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THANK YOU to all of you
who voted for me in GP Scen 2011!!!
Congratulations to Broshan Crew who won
the competition.
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NEW PRODUCTIONS
I hope you will enjoy my new album
Long Distance Lovers, which is now
available for download.
To stay updated on my progress, I
strongly suggest you subscribe to the
newsletter.
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My name is Mattias Davidson and I was born in
Sweden.
It all started 1983, when I decided to learn
to play Guitar. The first song I learned was
When the Smoke is Going Down, by the German
band The Scorpions. As soon as I've managed it,
I started to frenetically compose my own Music.
The main influences at that time were Saxon
and Iron Maiden. I started a few bands, which
all sounded less than good. A few years later I
got caught up in the dark tidal wave driven by
Sisters of Mercy and their peers. That's when I
got my first headlines.
I left Skellefteå 1986 and moved back to
Finspång to live with my father and started a
pop band called Blago Bung. I took the name
from a famous dadaistic poem. I played Guitar,
my niece was singing, her father played the
drums and her boyfriend played the bass. It was
a blast!
Eventually the whole project stagnated, and I
was missing the nerve from the black cult rock
I was doing previously. I formed a new band and
started singing myself with an extremely low
pitched Voice. We played the kind of music
style that Finspång hadn't heard before and I
got some more headlines. It was about that time
it started to sound pretty good and the Music
became more and more potent.
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One thing I will never forget, was a reunion
with my old friends from Skellefteå one day at
a festival at Hultsfred at the end of the
eightees. That very night they were playing at
a small scene and that was their huge
breakthrough. A week later their name seemed to
be on everybodies lips; The Wannadies.
I think it was that incident that encouraged me
to take the step and wholeheartedly commit to
my musical career. I quit my job, sold all my
stuff, which basically consisted of 5 electric
Guitars, 3 acoustic, some synthesizers and
amplifiers. I sold my car too. For a few years
I did nothing but played, played and played. I
was poor as a church rat, but I sure did enjoy
myself.
The Music was hard rock, sounding like the
contemporary The Cult. 1991, me and my band
moved to Gothenburg, got ourselves a record
deal, changed our name from the dark, cryptical
Caragorgya to the plain The Waiting Rain and
went on a fairly decent tour, covering most of
Sweden.
The constellation lasted a decade. Part from
all the fun we had together, we spitted out
some singles, apperared on a few compilations
and of course, released our full lenght album
Another Mental Earthquake, with guesting
celebrities like Freddie Wadling and Nils
Wohlrabe. And let's not forget the four amazing
rock videos we did together!
When the party was over I shut my musical door
to the outside world. It would take me over
five years to come up with something worth
listening to. And obvioulsy, someone else
thought so too, since I got another record deal
with A West Side Fabrication, who basically
released my new stuff on the fly.
Here I am, a few years later and thankfully,
I'm still getting better! I'm currently
unsigned... but musically stronger than ever,
in my humble opinion. I guess it took me twenty
five years to realize that I've got so much
more of U2 in my blood stream than I ever dared
to admit. Since I stopped care about it, my
Music has started to flow way more evenly than
ever before.
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I know my voice has some basic similarities
with Paul "Bono" Hewson's, though I consider
my falsetto smoother and less operatic.
Another prominent feature is my deep
emotional vibrato, which always come
natural to me. I never have to think
"now's a good time to bring it on", it
simply emerges all by itself, adding the
perfect twist to the specific tune I'm
engulfing myself in.
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Over the years I've learned that hitting the
right pitch is more about learning how each
tone feels to sing, rather than trying to
intonate just by hearing. Trying to hear
when you're on pitch seldom works to a
hundred percent, since you can't always
guarantee that you'll have adequate
monitoring, and sometimes you perceive the
harmonies incorrectly. On the other hand, if
you learn to really feel the nature of the
vibration and the airflow through the vocal
cords, it's possible to stay in tune even
without hearing your own voice.
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The way I play my guitars is mainly
influenced by The Edge, but with less of the
punk influences he sometimes mixes into his
riffs. I feel that I want to bring all chord
structuring as well as the spatial sounds to
a new level.
As an electric guitar, I exclusively use Fender
Stratocaster, due to that unbeatable crispy
sound, that can penetrate even the most frozen
heart of stone. Part from being the best guitar
in the world, it looks pretty good too.
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If you haven't already noticed, I'd like to say
that I'm especially fond of the colorful beauty
that arises from the use of the magic tremolo
arm in combination with open chords.
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If you're listening to my newer stuff, you
find that the soundscapes are considerably
stripped down, in comparison to what I did
ten tears ago. Often there's just a handful
of instruments. I'm trying to let my voice
get the space it deserves and that the
"other guys" concentrate on elevating the
accompaniment and provide the essential key
notes of the melody.
In reality, at least when it comes to my
recordings, there aren't any "other guys",
since I'm basically playing everything myself.
However, I always bring a gang when I'm on
stage.
I've added a little special treat to my works,
the mandolin. I think it gives a slight etno
folkish impression, which is really cool in my
opinion.
I've been working as a sound technician for
many years, so naturally I engineer all my
recordings. Lately I have also taken on the
task of mixing, which is a delightful experience.
I've realized that I love to dive in to the
productions and play around with them, and
create new exciting soundscapes.
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The gifted drummer Mikael Bjursell.
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"And here we will have great reflections!"
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Producer Stefan Svensson.
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DAGENS NYHETER, Kalle Dixelius
"...The Craze is a Swedish album hovering
high above the mediocracy. Sometimes I even
come to think of Prefab Sprout - running,
unexpected and surprising melodies."
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VERTEX, Patrik Boström
"One comes to think of A-ha when listening
to the album. The titletrack The Craze is
really good and here and there, one finds
songs with fairly high hit potential. Fall
from the stars quickly sticks to the mind
and it's hard to get Mattias Davidson's
voice out of my head."
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PROPELLER, Nicklas Örnros
"Davidson's musik is calm and pleasant...
It is certainly a beautiful, different music and
Davidson has a very good voice, no doubt
about that..."
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HENNES, Stefan Wesley
"There are some real good songs and with a
producer like Divine Comedy it could have
become awesome."
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GROOVE, Magnus Sjöberg
"It's big, on the verge of pompous, but
Davidson is avoiding most pitfalls. In some
way it sounds a bit like timeless Swedish
music from late 1900's. Some Athletic Arabs
and Roul Luft."
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Artists and bands that influence me:
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