“inimitable intimacy” (Die Zeit) 

"oblique beguiling sorcery" (Mojo Magazine) 

“songs designed to bewitch ... lyrics overflow with arresting imagery" (The Crack) 

“vocal beauty and timeless piano” (Nitestyles)

________________________
Album text by Jason Grier:

"As fast as the wind I rushed on my own along the country road in order to be blessed by a more open view; then, in a moment, the sun vanished, neither sinking nor behind the clouds, rather as if it had been extinguished or removed. Instantly it was a black night; rain..."
– Walter Benjamin, dream transcription from Das Buch der Träume
 
If not by accelerating global crises and surreal election cycles in the west, late-2016 may have been marked, historically, as the moment of «peak TV» when bingewatching immersive Netflix offerings for hours on end produced the opioid mindstate of a waking dream en masse. 
 
In her solo debut, Copenhagen’s Line Gøttsche Dyrholm – violinist, Calarts MFA student, and alumna of Danish electronic popband Belle Ville – furnishes a nearly perfect anti-partner to our streaming video panem et circenses. Omonia’s 28 minutes of delicate piano and bare vocals feels immersive and epic, fractured and dreamlike, yet anything but soporific. 
 
Gøttsche’s voice guides us gracefully and all-too-swiftly through a series of disjointed fin-du-siècle set pieces, her narration smoothing out the incongruities – partial staircases to nowhere, french doors opening onto ivy-draped brick walls, an asymptotic woodland twilight in which the sun never quite sets – both sketching out and soundtracking a kind of «Last Year at Marienbad» world. Tempered flourishes of classical and jazz instruments accompany her drifting piano sonorities, which sound at times straight from the late-romantic playbook (Satie, Debussy, and the final works of Franz Liszt come to mind).
 
On repeated listens, however, the vocal lines prove to be a brittle leader, seemingly stitched together from some long-lost narrative thread, the peans and barbs of an inflationary love and the bitter arc toward its chauvinistic decline: A shadow-play of heroism, computerized bodies and ameliorating houseplants. Over the course of Omonia’s five sections, allusions and metonymies recur and efface each other’s meanings; fragile sentence fragments coalesce and diverge again. 
 
The performativity of words and decadent asceticism is decisive, and timely. Gøttsche’s low-tech invocation of cognitive dissonance, heightened sensitivity, and circular memory finds itself squarely in the midst of our amnesiac age of digital alienation and artificial dreams. But Omonia comes across as neither a coy sarcasm nor a trenchant critique, rather, something quite original and strange; sincere and surreal in equal measure.

Omonia

Lift your eyelids
Reveal the opals of your eyes
Among the acacia trees
Let me in to the hills behind your teeth
It keeps going upwards upwards upwards
Upwards upwards upwards

Lush are the woods
The mountains are asking your eyes
To run far
Into my marble quarry night
Where rocks are veined and soft
And skin is pure as night

Boy, I feel so honored
I have seen you sleep
At night you seem so open
If only I could lift your heavy lids
The shampoo bottle label
Is so dramatic I could crumble
Childhood water
Give me the after shower power
Golden globes
The solace of your leaves
Nature's power is so overt

I want your fingers on my lips
I want eyes on my hips
I want to stroke your bowl cut hair
I want your fingers everywhere

Future is a tower
I am looking at the flickering women
I walk among the flowers
But your rose it is the lushest
The tragedy unfolded so dramatically
My heart it still stumbles

Darling will you not remove your breast plate
I feel frayed and I feel torn
Mother of pearl
I am in a porous state

In the dark his eyes are my flambeau
He is my guiding light to follow
Everywhere I go
Boy I feel so honored
I have heard you whisper in my ear

But now that I made you disappear
I fear that I am going to whither

For your blood and shadows my mind is all aglow
We stretch summer in Rome
Resting our eyes on the domes
A whole body on five toes

Kiss beneath the pines
Marvel boy, be mine
House plants
House plants
Kiss beneath the pines
Marvel boy, be mine

Opal - Aglow

Still, you exist
In the movements of my body
And your sweater on a hanger
Is like a ghost on the wall

I remember
There was a ferry
And an island
We were getting nearer
To the island

Now in my dreams
I protect myself from you
In evacuation shelters
The radio
The oranges

I would rather be a baby
Than a sitter
I want to be held
In your arms
Cover me
In your mind's broken laces

We stretch summer in Rome
Resting our eyes on the domes
A whole body on five toes

Your password is
Outside
My password is
The one for you
The book that we read aloud
Was stolen in the alley
Cotton cotton cotton pillow
Soft against your skin
Cotton cotton cotton pillow
Very softly
My sea shell baby

Nacre - Sea Shell

Armor - Girls

I share a glass of water
With my house plants
We are keeping each other alive

I can not believe it is the same moon
I did not really think we would have to strive

I did not realise I was in danger
But you turned out to be a stranger

We stretch summer in Rome
Resting our eyes on the domes
A whole body on five toes

Now on my lap
So close to me
My computer imitates your body heat

Rome

My trees 
Cannot hold on to their leaves anymore
My branches are bristling in all directions
My trees cannot hold on to their leaves anymore
My branches are bristling in all

Aristokrat

"Opal" is the introduction piece on Line Gøttsche's 2016 debut "Omonia".

Full album listen:
https://itunes.apple.com/dk/album/omonia-ep/1234953195
https://open.spotify.com/album/4z0nIPR5LzCoyyVMMlOIQx
http://tidal.com/album/68848672

Purchase vinyl: http://linegoettsche.com/ordervinyl.html

www.linegoettsche.com

Opal

First Bird

“Inimitable intimacy“
—Die Zeit

“Looking-glass narratives and melodies of oblique beguiling sorcery”
—Mojo Magazine

“These are songs designed to bewitch with her piano lines describing deep and romantic arcs while her enigmatic lyrics overflow with arresting imagery”
—The Crack

“There are records that are not easy to tame”
—Liability

"A captivating, yet tender, sparse and romantic view on cinematographic pop music living by the delicate interplay of vocal beauty and timeless, emotional piano play"
—Nitestylez

“Just dreamlike compositions and performance”
—Musik an Sich

“Astonishing ... piano, violin and voice in an incredibly coherent amalgamation"
—Amusio

"Delicate piano interspersed with surrealist lyrics in a dreamy environment"
—To Peridiko

“I strongly recommend that you listen to the entire composition”
—Musikalske Sidespor

Line Gøttsche is a singer, songwriter and producer from Copenhagen, Denmark. Upon the release of her debut album “Omonia,” a record that was received with critical acclaim in Mojo Magazine, THE CRACK, and Die Zeit, she relocated to Berlin. From the German capital, Gøttsche is currently finishing the production of her second full-length. According to herself, the record is a lush and sensual chameleon of a concept album that embraces influences from Brazilian pop, American singer-songwriter and jazz from the mid-20th century. Forefronted by her lyrics that have earlier been described as “enigmatic,” “arresting,” and “looking-glass,” she here embarks on a voyage into a rain dripping forest of surprising yet ear-pleasing songs contemplating loss, emotional relations, and a pending number of layers of the color blue. Upon starting off the album recordings in Rio de Janeiro, Brazil, Gøttsche brought the production into a ping pong between Berlin and Paris. Along the way, the album has been gifted by the involvement of many renowned artists and producers such as Thiago Nassif (Arto Lindsay), Pedro Sá (Caetano Veloso), Trevor Horn, Vincent Taurelle (Air) and Earl Harvin (Seal, Tindersticks). Expected release date: TBA.

Line Gøttsche

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