IT'S A TRAP! Scandinavian Music Journal

The Nomads to release new album

Fri, 02 Mar 2012 13:09:04 -0800

Swedish garagerock godfathers The Nomads have signed with Universal and will be releasing their 10th album this coming year.

Gaffa SE top 30 Swedish album highlights

Mon, 05 Dec 2011 13:12:35 -0800

Swedish highlights from Gaffa SE's top 30 albums of 2011:

3. Mattias Alkberg - Anarkist (Teg Publishing/Playground)
4. Anna Järvinen - Anna själv tredje (Stranded/Universal)
5. Skriet - Det Beslutande Organet (Novoton/Border)
8. Invasionen - Saker som jag sagt till natten (Sony Music/Sony)
12. Graveyard - Hisingen Blues (Stranded/Universal)
14. Deportees - Islands & Shores (Universal/Universal)
16. I Break Horses - Hearts (Bella Union/Cosmos)
18. The Field - Looping State of Mind (Kompakt/Border)
20. Syket - With Love (Baseline Music/Sony Music)
21. Jonathan Johansson - Klagomuren (Hybris/Border)
28. Movits! - Ut ur min skalle (Universal/Universal)
29. Det Vackra Livet - Det Vackra Livet (Labrador/Border)
30. Ison & Fille - För evigt (Hemmalaget/Playground)

See the full list: http://gaffa.se/artikel/55303 (in Swedish)

Sahara Hotnights s/t Universal

Wed, 09 Nov 2011 13:31:24 -0800

I suspect I'm not the only one who reviews all-girl rock bands with a higher-than-usual bout of optimism, a utopian belief that one day chicks can tip the profane masculine iceberg known as R'N'R -- but who also, when duly disappointed, applies as swift and sharp double-edged Kenzo sword. As a disclaimer, I'd like to say I began listening to this record in a key of "10". Anyone who's been privy to modern chick bands -- yes, 80% of which I believe royally suck -- still, without a doubt know the two stalwarts from the 2000s onwards are: The Donnas and the band under review, Sahara Hotnights. This year they've come out with their 6th, "self-titled" album, after having released only covers in 2009. My quip with these two bands is, however talented or resilient they've been, is that they've wavered musically by dabbling in too many styles, trying on various genres like prom dresses. The Donnas went from their days as safety-pin wearin' punks to Sheryl Crow wannabes, to now- a glossy, cock-rock, hair-metal image. WTF? While Sahara Hotnights haven't undergone nearly as drastic an image change, blanket marketing of their hits as "garage punk" vs. "80's radio pop" often left me in wonderment. But their super cool stage candour and Maria Andersson's powerful voice tended to make them the favourite of the pair.

This album certainly proves they cohere as a band, if not in a slightly more grown-up way. They can croon with the age-wisdom of blues devotees and chant joyfully like teenagers at a rally. Yet, as a complete entity, this album blows. Maybe I come with too high of expectations... but so much feels wrong. The song order, the monotonous lyrics, the flow and surprisingly, the lack of self-realization where their strengths lie. Then again, maybe I'm over-intellectualizing it and should retreat as a goofy geezer whose pants wet at any band sounding remotely like The Shangri-Las or Huggy Bear.

Naw.

I mean, if SH wrote an album of songs as meaty and compact as "781", track seven, I wouldn't be complaining. Sure, it sounds like a throwback, but we've already discussed how these ladies have been successfully doing just that the last decade. It's straight, ballsy and to the fuckin' point and that's exactly what I want to hear.

Sometimes I feel talking about girls in rock is like talking about reverse discrimination in the workplace. To compensate for the lack of badly needed estrogen, some subconsciously devalue what would be harsh standards applied to the same music performed by dudes. Sahara Hotnights have all the potential in the world to change how we see music, and they undoubtedly know how to rock, but their latest [and last, so it seems -Ed.] shows the iconic album we dream for, still remains en route.

Ram Di Dam - Different beat (video)

Tue, 01 Nov 2011 15:06:44 -0700

A new single from Göteborg ~~indie~~pop act Ram Di Dam. Look for the band's debut album to be released soon via Stranded Records/Universal.

Top 10s for 2009: It's a Trap!

Wed, 16 Dec 2009 00:00:00 -0800

Avi Roig, Editor-in-Chief

10. [ingenting] - Tomhet, idel tomhet (Labrador Records)
A record that is expansive in sound, but still very direct in feeling. [ingenting] aimed for the stars with this one and nailed it.

09. Agent Side Grinder - Irish recording tape/The transatlantic tape project (Enfant Terrible)
Enjoyable as separate entities, though far better when considered as a matched pair. This band has not only mastered the sound of old-school industrial, they can also write great catchy songs (see: "Irish recording tape") and create engrossing abstract soundscapes ("The transatlantic tape project").

