Tag: Reviews

The Milk Factory reviews Håkon Kornstad

The Milk Factory gives high marks to Håkon Kornstad's new album "Symphonies in my head": http://www.themilkfactory.co.uk/st/2011/11/hakon-kornstad-symphonies-in-my-head-jazzland-recordings/

Tue, Nov 15th, 2011 19:08:08

Sexpistolstanten och Mockfjärdsvapnet
Det ärliga CV:t
Skrammel Records

This is is the sound of Stockholm punkrock scene vets having a good time, free from any sort of high-minded aspirations. Maybe I'm projecting too much of my own psyche on this, but I strongly suspect that these folks are more than content to get together semi-regularly to play music and drink beer (not necessarily in that order) and maybe then play a few shows for their friends. The fact that they got it together enough to record a long sets worth of material and press it to wax is purely incidental. Eventually you get to a point where that's just what you do, the next logical step in any band's evolution. As for the quality, a record like this is essentially critic-proof -- hence no grade -- and whether or not me or my cronies are impressed is beside the point; if you're not a member of Sexpistoltanten's social circle, this record wasn't made for you anyway. I see it as an audio postcard, a document of a very specific time and place. Local rock for local rockers. And that's totally okay.
- Avi Roig

Tue, Nov 15th, 2011 12:44:29

Kitchie Kitchie Ki Me O
s/t
EMI

This isn't really my thing; it's an Oslo thing. And it's my first time reviewing a band where I gotta tiptoe and use my indoor voice. Forthright impudence almost seems like it'd offend an entire national consciousness or institution, as revered as they are. But let's not forget- Oslo's music scene is the most comfortable place in the world. No political suffering, no industrial labor strikes, and no real equivalent to the dole. Hence, dozens of well-dressed boys running bars amuck and feeding off cultural-grant breast milk, or the titties of the finest groupies you'll ever see. No matter how disparate your black metal band A is from shoegaze band B to Top 40 act band C, "we're social equals" so hey, let's all hold hands, and let's be sure to do it on TV. Norgs often blur this crucial distinction between "style" and "fashion". It's like the difference between having Hepatitis B or C. Some ailments you can be born with like a genetic inclination. Style is one's raw talent, however bizarre or mutant, possessed and created only by you. Whereas fashion, like Hepatitis C, you can catch from any motherfucker.

The obvious nods by Madrugada cohorts onwards to Blixa Bargeld and Nick Cave fits extremely well into rich, dark and brooding Scandinavian territory, and has had the self-perpetuated effect of mounting them in a tiny, yet hierarchical scene as gods. But if The Bad Seeds have done it already, is the simulacrum just another fashion? The blues noir motif encompasses everything aspired in an artist's life -- glorified isolation, mystery, sexual energy, freedom. I remember my monumental realisation when Nick Cave's "God is in the house" DVD first came out. It was a signal of the times; the inexorable musicianship of this group of MEN turning something deeply of themselves into an awe-inspiring and transcendentalizing performance. The essence of "soul".

Soul is definitely not something you can just copy, it's not like you can hire a bunch of gospel-singers and assume you'll get that effect. My impression of this album is in fact, soul-searching, which is not to say it ain't solid. It's more like wandering and jamming in the key of retro-blues. At times, it does feel so grown-up and sterile I begin imagining folks in V-necked sweaters listening to the album in their living rooms on designer couches, hi-fi stereo systems and tons of high-end drugs.

But by solid, I really mean perfect. You gotta hand it to them, a total self-awareness shines through; they know who's gonna try to get a piece of 'em, so they're armed with deadly ammunition. Pristine production, fantastic percussive elements building gigantic drones, and the excellent saxophone-playing is a goodnight cherry on top. My favourite tracks, "I've been watching you (night and day)" has an infectious boogie, like Ethiopian music from the Sixties, Tilahoun Gèssèssè, Mulatu Astatqé, etc. and "After party killer" has a Bowie-air to it that's epic, classic and hit-worthy. In fact, most of these songs are.

But back to what I was sayin', KKKMEO's not exactly my thing. So why the 9? This is not a revolutionary 9. This is not a 9 for alienated subterraneans. This is a 9 for the masses. As a reviewer I tend to detect the moment in which my pure unadulterated love for music is betrayed. In this case, the flow of the album runs like butter, the tracks are easily digestible and honed to the Nordic ear. After being frustrated by many new albums of late, hearing a record that's so un-objectionable and on a higher level of musical professionalism makes me daresay I'm not allowed to object. So I do as any humble reviewer would. Give it a 9, quietly put it back on the shelf, blast "Transilvanian hunger" and make myself a cup of tea.
- Ann Sung-an Lee

Mon, Nov 14th, 2011 13:35:31

First Aid Kit live review

Under the Radar reports on seeing First Aid Kit headline the Troubadour in LA: http://www.undertheradarmag.com/reviews/first_aid_kit_at_the_troubadour/

Thu, Nov 10th, 2011 12:02:20

Sahara Hotnights
s/t
Universal

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.
- Ann Sung-an Lee

Wed, Nov 9th, 2011 13:31:24

Colossus
Spiritual myiasis
Dark Matter Records

I don't usually do this, but I'm going to name-drop like there's no tomorrow. The over-saturation of sludge/doom rock bands these days means either for you, a good or bad thing. Kyuss reunions, more impressive line-ups at Roadburn Festival and more bands on the radio finding immutable reconfigurations of greasy head-banging, B-minor scales, and the good, old-fashioned drop C#. Colossus from Stockholm are no doubt a member of the same army and even though there's no desert in Sweden to refer to their style, there are certainly a host of comparable bands -- Coliseum (name easily confusable), Orange Goblin, Big Business, High on Fire, Melvins, Neurosis, etc. etc. If any of these bands tickle your moustache and you're scouting for something new, I'd give Colossus a whirl. Not just 'cos they throw similar references, or are another band to annoy your neighbours to as you blast it through your speakers, munch on your Grandiosa pizza and drink beer -- but because they actually write decent songs. Clear ideas; persistent, well-structured choruses sprinkled with a few unique spin-off, thrash riffs (and always the quintessential track bordering on the cheese and operatic, "Eternal return") -- making them a bit more sophisticated then your average backyard, pisshead squatter version. Though for this jaded reviewer, listening to this makes me believe I'd be happier revisiting Metallica's "Kill 'em all". Besides, hasn't it been over ten years since I snagged that advance copy of Mastodon's "Remission"? Doh!
- Ann Sung-an Lee

Fri, Nov 4th, 2011 12:32:41

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It's a Trap! Scandinavian music journal

Tag: Reviews

The Milk Factory reviews Håkon Kornstad

Sexpistolstanten och Mockfjärdsvapnet
Det ärliga CV:t
Skrammel Records

Kitchie Kitchie Ki Me O
s/t
EMI

First Aid Kit live review

Sahara Hotnights
s/t
Universal

Colossus
Spiritual myiasis
Dark Matter Records

PopMatters reviews Tobias Lilja

UTR reviews Trentemøller live

PopMatters reviews Ane Brun

Dusted reviews Roll the Dice

Pitchfork reviews Mungolian Jet Set

PopMatters reviews Korallreven

PopMatters reviews Loney Dear

PopMatters reviews Wolves Like Us

PopMatters reviews Frigg