording yet, Last Days' epic "Sea" album. That collection of affecting compositions contained all of the hallmarks of n5md's individuality. Fast forward to 2007, and "Time Is On My Side" by Swedish electronic composer Tobias Lilja reinforces n5's commitment to music that is just that step ahead in terms of emotional intensity and creativity.

Lilja has created a sprawling album based around the concepts of time, choices and longing. Having spent two years studying sound engineering, Lilja was disillusioned with the boundaries of technical sound perfection. "Time Is On My Side" is his response to those barriers, a deeply emotive album that evokes images of decay and degeneration. Most importanly, though, this album is upfront and extremely intimate.

The most startling aspect of "Time Is.." is the way Lilja has incorporated his voice into the compositions, giving a feeling similar to "Bachelorette" period Bjork. His hypnotic voice is backed by a soundtrack of crumbling beats, static-soaked sounds and desolate melodies. Opening number, "A Ruthless Beast" sounds expansive, yet there's a real feeling of isolation an claustrpohobia, with Lilja remarking "Am I tied up or am I clinging on?.." over and over. In fact, this album is a mass of contradictions, it's dark yet shards of light seem to break their way through all the gothic gloom. It's bleak yet incredibly beautiful in parts. "Blood Tracer" is a prime example of this, intially enevloping the listener with a sense of remotelessness. Deadend beats collide with one another, almost like an almighty storm, as Lilja's multi-tracked voice, once again, becomes the focal point. This near nine-minute mini-opera explodes beautifully towards the end, though, culminating in a stunning mix of ethereal female vocals with despairing synths.

"Beginner's Optimisim", is another stand-out with a repeating cycle of strained orchestral sounds and supressed electronics. The beats seem to escalate euphorically, before subsiding into a mass of drones and filtered vocals, with Lilja again uttering "Am I tied up or am I clingling on..."

Lyrical themes are important to "Time Is On My Side", while the titles of some tracks ("A Settlement Of Dust, "Gas of Forgiveness") reinforce the sense of controlled despair. The latter allows desolate sounds to assemble ominously, while Lilja hypnotically informs us that he "slept like a king". Tracks like this bear some resemblence to some of the darker moments on Thom Yorke's "The Eraser" opus.

"Time Is On My Side" is the first important album of 2007. It is constantly interesting, grabbing you with a vice-like grip, suffocating the listener with each of the 11 apocalyptic compositions. At times it's bleakness seems relentless, but a subtle melody or a dim string passage breaks its way through now and again, conveying a sense of hope. It is not until the last static-drenched strains of "To Be Thought Of" that you can pause for thought. Lilja's brooding vocals ensures that this album is thoroughly captivating throughout. A constantly evocative and deeply personal recorded document, "Time Is On My Side" is an outstanding achievement for Tobias Lilja and an excellent find for the ever-impressive n5md. de:bug

Als Verehrer von Graham Lewis und den Wire/Miller- Kollaborationen aus den frühen 80ern fi nde ich in Tobias Lilja endlich die moderne Entsprechung dieses speziellen Sounds aus einem starken Fokus auf eine sehr spezielle Stimme und sehr ambientem Musikbett. Klar, man wird Lilja vorwerfen, hier nur David Sylvian zu imitieren. Vergesst es einfach. Hier steckt viel mehr drin. Es ist ein mutiges Album, vollgestopft mit sachten Sounds und Melodien, die im Hintergrund Helden wie Harold Budd (sanft) oder My Bloddy Valentine (harsch) herausfordern, dabei aber überhaupt kein Interesse daran haban, sich in den Vordergrund zu schieben, sondern einzig und allein der Stimme von Lilja den Rücken frei halten. Einer Stimme, die nicht nur faszinierende Lyrics singt, sondern auch beeindruckendes Instrument ist. Vision: Lewis gräbt das Projekt "He Said" wieder aus und geht gemeinsam mit Lilja auf Tour. Mit das Beste diesen Monat. xlr8r

Tobias Lilja's sophomore album brings to mind the term "ambient emo". There have been few proponents of the subgenre because it isn't easy to execute without sounding rediculous. In fact, ittakes great poise: David Sylvian, Martyn Bates and Maek Hollis all predate Time is on My Side's chilling torch songs. Lilja's voice may not be as pliable and emotive as those esteemed singers, but he does convey undeniable sincerity and acute pain through his woeful lyrics. Lilja conjures tundras of synth flourishes faced with skeins of guitar and violin, and their amorphous ache will chill you to tears. textura

All released on the same day, this latest trio of n5MD releases reveals the breadth of the label's offerings, from the arctic drones of Tobias Lilja to the emotive electronic compositions of subtractiveLAD. Lilja's second full-length is the most distinctive of the three releases, largely due to the prominent inclusion of the Swedish composer's vocals. By opening the album with a grandiose vocal drone, Lilja establishes the ethereal and provocative ambiance of Time Is On My Side immediately; thankfully, too, his singing, delivered in a multi-tracked style that suggests a less affected David Sylvian, strengthens his material rather than diminishes it. Instrumentally, he's no slouch either as the steamrolling haze that churns beneath the desperate, sometimes distorted singing in “Time, Oh Time” and the fulminating beat patterns that drive “Beginner's Optimism” make clear. Lilja often gravitates towards the more harrowing end of the sonic spectrum where electronic blizzards swirl, a tendency which generates a compelling tension between the cool control of the vocal chants and the portentous blur of the musical accompaniment. The contradictions play out forcefully in “Blood Tracer” where Lilja juxtaposes entrancing vocal calm and angelic choral passages with an epic doomsday lurch. Many of the album's pieces are meditations, with “A Settlement of Dust” particularly exotic in its incorporation of Eastern-styled sounds. It's long at seventy minutes and slightly overplays the vocal drones card, but calling Time Is On My Side remarkable isn't an overstatement. sideline

Swedish musician Tobias Lilja recently completed a two year course in Sound Engineering which resulted in his disillusionment with the clinical sound of electronic music. Where his 2003 debut album “Ex-leper” depicts a stark picture of a town in decay, “Time is on My Side” sees him experiment with adding vocals to his desolate electronic soundscapes. Vocals and electronic music often don’t mix but in Lilja’s case there is a certain hypnotic tone to his voice that helps add an intimate narrative quality to his music. Each track unfolds like a story being told in a half spoken, half sung style that bears an almost folk-like storytelling theme. The often quite lengthy tracks let their tales of time, choices and longing unfold as Lilja relates his tales over icy sonic soundscapes. At times, such as on “Blood Tracer” or “Dreams of Movement”, the combination creates a potent mix of powerful atmosphere and heartfelt lyrical content. The building drones, layers of synth tones and sweeping melodies further enhance the mood of his impassioned lyrics on tracks like “Gas of Forgiveness” or the Coil-esque “To Be Thought Of”. Lilja continues to experiment and expand on his ideas for combining his unique vocal delivery with experimental electronic sensibilities and “Time is on My Side” is a more than excellent first attempt at the concept.

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