08. Pistol Disco - Evergreen (Celebrity Lifestyle)
This group gets better and better with every release and now, with the addition of live drums, they've soared to new heights of brain-roasting awesomeness. Listen LOUD!

07. The Bear Quartet - 89 (Adrian Recordings)
A no-brainer. Still reigning as Sweden's best band.

06. The Fine Arts Showcase - Dolophine smile (Adrian Recordings)
The rawest of breakup records, the grandest of pop. Gustaf Kjellvander's defining moment as an artist (thus far).

05. Wadruna - Runaljod - gap var Ginnunga (Indie Recordings/Fimbulljóð Productions)
Pure pagan beauty, performed in the old ways to appease the old gods. If you don't like this, you're no fan of Scandinavian music.

04. Björn Kleinhenz - B.U.R.M.A./Head held high on fearsome pride (DevilDuck Records/SellOut! Music/Tomt Recordings/Eget Bevåg Grammofon)
Another twofer, except this time I've listened to all these songs on shuffle so many times I can't separate them anymore. 2009 was the year that Björn Kleinhenz dedicated himself to his art 100% and it shows. I always have high expectations for his work, but these two records blew me away.

03. Samuraj Cities - Mixed up record collections (Imperial Recordings)
The music reflects the title; a brazen mix of different sounds and ideas, leading the way for the future of Swedish indierock. Sometimes it's a noisy mess, but that's also what makes it so great.

02. David Åhlén - We sprout in thy soil (Compunctio)
Devotional music is incredibly powerful when performed with such fervent conviction and grace as this. There is a new strain of inspirational music coming out of Sweden right now and its artists are creating some of the most exciting music I've heard in years.

01. Elmo - Once (BD Pop)
Far and away my absolute favorite album of 2009. Elmo takes the melodramatic teen-angst pop of Broder Daniel and ups it to near-farcial levels of hysteria, but they never ever falter. When frontman Magnus Ekelund said that this was the "ultimate Elmo album", he was telling the absolute truth. You can't go up from here.

Honorable mentions

2009 was a very good year for music and there are many worthwhile albums that didn't quite make the cut. Here's 5 more in alphabetical order:
Pintandwefall - Hong Kong, baby! (Supersounds Music)
Thåström - Kärlek är för dom (Universal)
C.Aarmé - World music (Spegel)
Turboweekend - Ghost of a chance (Mermaid Records)
Dear Euphoria - Heal my violence (La Paloma)

Heard too late

These records would've made the list if I had properly heard them at their time of release:
The Scrags - s/t (Alleycat Records)
Dead Letters Spell Out Dead Words - Lost in reflection (Fang Bomb/iDEAL Recordings/Release the Bats/When Skies Are Grey)
Tyrant - The rebirth (reclaim the flame) (Listenable Records/Hells Cargo)

Contributor Lists

Simon Tagestam

Albums

01. Samtidigt Som - Flykt, kärlek & broderskap (Luxury)

02. jj - jj n° 2 (Sincerely Yours)

03. Fever Ray – s/t (Rabid)

04. Lorentz & M.Sakarias - Vi mot världen (Epic)

05. Frida Hyvönen – Silence is wild (Licking Fingers)

06. Maskinen – Boys II Men (Pope Records)

07. Taken By Trees – East of Eden (Rough Trade)

08. Körsbärsfettera - Alla ska ha linne (self-released)

09. Sad Day For Puppets - Unknown colors (HaHa Fonogram)

10. Christopher Sander - Hej hå! (Vesper Records)

Songs

01. Montt Mardié – Gloria

02. jj – Are you still in Valda?

03. Anna Järvinen – Äppelöga

04. Samtidigt Som – Tienes mi corazón

06. Maskinen – Pengar

06. Alexis Weak – Disney på is

07. Lorentz & M.Sakarias - Unicorn

08. Christopher Sander - Fattig bonddräng

09. [ingenting] – Halleluja!

10. Makthaverskan - German boy

Arnulf Koehncke

01. Moritz von Oswald Trio - Vertical ascent (Honest Jon's Records)
While technically hardly a Scandinavian album (percussion is handled by Finn Vladislav Delay, electronics and programming by German techno- and dub-mastermind Moritz von Oswald plus modular synths by German Max Loderbauer), I just can't not list this record here. For me, it's this year's equivalent to last year's highlights by Auton or Viktor Sjöberg New Jazz Ensemble: A demanding record that pulls you in with its hypnotic patterns and movements, makes you smile at its more obvious moments, and makes you miss it when you're without the beautiful gatefold vinyl and a record player.

