Bridge between reality and dream
On behalf of Anneli and Nicko, here’s their old production “Bridge between reality and dream”.
AI’s don’t like water,
Siplala
Inspirational
We migth have categories some day… When we know which ones.
New brushes, new techniques – and fae creatures
We all have people we admire, and I’m no exception. Ross Tan is one of my favourite artists, especially his tutorials and the way he works with digital art. Super inspiring! So, yeah, I know I’m not just starting out… Even if it feels like it at times. I’ve been drawing since childhood. And I’ve tried drawing on the computer on and off. I just love drawing hair for example. But mostly I work with photo collaging and adding in painted elements, sometimes acrylic (like Idur), sometimes water colour (like the Elven reading nook) and sometimes just pure digital art.
I’ve been thinking for a while to invest in Ross Tan’s photoshop brush kit, and finally got to the point where I did. And yes, yes, yes! I’m in love. This is going to be so fun. And an unexpected bonus is that I’m suddenly super inspired to start creating my own brushes too. There’s like tons of settings that do awesome things. Combining tech, art and love.
So, my Fae beast under the willow tree is the first picture using Ross Tan’s photoshop brush kit (and some other favourites…) I love how everything came together, like the tree, the roots. I’ve never drawn a tree trunk like this before either. And I just wanted this feeling of a creature sitting underneath the root system, hidden from sight, but contributing with its special magic nonetheless.
The flower was meant to be this creature’s tail… Not sure it really looks like this, but oh, well…
New brushes,
Anneli
Elven reading nook
My Scandinavian elf, Idur
Lussi’s night (and celebrating Lucia in Sweden)
Lussi’s night
Lussi held up a long white robe, as stainless as troll fabric always is. But she could feel the thinning threads of magic ready to pull apart – like moth eaten wool. Her last journey over the faultlines had been such a nightmare, she hadn’t dared to cross since. And because of this, the magic of the seventh troll kingdom was now stretched thin.
Lussi had to gather up her courage to once again journey into the realm of humans, and to bring back gifts of magic. The seventh troll kingdom depended on this; a weight heavy on her old shoulders.
With a frustrated sigh Lussi hung the white robe over the wooden rocking chair by the fireplace. Herbs hung in neat rows above it, dried and full of whispers.
Her home was of a modest design, burrowed underneath an old oak tree, and a canopy of roots weaved the ceiling. The walls had been reinforced with patterns of stones she’d collected. Aside from her sitting room, there was a bedroom of enchanted plants. The bedposts were formed by twined roots and at the feet of the bed grew soft moss. From the ceiling hung clusters of a fire wisteria she’d happened upon a long time ago. Its glowing bloom tresses illuminated her bedroom softly – just enough for her to admire the other flowers growing in every nook and corner – and, of course, to welcome sleep.
A bathroom with a small cold pool sprawled next to her bedroom. All sorts of rumours circulated about trolls, and like most other creatures there were trolls of all kinds, but Lussi liked to keep herself clean. Even the bright yellow lichen growing on her skin in circular patterns appreciated good hygiene and a proper soaking every now and then.
Lussi went to stir the raspberry and bilberry caramel she was cooking in her cauldron. It was thick and sticky from simmering all afternoon, and the berry perfume filled her beautiful home. The rocking chair creaked in approval. Smiling to herself Lussi sprinkled some happiness in. Happiness, she’d come to learn, was something the many realms needed more of – and who better to gift it to than to children.
Removing the cauldron from its hook, she poured the caramel onto a platter. With her troll magic she formed the sticky, red-brown berry caramel into perfect, round balls and wrapped them in rustling candy paper.
When her basket was full, she took a bath. The cold water trickled along her skin, and she washed her long unruly hair. The cold of the water was good for her – it held her inner fire at bay.
Lussi sighed again, and reluctantly went to fetch her white robes. An old leather belt with gold and rubies held the long robe in place. Fresh green sprouted from her skull, stems of lingonberries fused with her hair. Some clusters of red berries hung in her periphery – having perked up from her bath.
Dried, dressed and ready, Lussi took her basked of caramels and with heavy steps she left her safe haven, unsure what her journey might bring. Pictures of screaming people and houses on fire flashed through her mind. If only she could warn people beforehand not to anger her – tell them that her eyes had the power to set all and everything on fire.
“I’m no evil spirit,” she huffed, feeling the pain in her heart all over again. “I just need the gifts. Please,” she added to no one in particular.
