Snöleoparden is the alias of “multi-instrumentalist” Jonas Stampe. According to his press release, Stampe took the name “Snöleoparden” because “just like the snow leopard, Stampe has roots in Asia, more precisely in Pakistan, and the lithe physique of the snowleopard can also be compared to Stampe´s almost gymnastic ability to switch smoothly between different musical genres.” Now, I know press releases are employed to talk an artist up, but they can often spark problems for a reviewer who has the task of critically analysing a release. Typing the name “Snöleoparden” in Google, the second result that pops up is a rather derogatory review about Stampe. Without naming names (you all know how to use Google, right?) the reviewer closes the piece with “This album makes you lament the minutes of your life that you have wasted listening to it.” Unsurprisingly, this charming little excerpt was not included in the press release.

So, is Snöleoparden’s debut self-titled album really that bad? In short, no, it is actually pretty spectacular. First, here is a teeny bit of background information about this elusive “gymnastic” Jonas Stampe. Stampe is a Danish composer who in 1998 became a sitar-student under the direction of Ravi Shankar. A year later he was in Ravi Shankar’s touring band. However, instead of Snöleoparden containing half-hour long Raga compositions, Stampe gets down with his indie self and creates something that pulls between the likes of Mount Eerie, Sung Tongs era Animal Collective, and Dadamah. A brave feat for a debut album, and what is especially noteworthy is that along side the aforementioned influenced compositions, Stampe never loses sight of how he wants a song to sound. Each track on the record is riddled with knowing nods to genres or other musicians, but there is enough individuality in each song to know that Stampe has well and truly stamped (get it?) his name on the music.

Snöleoparden moves from the charming “Hodja Fra Pjort” (“The Magic Carpet” in English) which features a chorus of children and was recorded in a nursery class, to the glitchy “Snabel E,” which although the children on “Hodja…” may not enjoy, anyone with the slightest interest in noise would. Snöleoparden employs all manner of instruments in its compositions, for instance there is the use of what sounds like pebbles on “Lillecykel” and the track following on from this, “Dreng” lets a six year old busker boy from Pakistan take vocal lead. What is so special about this record is that each song opens up a new realm of possibility, you literally never know what is coming next, but you can rest assured that it will be an enjoyable listen.

-Holly Emblem