02. Kings of Convenience - Declaration of dependence (Virgin/EMI)
I was looking forward to this album and the accompanying gig this fall. The gig did not disappoint -- like always, Erlend still wants to own the stage while Erik charmingly stresses his storytelling-skills and seems to divide his time between his baby and the gym nowadays. But the album surprised me at first. Judging from the last record, I had expected more sixties pop and less starkness and quietude. But I like how this album is less easily had, doesn't let the listener in as easily, but will grow on you nonetheless.

03. [ingenting] - Tomhet, idel tomhet (Labrador Records)
This records sees [ingenting] exchange the more obvious references in their music for more subtle nods to pop music's giants paired with impressively direct lyrics and straight-to-the-point arrangements. If maturity didn't have such negative connotations, one could call the album just that. And "classic" of course, like 80's indiepop is classic, or Sibiria and Vapnet maybe, though in more cynical ways than this record. It seems only fitting that [ingenting] chose to finally drop those "nothing"-puns from their album titles.

04. Frida Hyvönen - Silence is wild (Licking Fingers)
I've always been unsure about the reference points of year-end lists. Is it calender years or more likely personal years? I'm in favor of personal, so I list this album because to me, despite technically being from 2008, it's really a 2009 record. Somehow, the album's full potential -- its melodies, its power, and most of all, its soul (in the secular, Phil Spector meaning of the word)---had passed me by until I saw Frida and her bandmates play live in Berlin in the spring of 2009. So I'm only making up now for not listing it in 2008.

05. The Whitest Boy Alive - Rules (Bubbles)
A friend of mine once compared TWBA to IKEA. They make highly functional music that's devoid of any ornaments and goes straight to the point. And like IKEA-furniture, TWBA's music works extremely well for its purpose: I've seen them play in a gallery's shopwindow for more than 1000 dancing people gathered in the February-cold street before them, and their songs never fail to fill any indie-dancefloor. I guess I'd rather have IKEA than the "next big thing" from England then.

Singles

01. [ingenting] - Dina händer är fulla av blommor
From the first time I heard this song when [ingenting] performed it on Nyhetsmorgon, I was struck with its directness, the way it seems to speak to every single listener. I really like how non-cynical popmusic can do that sometimes!

02. The Fine Arts Showcase - Friday on my knees
It's great how Gustaf and his bandmates deconstruct this song about two-thirds through, dropping riff and chorus for 120 gloomy seconds of noisy guitar and bass, only to shortly resurrect it all before the end. Who needs radio-oriented hits when we can have this instead?

03. The Radio Dept. - David
Yet another year without an album by The Radio Dept. And still I consider them my favorite Scandinavian band. I'm left hoping the new album will sound more like this single and less like its unfocused b-sides. Still, allowing myself a nostalgic moment, they most probably just won't make another "Lesser matters".

04. The Whitest Boy Alive - 1517
We all need our functional dancefloor-fix from time to time, don't we? Especially when it's this well-done.

05. Kommun - Death of a CEO
I've been looking forward to the Kommun-record ever since the people behind Vapnet and Sibiria announced that, since everyone was making "serious" Swedish records now, they'd make a "non-serious" English record instead. And while I haven't fully connected with the album yet, I can't really escape this deeply political singalong about a businessman's afterlife.

Less obvious non-scandi mentions (besides those Grizzly Bears, Animal Collectives, and Pains of Being Pure at Heart): My friend's sister's project Music for Your Heart, Brooklyn's giddy Uninhabitable Mansions, the new Au Revoir Simone record, that Thom Yorke song on the "New Moon" Soundtrack (less movie, more music), and finally moving to and living in Phnom Penh.

Matt Giordano

01. [ingenting] - Tomhet, idel tomhet (Labrador Records)
It was always going to be difficult to follow up "Mycket väsen för ingenting", and for a while I thought that this one fell short. The one day it clicked, I could not even compare the two. This is another stellar release for the band.

02. The Bear Quartet - 89 (Adrian Recordings)
A triumph, but honestly I did not even expect less. The Bear Quartet have returned in the only way they could -- a bludgeoning, brooding album that closes their decade of output by making the audience reconsider what The Bear Quartet is once again.

03. Markus Krunegård - Prinsen av Peking / Lev som en gris dö som en hund (V2)
I try to imagine what pop music in English would sound like if we had an artist like Markus Krunegård. But then I realize that the industry here is exponentially more vapid, someone like Markus would be swept into the corners of dimly lit rooms, never to see his due.