Heaving another sigh, she took the first step, and then a second. The forest surrounding her became a strange blur, the way it always did when she troll-walked to cover great distances. Then the air got thinner, until cold bit her face. The kisses of winter.
The longest night – only it wasn’t. Not anymore. But science and magic competed sometimes – when belief is stronger, magic wins. Lussi knew this as one of the founding pillars of troll magic.
The realm of humans looked similar to her own, but the air felt very different. She supposed it had to do with magic. Human kingdoms weren’t governed by magic like troll kingdoms, and so magic had withered.
Above her stars twinkled in the dark blue eye of the cosmos troll. She stared into its eye for a bit, then lit a few strands of her hair to light her way. The snow melted in her path and small spring flowers sprouted where her feet had shared both warmth and magic. The poor things would die come morning, since mid-December is too unforgiving and the sun too far away to nurse her children.
It took Lussi a while to reach the first village of family homes. The bright light coming from inside the windows surprised her. Perhaps humans had magic after all.
She rang the doorbell, again surprised to find such magic in the realm of humans, and waited.
A man opened. “Lucia?” he asked.
It sounded close enough, so Lussi nodded.
“Aren’t you a little early?” he wondered, and Lussi frowned. “Never mind,” he added, then turned and called into the house that a ‘Lucia’ had come.
Little feet padded rapidly towards the door, and suddenly three children stared at her.
“She looks a bit funny,” said the middle child, with brown tousled hair, in a sceptical tone.
“Nonsense, I love her interpretation,” said the eldest.
“Will you sing?” wondered the youngest.
“I can sing,” Lussi agreed, stunned no one was screaming. And so, she sung, an old song she’d sung to her children when they were young.
“A trolling, trolling with a long, long tail,
A trolling, trolling with a long, long tail.
He got the tip bruised, and stepped upon,
Always in the way,
Until Mother tied it into a bow.”
“Trolling, trolling,” sung the youngest child enthusiastically.
“For you, one each,” Lussi said, holding out her basked of caramels.
“Oh, candy!” the middle child called.
“This is very kind,” their father, Lussi presumed, said. “Wait.” He was gone, and then back again quickly. “Take a few buns… I got too many.”
He held out yellow buns, each folded and shaped like an s and decorated with raisins.
“Lusse bread,” smiled the youngest child, and Lussi accepted the buns as the true treasures they were. The yellow buns crackled with magic – the magic of exchanging gifts.
Lussi thanked this kind family, and they said good-bye.
In wonder Lussi went from house to house offering her caramels to young and to old, receiving ginger and lusse bread in return, sometimes even a cup of hot mulled berry wine with almonds and raisins. Many times, she was expected to sing songs or read verses, and Lussi happily complied. Old faces smiled, rejoicing in some company, and young faces lit up with curiosity. Naturally, there were houses with no one at home, but all in all, these were just a few. Folklore’s longest night ran away.
As the first rays of light pulled the curtains of the night apart, Lussi put out her burning strands of hair. Her caramels of berries and happiness were all gifted to deserving hands, and her basked was full of buns and magic. The buns smelled delicious, but they weren’t meant for eating – at least not for her. She wanted them only for their magic.
“Are ye working tonight?” asked a foul voice, as Lussi readied herself to cross the faultlines and return home. “No one works tonight.”
Lussi gave the water spirit – he who liked to strut around in the shape of a naked human man – a hard look. It was not the reaction he’d been expecting, this she could tell – especially by the way his eyebrows shot up.
And then a few pieces fell into place. She cooked her head to the side, studying him.
“You,” Lussi said. “Why do you suppose this night belongs to you?”
“Because it does. It’s the night of spirits.” The water spirit hesitated. “Well, one night of spirits…,” he amended.
“And trolls are not spirits?” Lussi questioned.
“You don’t look like a troll,” the water spirit accused.
“Well, of course not. Troll magic, see. I can’t waltz in here with lichen growing on my skin and expect people to think trolls are the stuff of myth, now can I?”
The water spirit harumphed.
“You’ve been sabotaging my work before, haven’t you?” Lussi challenged.
“I didn’t know,” the water spirit said, having crossed his arms defensively – and this spirit was said to lure women into the water. What woman would be interested in this hypocrite?
“Look closer the next time,” Lussi warned. “Or I might hex you.”
The water spirit stuttered something in agreement, and vanished quickly. No wonder humans didn’t work during folklore’s longest night. But not even the silly water spirit could put clouds on her sky – not when her basket was full. With a happy smile on her face Lussi crossed the faultlines and headed straight to the mountain where troll king of the seventh troll kingdom lived. It certainly looked like a mountain on the outside, but inside it consisted of halls and treasure.
