Fågelle creates music where layers of noise meet pop melodies in an exploration of rhythms and the subject of power. With pedals, synthesizers and samplers, she dives into the sounds, experimenting until she finds what will come together with poetry to create a compelling song in the middle ground between sound art and pop. Her sound world consists of everything from field recordings from the Moscow subway to roaring guitars and tormented synthesizers.

In collaboration with the producer Henryk Lipp (Blue for Two, Anna von Hausswolff, Union Carbide) the ideas are grown into sound worlds, pop songs, storm clouds. From the smallest text fragments to the rolling in of the biggest thunder. With lyrics in Swedish about our current times in micro and macro-perspective and about power and powerlessness. Her music has been described as “a soft punch in the face”.

Fågelle has during the past few years performed at different venues and festivals in Europe, among others at Heroines of Sound i Berlin, Performing Sound Festival in Salzburg, Kolonia Artystów in Gdansk, Woman SRSLY in London, Klangfestival in Linz, Atomino in Chemnitz and Koloni in Gothenburg.



“Hell days, Fågelles full-length debut, is a straight through uncompromising, filterless, honest, courageous and masterful album. Every one of its just over 2 220 seconds is filled by Klara Andersson’s unreserved brain, heart, soul and songwriting mastery (imagine a pitch black mix of M83’s most heavenly melodies and composer Hanna Hartman’s manipulated field recordings from the volcano Etna and you get an idea of how it sounds).”


“A sinuous vocal that weaves in and out of conventional tonality, hemmed in by a luxuriant thatch of luminous arpeggios. Serene, ecstatic spells of sunlit major-key updrafts, punctuated with toe-curling crunches of unexpected harmonic discord. Like waltzing across a frozen lake with your unrequited first crush. Spiralling out of sight of sorrow and sunlight and sensation – weightless.”


“One of this year’s most exciting debut albums is coming from Klara Andersson’s project Fågelle. The singer, songwriter and multi-instrumentalist moves light as a feather but also heavy as lead between the most obscure noise, often bordering on sound art, and more digestible poetic, pop. The album is beautiful in so many ways. Listen especially to the title track, it’s crushingly good.”