04. Asha Ali - Hurricane (3NO)
Three years after her magnificent debut, Asha Ali gave us a devastating album of loss and internal strife. This album is so personal and fragile it must have been difficult to release it.

05. The Fine Arts Showcase - Dolophine smile (Adrian Recordings)
Another album of loss, but with a very different approach. Gustaf Kjellvander gives us an outside view of the degradation of his relationship, which is always quite to difficult to do. However, in typical TFAS fashion, he succeeds greatly.

06. Pistol Disco - Evergreen (Celebrity Lifestyle)
Falling into the category of noise and shoegaze, which I've been listening to a lot lately, Pistol Disco reach amongst the highs. Put this record on and just ease your mind, and it will take your imagination places.

07. Kristofer Åström - Sinkadus (Startracks)
A new Kristofer Åström album always yields quality. This time, he has rotated three backing bands on record, and it adds so much to his already well-honed songwriting craft.

08. Jonathan Johansson - En hand i himlen (Hyrbis)
What a way to start a career. Jonathan Johansson created one of the better pure-pop albums of the year.

09. jj - jj n° 2 (Sincerely Yours)
Another very good debut, and another very good pop album. jj borderlines on twee, yet mixes soft beats and great vocals.

10. Montt Mardié - Skaizerkite (Hyrbis)
David Pagmar keeps getting more bombastic with each release. Top-notch songwriting and arranging keeps Montt Mardié fans guessing where he'll take his sound next.

Songs:

01. Peter Bjorn and John - Stay this way

02. Elias and the Wizzkids - Mr. Right Guy

03. Montt Mardié - Bang bang (An echo in Warsaw)

04. Asha Ali - The contract

05. The Bear Quartet - Northern

06. Ingenting - Lång våg

07. Markus Krungegård - Prinsessan av Peking

08. The Fine Arts Showcase - London, my town

09. Kristofer Åström - A song for while I'm away

10. Markus Krunegård - Kär i en borderline

Markus Krunegård Prinsen av Peking / Lev som en gris dö som en hund Universal

Mon, 07 Dec 2009 14:15:10 -0800

It's always very difficult to not gush and be objective when reviewing music by your favorite artists, and I have made no secret in the past with my adoration for the songs of Markus Krunegård. It's strange though, because I tend for myself to be skeptical of each new record of his, whether it be the solo material or with Laakso. Yet, each time I step back in awe after the albums have clicked. This year he has delivered two new albums on the same day, and I must admit, was a bit unsure when hearing a song here and there and yet, once again, this has changed after multiple listens. As each record passes, you become aware of how much he is improving lyrically -- they've become less direct, and more poetic -- an attribute one never really associates with modern pop music. Songs like "Prinsessan av Peking" and "Kär i en borderline" are glaring examples of the imagery he has been able to focus on, and the results speak for themselves. The arrangements are also top notch, once again mostly working with longtime comrade Jari Happalainen. Laakso fans will take note that "Dystra utsikter" is a re-appropriation of "Long Beach", yet with the sense of hopeful support shifting to that of desperation seeking relief; "Mitt kvarter" is an ode to his residence. I would be safe to say, that by now, Markus Krunegård has more than cemented his place as one of the top songwriters at the moment.

A Camp Colonia Universal

Tue, 31 Mar 2009 11:24:44 -0700

If A Camp's female vocalist sounds familiar, it's because you've almost certainly heard her before. Nina Persson is also lead singer of The Cardigans, one of Sweden's biggest musical exports, and A Camp is her side project. Their first album gained wide critical acclaim in 2001, but, due to the continued commercial success of The Cardigans, only now have they had time to follow it up.

Having read that A Camp showed a darker side to Nina, I expected something much more serious, and perhaps even boring, than I actually found on "Colonia". In fact, it has more hooks than some of The Cardigans' recent albums. If I had been told it was their new release, I wouldn't have guessed otherwise.

The highlight for me is certainly "Golden teeth and silver medals", a charming duet with Nicolai Dunger with wonderfully poetic lyrics. Rousing lead single "Stronger than Jesus" is another favourite, along with tribal romp "Here are many wild animals". Contemplative ballads sit side by side with quirky pop songs on this album, which has already earned Nina the front cover of British broadsheet The Independent's Sunday supplement.

It seems an unfortunate irony that this side-project, intended to be a break from the limelight for Nina, is pushing her right back into it. Yet for fans of her work with The Cardigans, it's a lovely treat to find that the wait for their new album was not such a long one after all.