Proudly, Lussi strolled into the throne room.
“You’ve done well,” the Troll King praised, relief on his old, marred face, his eyes shining as he took in the contents of Lussi’s basket.
“Thank you,” Lussi said, carefully placing the yellow buns into the great chest of gift magic.
“I expected ham and breadcrumbs… But this… These are made from saffron. Such gifts will last for a long time,” the troll king said.
Lussi’s night, from sketch to digital art. Art by Anneli von Knorring.
Celebrating Lucia in Sweden
The tale above is based on Swedish folklore. A story where Lucia (or Lussi) is a troll who can set fire to everything with her eyes. Well, I admit that I’ve tweaked it a bit 🙂
Lucia is celebrated on the 13th of December with people dressing in white bringing light, songs and ‘fika’ (lusse buns and coffee). The root of this tradition is a hot topic, and no one knows – or will ever know exactly. Lucia has been celebrated in many different ways – some almost similar to present-day Halloween celebrations.
Lucia has many faces too – all from being an evil spirit to a saint, which is quite a span. The way we celebrate in Sweden today, is only about one hundred years old or so – and even then, this tradition has varied greatly throughout our country.
The longest night of the year occurs at the winter solstice, but before the calendar reform in Sweden in 1753 this was said to be the night before the 13th of December. Just like Midsummer’s night is considered a night with thin borders and what not, so is the night before Lucia. Even if the true winter solstice has been moved to around the 21st of December, in Swedish folklore the night between the 12th and the 13th of December was still something to be wary about. Spirits were out, and the water spirit (Näcken) was especially aggravated if he found people working during this night.
What I love about celebrating Lucia is that somehow this captures the Scandinavian mystery and myth, the deep dark forest, a spirit travelling from far away into our world to bring light. The melancholy songs sung by clear voices, like a soft echo throughout the winter landscape.
Wishing you a nice Lucia,
Anneli
Bunny dreams are soft
I think she likes to have her picture taken. Animal friends.
Bunny dreams,
Anneli
Copies to local charity and duty copies to libraries
I love when books are going somewhere, finding new people, ready to inspire new minds. The gift to share beauty.
Sometimes, or often, at least I feel that maybe I can do more. But then I realise it’s the small things that matter. Like donating a few copies of my first book, Sagan om Trollsjön, and Evanescere to the local scouts club and their lottery.
And then of course, the duty copies to the seven largest libraries in Sweden. I really love the idea that we collect all books and publications like this to make them available for readers and research.
Small things that make the world a good place.
Books going somehwere,
Anneli
Dotted with red comes November
The thorns weave their forts,
Dotted with red comes November.
Gone are the leaves and shy cheeks,
The drying fruits in constellations.
Thinking of November,
Anneli
Two phoenixes – the logo – the journey – the symbolism
An ideal logo immediately reveals what it’s all about.
Maybe not all, but at least whether it’s a company logo – and oftentimes you can even guess what they do based on the logo. In our case we wanted it to say: “Music and magic”.
But there’s a lot of different musical genres out there… and guess what, depending on the music you do these logos vary like night and day. I grew up listening to female singers like Celine Dion and Mariah Carey. They usually just go for typography using their own name, and nothing too eye-catching. Just simple elegance, really. So, this was my first approach – and one we’ve tried since we started making music back in 2003, then for Enchanted Duo too when we started our band in 2007.
Feeling the need to really brand ourselves in 2021, I contacted SantaGrinina, who specialises in sacred geometry and mystical logo design. (This after browsing logo designers on Fiverr for days and weeks… It takes time to find someone with a style that really appeals… What feels right.) SantaGrinina accepted this challenge, and we were on. She started out sending me three rough sketches to choose from.
1. A cosmic approach to the seed of life, almost like an eye. The overlapping circles at the centre symbolises the sacred duo. Universally known for unity, creation and new beginings.
2. Another version of the eye, and a variation of the flower of life, almost like an auric field. The two black stars/suns symbolise the dualism and mysticism. The dimond shape represents the four directions and the presense of the spirits of the four directions.
3. The duo is represented by two phoenixes symbolising the a rebirth, from the centre where the phoenixes kiss sacred patterns evolve. The seed of life again representing creation and new beinnings, especially since we felt we’d finally found a new sound we liked and this was like a rebirth for Enchanted Duo. The 8-pointed star is a powerful symbol for recreation and guidance in mysticism and spirituality.
