The Joy of Elephant is hitting the airwaves today with their debut single, I Never Kill (on a Sunday), from their forthcoming debut album. This track is a bold fusion of psychedelia, post-punk’s gritty intensity, and gospel’s transcendent vibes, creating an intriguing musical blend that defies expectations. The Joy of Elephant sounds like something that left time, and came back, mirrored in an unknown dimension.
Svein Petter Nilssen, the visionary behind this project, crafted I Never Kill (on a Sunday) as a reflective meditation on the ethical dilemmas posed by imperialism, the superficial justifications for heinous deeds, and a pronounced lack of empathy and understanding for “the others,” all entangled in a web of religious, ideological, and deliberate ignorance. Sadly, Nilssen notes, the song’s relevance has only intensified since its creation.
The song commences with a vibe akin to a noir film’s anti-hero, encapsulating Nilssen’s resolve to eschew any creative constraints in his work. The track exudes a nostalgic late 90s aura, reminiscent of the era when bands like The Dandy Warhols, Eels, Beck, Kula Shaker, and Primal Scream were defining the soundscape. An Eastern influence permeates the composition, adding a mystical layer to the witty premise of abstaining from violence on Sundays, while subtly suggesting that the rest of the week might not be as sacrosanct.
Nilssen confesses the initial spark for I Never Kill (on a Sunday) was ignited by his disdain for the dogmatic belligerence of conservative war hawks and their acolytes. Yet, as the composition unfolded, it became evident that the critique extended beyond any singular ideology or standpoint, revealing a broader critique of societal hypocrisy. “One need only pause and reflect to perceive the absurdity of such self-righteous duplicity,” Nilssen muses.
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When prodded about the possibility of live performances, Nilssen’s response is tantalizingly vague. “It’s a conundrum,” he admits, elaborating on his initial vision for the project as an unbridled exploration of musical storytelling, unfettered by conventional considerations. Yet, the prospect of taking his work to the stage has become increasingly appealing, especially with a cadre of talented friends eager to bring The Joy of Elephant’s music to life.
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