Anna Ternheim Leaving on a mayday Universal

Thu, 04 Dec 2008 00:00:00 -0800

Anna Ternheim's "Leaving on a mayday" is not a mayday, but more of a rainy fall-afternoon with yellow leaves covering the ground. This might sound like just another typical Swedish release that reminds you of a black silhouette of a man trudging through the snow in the dark and the cold, however this is not the case. Producer Björn Yttling from Peter Bjorn and John has added percussion that make this 10 track record really stick out. In many ways, this is a much more varied release compared to previous creations and, even though some of the old Anna is left, seems somehow much further away from Anna's previous, more Kent-ish releases. She still plays in minor keys and has possibly sunk even further down into the Swedish snow, but there is still some sort of warmth at the core of every song. With a strong and distinguished beat, Anna keeps the flame alive. She dropped some jazz, added some pop, and taken a further step towards alternative. The cooperation Anna and Björn is nothing but successful and necessary. There are 10 songs and almost just as many shades of Anna Ternheim. With all this in mind, she continues her way of getting better and better with every release.

Veronica Maggio Och vinnaren är... Universal

Mon, 25 Aug 2008 00:00:00 -0700

Ah! This sensual blossom; brittle voiced Veronica Maggio in her nerdy turquoise sport dress has arrived with a matured attitude, from "Dumpa mig" to this more personal album; "ch vinnaren är", is a big pace and invitation to Miss Maggio's youth; we are all sucking it in. Let me mention Lisa Ekdahl, one of Sweden's best folk artists. Her voice is top notch, killing other peoples lyrics; well let's do a parallel between these two women since there is some likeness vocally, and then leave us at Maggio with the word trademark. Yes. In a way, I feel guilty about being passionate for this album; this could be more a brand than pure musicality. She is a good songwriter, no kidding, but many hands have been involved with this production, not at least her boyfriend, the talented Kihlen from the hip-hop band Snook. But honestly, how many artists can succeed totally alone? Despite it all, I'm gonna be a naïve one, because this is sexy, appealing and catchy. Something about her voice melting into the lyrics. Singles such as "Stopp", "Måndagsbarn" and "17 år" are, without hesitation, among some of the best songs on the Swedish market this year. Let me leave you with the line "Jag är tillbaks nu igen, inget hade varit möjligt utan mig."

Markus Krunegård Markusevangeliet V2/Universal

Mon, 21 Apr 2008 00:00:00 -0700

Every issue I had with Laakso's "Mother, am I good looking?" is beautifully absent from frontman Markus Krunegård's debut solo effort. The closest "Markusevangeliet" comes to disappointing is in its occasional similarity to Laakso, but, with Krunegård's band being one of the most original voices to come out of Sweden in years, there is little chance of this spoiling the record. Sadly, for those who do not speak Swedish, Krunegård's decision to sing in this Scandinavian tongue may somewhat blight the album as much of its anthemic power becomes lyrically indecipherable and the ability to sing along is removed. I truly hope this facet of "Markusevangeliet" can be surmounted by non-Swedes, and the strength of Krunegård's songwriting is impressive enough alone to help one overlook the language barrier, but it's worth listening to some of the tracks on his Myspace page to make sure you don't purchase a record that you are too distanced from. Songs like "Samma nätter väntar alla" and "Ibland gör man rätt, ibland gör man fel" are as fascinating in their songwriting and instrumentation as they are defined by Krunegård's dour, lacerating lyrics, and one can hardly fail to notice his unique timbre and delivery as almost an instrument of its own. "Se på mig nu, vad tycker du?" and "Den som dör får se/Markus kyrkogård" are two of the best compositions that Krunegård has ever done, especially when the latter enters into its final section with Krunegård singing: "Om du är rädd sluta med det. Om du är bränd och rädd lägg av med det..."

Despite all of the warnings that Laakso's impressive catalog sent out, "Markusevangeliet" affected me in a way that few records have ever been able to. Markus Krunegård may very well have crafted the best album of 2008.

Petter God damn it Universal

Mon, 04 Feb 2008 00:00:00 -0800

There aren't that many Swedish rappers who have managed to achieve commercial success. Petter is an exception, he released his debut album in 1998 and even though his last two albums didn't sell as much as the previous ones (due to not being as good, I'd say), he's still the biggest hip-hop star in Sweden. Nowadays Petter lives in a Swedish ski resort and writes a popular blog (mainly about his kids). On his sixth album he tries very hard to come across as just a normal person who is like everyone else, though it feels a bit tired, like something a politician would do. His rhyming skills just aren't that great and the whole production is very unoriginal. However, his blog is actually a pretty good read, and much more interesting than his current musical output.

Even though Petter is very honest and open in his lyrics, he no longer has that drive that gave him such an appeal in the beginning of his career when he released tracks such as "Mikrofonkåt". The title track is ok, but the whole album is too much of a half-hearted effort, and sampling Säkert! on "Logiskt" feels shoddy and cheap.

