Me and My Kind

BREAK IT IN A BAR

Thank God She's A Country Girl

Thank God She's a Country Girl

Last Night All Day

Ashes and Brass: The Småland Second Line Jazz Funeral Parade is a dark, cinematic journey where Southern Gothic murder ballads collide with the haunted landscapes of Småland. Inspired by the ritual power of New Orleans jazz funerals and the raw storytelling tradition of the blues, the album unfolds as a requiem for betrayal, damnation, and release.
Across eight tracks, the record moves like a funeral procession: “Seven Curses” delivers judgment one curse at a time, with choirs chanting numbers like a ritual. “The Devil’s Bride” reimagines the archetype of Jezebel as a soul sold to darkness. “No Mercy at the River” turns the water itself into a judge that refuses to cleanse. “The Rumors Were True” gives voice to the whispers of a village, making gossip into prophecy. At the album’s heart stands “Ashes in Her Mouth”, a heavy dirge where brass, strings, and choirs thunder in a curse that cannot be undone.
From there, the story widens into a vow of vengeance in “Tenfold Interest”, and into catharsis with “No More Ghosts”, a declaration of survival and release. Finally, the title track “The Småland Second Line Jazz Funeral Parade” closes the procession as an instrumental epilogue, merging Swedish church bells, brass fanfares, and gospel cadences into one final march into darkness.
This is not just an album, but a Southern Gothic requiem: brass, organ, gospel choirs, strings, and funeral drums creating a soundscape that feels both like a New Orleans funeral march and a Småland churchyard at dusk. A work that speaks to betrayal, judgment, damnation – and the hope of walking away free from ghosts.

Me and My Kind

William Alexander Heck