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Scroll through the tags, and you'll realize quickly that we here at Resonator Mag like our Grey's Anatomy.

(Go ahead. Click that above link. It earned us recognition from Grey's soundtrack-selector -bigupsonetime- Alexandra Patsavas, and it'll also remind you that, yeah, we're a magazine.)



Suffice to say, for those of you who haven't seen last night's episode "Whisper To A Scream" yet (god I hope that isn't in reference to the Stairsailor song), the character interaction was intense, the ending was emotional at best, painful at worst, but what stole the show was the music.

The first song from the new Damien Rice album, "9 Crimes", was used in a penultimate George-related moment (I won't give any further details to keep from spoiling the show for anyone who is in the process of downloading the bit-torrent), but the song that played over the show's final moments had both Hacks and I staring, mouths agape, as the choppy, processed vocal loop became an instrument that took the show to a close, wondering "who the hell is this? This. Is. Fucking. Amazing."

I was terrified it was Sia-because her bland,Red Couch Downtempo turns up in fantastic remix form everywhere, despite her current reign as the Crowned Princess of Boring.

Nope. It was Kate Havnevik.




You know Kate from her turn on Royksopp's 2005 The Understanding, aka The UNDERWHELMING, which really had only three worthwhile tunes. There was the vastly underappreciated "49%", which sounded like a lost Telefon Tel Aviv track, one was the single with Karen "Knife" Dreijer, and one was "Only This Moment". Kate was the voice of the latter single.

Royksopp ft Kate Havnevik: Only This Moment

Her solo album, Melankton, has been kicking around my iTunes for a minute, and I just haven't had the chance to devote to it the time it deserves.

Kate Havnevik: Unlike Me

The opening song. with it's deep, flowing undercurrent and the lyrical mood, reminds me a lot of David Sylvian's Nine Horses album (something I should have posted from, and may still do so), which has remained a favorite of mine in the past year or so-it's deep and moody and downbeat, without bordering into the trite, cloying Sunday BrunchTronic cheese of certain (*coughcoughSIAcoughcough*) artists who try the same thing. This song doesn't so much force its' way into your brain-and-heartspace as it does slowly twine itself to whatever is in your thoughts, applying subtle-yet-firm pressure until you give in and listen. And then listen again-in full.

Kate Havnevik: New Day

Infinitely less subtle, but also a hell of a lot more powerful, than "Unlike Me", this is the song that brought this week's Grey's to a close with a whispered (dare I say "silent? Eh, why not) shout-sounding like what would have happened if Bjork had been let behind the boards to deconstruct the entirety of Madonna's Bedtime Stories album, it's impossible to judge exactly what's coming next until the song finally ends as a near-anthem.The long, symphonic intro only leads you into crumbling, explosive, dark territory. This isn't a song you can skip through. To the DJs in the audience-if you're planning any sort of atmospheric set, cut out the Massive Attack (too planned), cut out the late-era Way Out West (too much of a let-down), cut out the Sia (too untalented), cut out the Everything But The Girl (too much depression) and try "New Day" on for size.

Once AGAIN, Grey's (courtesy of Mizz Patsavas) proves that it is one of the smartest shows on television to pull music from.

Oh, come on, even YOU get teary when you hear "Chasing Cars".

Buy "Melankton"

Kate Havnevik's myspace

Resonator Mag: we are not pretending

hold our hands, and bring us tissues.