Lars Winnerbäck Daugava Universal

Thu, 24 Jan 2008 00:00:00 -0800

I believe it all started with Carl Michael Bellman in the 18th century. Bellman wrote songs that now are an important part of the Swedish musical heritage and have been the blueprint for many Swedish musicians to follow. For many years now there has been a school of solo male troubadours in Sweden singing mostly about love and how hard life can be. They're usually not as witty or original as Bellman, but there seems to be a fondness for these types in Sweden, since there constantly seems to be one of these guys on top of the charts. In the last 10-20 years the style of choice has been to sound like (a very accessible) Tom Waits, with some Balkan and folk music influences thrown in for good measure. If you ever find yourself around a campfire in Sweden on a hot summer night, it's very likely that some loafer-wearing smug chap will materialise out of nowhere with an acoustic guitar singing songs by aforementioned songsmiths. Lars Winnerbäck is currently the king of this genre, and this (his eighth) album is ruling the Swedish album chart once again after it was released in September 2007 (probably due to him doing rather well at various music awards). It's generic stuff, and often quite boring, except perhaps on the biggest hit of the album "Om du lämnade mig nu" which has a certain sentimental appeal to it.

E-Type Eurotopia Lulubelle Records/Universal

Fri, 07 Dec 2007 00:00:00 -0800

It's something of a miracle that E-Type can still peddle his music, let alone that he has been allowed to keep on doing it for so long. Why, after more than 10 years of sonic torture, haven't people taken to the streets and forced the Swedish government to ban E-Type from recording ever again? Is he perhaps big in Germany or Russia, and the Swedish people are scared of being invaded if they do something about this musical toxin? Last week Iran decided to start a war against obscene rap music, but if they had their priorities right they'd do the world a favour and concentrate their efforts on E-Type instead. If they did that, I'm sure that we'd all turn a blind eye to their plans to build nuclear arms.

Criticizing E-Type is perhaps like shooting fish in a barrel, but I think I'm justified to do this since I've had the extreme displeasure of listening to "Eurotopia" in its entirety while on public transport. It made me feel ashamed and depressed, as if I was sitting there and having my ears raped voluntarily. Being subjected to this album has definitely been one of the most unpleasant experiences I've had in 2007, although deleting it from my ipod gave me a serene feeling of having my soul cleansed.

King Midas Sorry Universal

Wed, 17 Oct 2007 00:00:00 -0700

Oslo's King Midas are seasoned pros in the music world, "Sorry" is their 14th release (including both singles as well as albums). The band has been through their up and downs, but have succeeded in holding it down, and that fact should not go unnoticed. "Sorry" has a mischievous air to it, not unlike a typical Robyn Hitchcock record, or a dark, sinful track from the Velvet Underground. Like the melancholy, angry, edgy themes we've heard from the aforementioned artists, King Midas proves it can still be done right, with of course, more synths. Standout tracks include "Honky tonk symphony", "Westend boys" and "Walk away, ringo". There's no reason why this record should not be in someone's top ten list for this year.

Anna Ternheim Lovers dream and more music for psychotic lovers Universal

Wed, 05 Sep 2007 00:00:00 -0700

When Anna Ternheim stretches she doesn't go all that far. Still, this five-song EP is a nice twist on the melancholy tranquil folky singer-songwriter piano-based songs that comprise her first two records. The instrumentation is different here, and the sound more spacious and experimental, though still instantly recognizable as her's. Perhaps most refreshing are the lyrics which, as the EP's title implies, go beyond her standard forlorn and defiant love songs toward the mentally ill without the in-your-face humor of, say, Hello Saferide's "High school stalker". "I refuse to believe you've left me / 'cause you'll never leave / nor stop loving me / 'cause I would hurt you beyond belief" she sings with the sweetest tones, setting up an intruiging (if disturbing) juxtaposition. At the end of the day, though, it's still Anna Ternheim all the way, not in the least bit dangerous. But if you like easy going, very pretty, and relaxing mellow songs, you'll enjoy it, and if you don't, you won't. I do.

Draumir The island Universal

Tue, 17 Jul 2007 00:00:00 -0700

Opener "The white lady", even in the title of the track, reminded me of Nick Cave. This darkly melancholic, semi-theatrical (and sometimes kitschy) approach is reflected throughout "The island". Draumir's ability to build their songs from intensifying layers of instrumentation and along the tangents of the lyrical storytelling is compelling and fascinating, and is an effort that very few artists can pull off in such an accomplished fashion. The last album I remember enjoying the conceptual approach as much as the musical delivery was Murder By Death's "Who will survive, and what will be left of them?", a wonderfully dark, gothic tale about the Devil, the old West, and zombies. While Draumir's record is not quite on the same level as Murder By Death's, they do share a number of similarities musically, and "The island" is a fine collection that compels listeners with its multifaceted compositions from its inception until the wonderful ending provided by "Dead porn star". Don't be put off by the absolutely dreadful cover art, this really is a good record.