Well, you already know which one we chose. It was a no-brainer.
They’re all beautiful, but the phoenixes just had that something extra.
Then the work began to refine the logo design. To choose colours, make sure every detail is thought through. It takes time and presence – but mostly the heart just knows. Working with SantaGrinina was a true pleasure – such patience and care – and perfectionism. (One perfectionist to another, it’s wonderful to work with someone who gets the details – of course given that these details are important.)
We wanted a logo that would work on both white and black background, which in the end resulted in two colour variations. No 2 and no 6 above.
All of them are beautiful, but these two just stood out to us.
SantaGrinina completed these two (no 2 and no 6) with final adjustments – and note how the typography was still kept simple. (Like for the role models I’d had growing up listening too, and of course admired their cover arts for too many hours to count…)
It’s such beautiful logo, but it doesn’t necessarily scream music. This realisation was something I had to grow into. Meanwhile, we used this logo for a year or two, and I just had this feeling that it wasn’t right just yet.
While pondering the logo, we dove into the phoenix theme and my book Little bird lost was born to further underline the phoenix symbolism.
It was also the fact that we were recording more songs for our album, some of them with heavier rock sounds and metal influences. I started looking at typography and logos in this genre instead, and realised we needed to do something.
I wasn’t sure what to expect exactly… I found BlaqkDesign, also on Fiverr. I told him I love the logo, but not the typography and that both needed to be made a little rockier. And so, our rock logo was born.
So finally, our logo says: “Music and magic”, perhaps even “progressive rock and magic”. Along with a touch of fantasy, and folklore.
The lesson in all this, something for you too to remember in all your wonderful endeavours, is that you can’t have everything figured out from the start. But the moment you take one step forward the Universe is eager to show you the next.
And does this conclude our logo journey? Naah, I doubt it. I even had to do a variation for our web page – if you’ve thought about it 😉.
Nothing but love and phoenixes,
Anneli
Fern fantasies
There’s a large flower bed just in front of our house, and since a large part of it is in the shade throughout the day, fern grows there – or rather fern loves growing there. And spreads – tries at least. In spring the fiddle sticks pop up and I always try to snatch a few to eat. During summer these leafy monsters practically explode – not as tall as me, but not far from…
Then comes autumn. And yes, they can’t quite compete with maple trees in splendour, but they turn so many shades. Lovely milk greens, copper, vibrant yellow, one more dimmed, soft yellow. I love these colours! As if my eyes can’t stare at them long enough.
So, my mind got to work. First photographing and then puzzling on the computer – digital art as it’s called.
Here’s Fern fantasies. And I’m hoping to turn some of them into art prints in the shop. Which is your favourite?
Fern bunnies
Fernflies
Fern butterflies
Fern jellies
Fern lamps
And Fern fish
Well, Fern fantasies.
Fern fantasies,
Anneli
Working with Marco Minnemann
“You’re ashes and fire” is released and it’s about time to introduce Marco Minneman, whom we’ve been working with for almost a year now.
I have three favourite drummers in the world, and one of them is Marco.
It was while watching the Dream Theatre’s drummer audition that I discovered Marco. I’m sure I’ve heard him somewhere else before… I realise he’s been playing with Steven Wilson, Paul Gilbert and other big names. But it wasn’t until I watched this audition tape – I mean I usually don’t listen that much to Dream Theatre – but this audition is something else and really puts some great drummers on display, and at that time Marco really captured my attention, and I was quick to follow him on FB. And what a drummer he is…
The road to Marco went via Morgan Ågren (favourite drummer no.2), with whom we’ve recoded one song already. Then Morgan took off to Switzerland on an exciting project and we realised he wouldn’t be available any time soon. So, returning to my favourite audition tape saying to myself: “Hmm let’s see… Let’s pick Marco.”
Would Marco be jazzy enough? And would he have the same grove that we’d discovered when collaborating with Morgan?
First off, we sent Marco a 7-minute meditative rock song. One that we’d been struggling with… After the first mix the drum machine just felt so monotonous. In other words, a perfect test to see if a drummer could turn this around.
There are always some nerves involved when hiring musicians. I mean, they have their style, and will they get ours? Will they interpret where we’re going with our songs?
Like Edgar Peña so nicely put it regarding Marco’s interpretation of “Beautiful Lady” (another one of our songs that we’re working on).