William Hut Nightfall Universal

Mon, 25 Jun 2007 00:00:00 -0700

William Hut has a special place in my history. Hut's former group, Poor Rich Ones, first got me interested in Scandinavian pop music way back in 2001. Their album "Happy happy happy," was a sparkling gem, and once I started learning about this band and other talented Scandinavians, I never looked back. Hut has one of the most pleasing, melodically sweet voices in rock and he's clearly in touch with his feminine side. "Nightfall" isn't quite a classic, but it's pretty good. Hut always puts melody above all else. In fact, all four of the closing songs here capture Hut at his best. Missing are the diverse prog-rock stylings Poor Rich Ones conceived with such flair whereas most songs here are rather simple and laid-back. There are no unequivocally brilliant songs. What is here is merely pretty and kind of soothing, but that is still a good sight better than half the platters I've heard lately.

Heroes & Zeros Strange constellations Nightliner/Universal

Wed, 30 May 2007 00:00:00 -0700

It has snowballed in a fast way for these Norwegian lads and I understand why. In these days, when every other band out there gets their kicks playing indierock with an epic touch, Heroes & Zeros perform with an edge that stands out. Sure, they sound a lot like Muse at times in their most energetic songs and the U2-influences is sometimes too obvious but, hey, that is in no way a bad thing. When a band can combine such influences with great songs, such as "The foolproof" and "Cellophane", a lot is won. In fact, the latter kind of sounds like Sparta and for that I applaud them. If this record contained more of that strong material I would reconsider the 6 out of 10 I eventually gave it. I'm not worried though; Heroes & Zeros will surely put out more of this arena rock judging by how young the band members are. Word has it that they're really good live so I'm awaiting some tour dates in Sweden to check them out. Meanwhile, I will put on "Porcelain" again and I suggest that you do the same.

Sällskapet s/t Dust Music/Universal

Thu, 17 May 2007 00:00:00 -0700

Before every gig on Thåström's latest tour, he and his band listened to Italian dark-wave legends Kirilian Camera to get into the right claustrophobic, dark mindset. With that in mind, it's no surprise that his new band Sällskapet (with Pelle Ossler's amazing guitarwork and old PLP-cohort Niklas Hellberg) conjures dark atmospheres, pulsing hypnotic beats and images of worn-down streets in concrete jungles. While it's easy to draw comparisons to both Kirilian Camera and later-day Einstürzende Neubauten, Sällskapet mostly resembles the third album of Thåström's 90s industrial outfit Peace Love and Pitbulls; only slowed down, stripped of metal-riffs and explosions, and turned into infernal electro-blues. The worn down approach makes the songs stronger, setting atmosphere in the front room with half the album being an instrumental soundtrack to feverish city-nightmares. But the best songs are the ones where Thåström (or in one instance, Nina Ramsby) sings, cutting right to the bone of the listener. When the accompanying DVD sets their songs to images of worn down subway trains, cranes in harbours, dark tunnels and rainfilled streets, it almost makes Sällskapet border on parody. But the rusted beauty of the music makes sure they land on the right side of greatness, both on disc and video.

Anna Ternheim Separation road Universal

Tue, 24 Oct 2006 00:00:00 -0700

To write singer/songwriter Anna Ternheim off as a one-hit-wonder who didn't even write her "hit" ("Shoreline", a Broder Daniel cover), is a bit cruel and not really that fair. I found her first album "Somebody outside" a bit uninteresting and "Seperation road" - her latest offering - does seldom raise itself above the mediocre mark, although I do think it's a better album than Ternheim's first. With the days getting colder and darker, songs such as "The loneliness is gone" and "Such a lonely soul" are a comfortable company, together with a cup of tea. Still, the ten songs on the album are in general a bit too obtuse to make me want to go back listening to them on any regular basis, no matter what the weather's like.