“Lovely song, Marco is such an impressive drummer, he adds his own signature sounds to the song without changing the actual essence of it, he’s very good at drumming right at the edge where his style and the song meets.”
It’s a perfect description of how Marco works. He’s got this gift of quickly getting into a song and understanding it, adding to it. On this first 7-minute meditative song he created a totally amazing ambient, epic piece playing on two “different” drumkits. We were instantly amazed.
It was at this point that I got a little bit of hubris. I’ve not only made contact with two of the world’s best drummers, but they were now also playing our music. Can Marco be our Werifesteria ambient drummer? And Morgan our Werifesteria free jazz drummer? And maybe, maybe, could – hello again drum audition tape – Thomas Lang (favourite drummer no.3) be our Werifesteria hard-hitting drummer? The idea sprung to my mind after finding some inspiration from Devin Townsend, and how he worked with different drummers to get different characteristics for his Empath album.
After grounding myself a little bit, I realised that having Marco on our new album is mind-blowing in and off itself. (And of course, let’s not forget, Morgan Ågren on one of the tracks).
Marco is by far the most professional musician we’ve been collaborating with. Some days I haven’t even woken up before he’s done his two takes along with a video for the song I’ve sent him. 16 high-quality tracks from a big sounding drumkit that fits our sound perfect. He really knows his stuff, is super creative and surprise us every time. Even the studio technicians we’ve worked with are super impressed with the quality of the tracks.
But I have to say, there’s a life before working with a drummer, and a life after. How will we ever be able to work with drum machines again after this?
Du-dum,
Nicko
Olof and the elves, and the theme for “You’re ashes and fire”
Hooves turning soil,
The morning calls.
Frostwork and pearls of dew.
Jarl Olof returns with the first burst of green.
Mountains and valleys,
The moor, the mist, and the river.
Hems and skirts, hair and dirt,
Frail are the arms of coiling veils.
The taunting calls and voices thrill,
The realm of ghostly echoes beguiles.
Pebbled skin and his chilled spine,
Turning trembling hooves around.
To worry and to woe, to break the promise of two.
His fate was decided a long time ago.
“Forgive me mother, forgive me father, brother and sister, again I must go.
Hooves turning soil,
The morning calls.
Seek the shadows,
Find the truth.”
Hooves turning soil,
The morning calls.
Frostwork and pearls of dew.
Return to you.
A free translation inspired by a famous Swedish medieval ballad called “Sir Olof and the elves” (SWE: Herr Olof och älvorna). I’ve always liked this one because it mentioned the elves. It’s a terrible story though, teaching people to stay away from the Scandinavian elves. As Olof rides home in the early morning he encounters the elves dancing. They call to him, urge him to join – but he know that should he yield to their call he’ll go mad from their strange song. Instead, he refuses, and turns his runner around to ride as fast as his horse can carry him. But the elves sends sickness to follow him. By the time he reaches his parents’ dwelling, he’s looking pale and unwell. A few rows later Olof dies from this sickness.
This is a typical retelling of the Scandinavian elves, the mysterious women dancing over the meadows. Thursdays were for example especially bad to run into the elves. There are many stories noted down about people who had happened upon elves and after engaging in their dance they never became the same again, or they got sick. Some claimed that their music continued to play in their ears for the rest of their lives. I suppose it was a way for my ancestors to explain sudden sickness or mental disorders.
So, around here, whenever the temperature drops overnight producing morning dew and floating misty veils we still say that the elves are dancing.
When I wrote “You’re ashes and fire”, I had again come across this old ballad. I felt that there is more to it than these old rows. Freely translating it was a way to further investigate what it ignited inside of me, and then I realised that anger is a strong theme here. Olof’s anger. The anger we all feel sometimes when circumstances we can’t control have our lives tumble over or take turns we don’t want, or weren’t expecting. And I don’t believe in supressing emotions, just as I don’t really believe in acting out in a harmful way either. I believe in feeling our emotions. They can be strong, and almost unbearable for a while, but then they dissipate, and fade. Just like the veils of the elves as morning progress and rays of sunlight makes their hair and dresses evaporate.
Are you angry about something? Sing along, feel your anger and let it go. Then take on the world, because this is better done with a clear head.
Elves and veils,
Anneli
“You’re ashes and fire”
Feat. Marco Minnemann, Mohini Dey and Andrei Oltean
Release date: 30 September 2022
P.S. Curious about the old ballad about Olof? Here’s a more exact translation by Eva Toller along with the Swedish original: Sir Olof and the elves.