The Soundtrack of Our Lives A present from the past Universal

Thu, 12 Jan 2006 00:00:00 -0800

TSOOL are famously prolific, so no one's surprised that this b-sides/rarities compilation is a two-disc set (or that it was nominated for a Swedish Grammy). TSOOL are also famously talented, so there are songs here that other bands would love to have as a-sides or at least album tracks. B-sides often sound like afterthoughts, thrown together at the last minute. There are a few in that category on this release, like the sitar-noodling instrumentals "Playstation bordello" and "Cleaning session raga". But happily they're the exception, not the rule. Drawn-out rockers "Dow Jones syndrome" and "Galaxy gramophone" showcase frontman Ebbot Lundberg's ability to shift from a world-weary voice to a defiant yell and back as the songs dictate. I'm baffled as to how the brass-tinged epic "We're gonna get it right" wasn't/isn't a single, and the previously unreleased "Side effects" is a good softer, acoustic song with dreamlike synth playing from Martin Hederos. What's next from the group? "Origin, vol. 2", as originally intended? Hopefully something sooner rather than later.

Thåström Skebokvarnsv. 209 Universal

Sun, 04 Dec 2005 00:00:00 -0800

I'm sure lots of (Swedish) dads will get this album as a present this Christmas. You see, Joakim Thåström is very much a legend in Sweden. He started out playing guitar and singing in the excellent punk band Ebba Grön who were active in the late 70s and early 80s, when they released some magnificent records that still sound crazy nice, even if you don't speak Swedish. After Ebba Grön, he fronted Imperiet (more new wave/romantic than punk), then he went on to do some solo albums (most of which were influenced by industrial music). His latest offering is something of a nostalgia trip that deals with his past in almost every song, and the music is very "back to basics", acoustic guitar based and melodic. All in all, "Skebokvarnsv. 209" is a bluesy and mellow affair that suits dark winter nights perfectly, and even if it now and then feels a bit naff, I enjoy the album's cheesiness. At one stage when I was a kid Ebba Grön was the only thing I listened to, but I never really got into Thåström's other stuff, so it's a bit surprising that I like most of the songs on here as much as I do, but I do, I really do, whether or not this got anything to do with nostalgia from my part I do not know nor care about.

Kaizers Orchestra Maestro Farmen Records/Universal

Sun, 06 Nov 2005 00:00:00 -0800

Well, after reading about Kaizers Orchestra for two years and desperately wanting to hear them, I finally had the opportunity to immerse myself in their third CD, "Maestro". And I'm pretty impressed overall. The band sings everything in their native Norwegian, which makes them pretty unique right there. But the way lead vocalist Janove Sjakalen enunciates and emotes, it's really not so crucial to know the words; the essence comes across, believe me. This band has a fire and energy that make for compelling music, even if you have to be pretty open-minded to follow the crazy zigs and zags of their sound. They have their own mutant brew: one minute you're hearing a kind of Eastern European traditional folk, the next, cinematic spaghetti western sounds, the next a crazy, funky Ween-style cartoonish exuberance. And then there's some almost straightforward Tin Pan Alley songcraft, although always adorned with odd production quirks. If the lyrics were in English, the indie rock rags would be all over Kaizers; that may happen anyway if enough open-minded listeners give this eccentric but purposeful sound a chance.

The Cardigans Super extra gravity Stockholm Records/Universal

Sun, 30 Oct 2005 00:00:00 -0700

When promo copies of "Super extra gravity" began making the rounds, some early reviews proclaimed it to be a complete departure from the band's last effort, the outstanding "Long gone before daylight". Stellar new single "I need some fine wine and you, you need to be nicer" does have a sense of urgency missing from "Daylight", and drummer Bengt Lagerberg does get more chances for his sticks to fly this time around. And yes, erstwhile producer Tore Johansson is back in the fold, speeding up tempos where he gets the chance. But don't be fooled. "Super extra gravity" is not a departure--it relies on the same talents and overall improvements in the band's sound evident after the long post-"Gran turismo" hiatus. Nina Persson's voice now has a warm, natural feel and range not heard on the icy "Gran turismo" or the lighthearted but flat "Life". Her improvement as a lyricist continues, especially on "Don't blame your daughter (Diamonds)", an ode to personal responsibility: "Don't blame your daughter/that's just sentimental/Don't blame your mom/for all that you've done wrong/Your daddy's not guilty/you came out a little faulty/and the factory closed." Like its predecessor, "Super extra gravity" features stripped-down instrumentation (guitars, bass, organ, drums) augmented by strings at opportune moments, but eschews the heavy synth sound of "Gran turismo" and the cutesy touches (bassoon, recorder, etc.) of the early albums. Songs like "Overload" and "Holy love" would fit right in on "Daylight". Unlike "Daylight", though, this one does run out of steam towards the end. "In the round" and "Good morning Joan" are forgettable, making this a very good album that's not quite as consistent as the one before it. If you get a chance, check out the woozy bonus track "Slow", the closest thing to Cardigans psychedelia I've heard yet.