I forgot all about Carolina Wallin Pérez and "Pälor och svin", her album of Kent covers. Luckily, she just released "Utan dina andetag" as a new single in anticipation of her upcoming Swedish summer tour. Being that I'm merely a casual Kent fan these days, I had to look it up: the original version was a b-side to the "Om du var här" ("If you were here") single from "Isola" circa '97 and can also be found on the "B-sidor 95-00" 2CD collection (which I actually own a copy of, believe it or not). Anyhow, Carolina's version is all vocals and reverb-drenched guitars, a lovely counterpoint to the more stoic (though still good) original. She wrenches all she can out of every moment, drawing out each and every word and letting the end of each line taper off softly and drift away. The chorus though, that's the icing; perhaps one of Joakim Berg's most satisfyingly gorgeous melodies. I'm almost tempted to chart it out to see the way it rises and falls, aptly mirroring the lyrics. But I won't do it, I won't reduce this song to science. I'd much rather relax and let it play out like the devotional ballad it's supposed to be.
I was pretty excited to get a new Juvelen track in my mailbox this morning, less excited once I actually heard it. Two years of nothing and then this? It's not bad I suppose, but I expected way better.
Daniel Ekeroth's "Swedish Death Metal" book posits that Sweden was never a good source of thrash and I'm inclined to agree, but of course that never stopped anyone from trying. Hexenhaus is probably the most well-known example from "back in the day" and I'd also add Merciless as an also-ran though they do lean more towards the DM side of things. Anyhow, neither were all that great IMHO, and nor was/is The Haunted, Sweden's leading modern-day thrashers (stretching from the late 90s to now). Lots of strong moments to be sure, but they never totally slay. Zombiekrig however, they steal the crown -- this is exactly what I want from my thrash metal: endless catchy riffs played in lock-step precision with harsh, yet catchy vocals. And forget about The Haunted's overplayed Slayer-izations -- I'd much rather hear strong melodies over chromatic atonalism when it comes to Swedish metal. And how about that break here that hearkens back to "Damage Inc."? Totally killer, just like the mosh part and solo that follow. Also, like all of the best thrash from the glory days up through the present, it doesn't overstay its welcome. Zombiekrig FTW!
War, earthquakes, volcanoes, oil spills... there really is no better adjective to describe our current world situation and no better soundtrack to our impending doom. Let Okkultokrati be your guide as the viking apocalypse draws nigh.
The album "No light for mass" is out now via / and I believe the vinyl should be ready in about two weeks.
The Aches fly way under the radar and that's a shame because they're a fine pop-punk band, in a 1980s sort of way, not in an asymmetrical haircut and eyeliner sort of way. Could it be the forgettable name? Or maybe they just aren't in with the right crowd? They could all be total assholes too for all I know, but that doesn't change the fact that their new album "Slit up" (on , vinyl-only) is 100% solid. Opening cut "Dancing syllables" establishes the blueprint: jagged, danceable rhythms; anxious vocals; a big chorus with an inclusive (though somewhat cryptic) message and gang-vocals. Oh, and bits of skronky sax for extra post-punkish flavor. It's catchy, it's fun, it's got just the right ratio of angst vs hooks. Multiply by ten and you got yourself an album. Definitely deserving a bigger audience.
Yup, you sure will, by releasing a pathetically gutless and mediocre "rock" album, the latest culmination of a slow, downward arc. Imperial State Electric's new self-titled album pissed me off when I first heard it, it was so damn wimpy, but it has somewhat redeemed itself on repeat listens. A few bright spots shine out among the rubbish and I suppose that even this revved-up Beatles imitation isn't truly that bad. Give me three or four weeks though, it will be a distant memory gathering digital dust, Nicke Andersson's marquee name it's premiere saving grace. I am curious to see what the Swedish press will say about it though. I predict fawning adoration, but who knows? I've been wrong before.
Isis announced their impending breakup last week which leaves a vast emptiness in the world of post-metal. Who will fill the void? Perhaps it could be Kausal -- they're one of the few bands I've heard of this ilk who seem to be charting their own path rather than stride down the tired, tried and true. Like countrymates Logh, they take many cues from solemn art-pop and evoke much of that band's same dark loneliness and longing, but they take it in a different direction by building on heavy repetition and incorporating subtle elements of improv. "Evac" shows them at one of their most accessible moments, as much of their debut album "In dead cities" is built on sprawling instrumentals, but there is still plenty of oomph in their sound, most notably in that huge kick and that cyclic and-one-and rhythmic pattern. The heavy mood is crucial too; in fact, I'd even say that's the most important aspect of getting this post-metal thing right. If you can still feel the weight of darkness pressing down during the most lush or quiet moments, you win. Kausal does, thus they earn my praise. I've generally felt positive towards everything I've heard from before, but this is by far the best of the lot.
Chicagojazzen's new LP "Misantropi för nybörjare" ("Misanthropy for beginners", out now via on limited vinyl only) plays like an audio sketchbook for a hyperactive imagination. Ideas are cast out, explored and rendered in abstract lofi; a decision guided by what seems to be aesthetic choice as opposed to pure circumstance. Many artists go that route to conceal their lack of talent or to adhere to some sort of genre orthodoxy, but in this particular case I find that the roughness of the sound nicely compliments the roughness of the material. Which is not to say that it works every time -- some songs come across as quite under-composed or even half-assed -- but the overall feeling I get from the record is very positive. I keep listening because I'm intrigued, because I'm curious about the process. So it's hard to isolate a particular instance to give others a best impression; it's preferable that you sit down, put the record on and listen the whole way through, letting your mind wander as the sounds do the same, but I'll try with "18 år i en ruttnande kropp", a seemingly pastoral postrockish piece with a darker undercurrent as befits the title ("18 years in a decaying body"). It builds long and slow before stumbling to an awkward conclusion which, I suppose, is an apt metaphor, though that could just be stream of consciousness running its course and petering out. Regardless, it sounds interesting and the overall tibre never goes exactly where I'd expect. As to where Chicagojazzen goes next as an artist, I'm very curious to hear.
Nybakat!'s new album "Happy land" is no grand departure from the first one, but it's not as if that's a problem. More folk-influenced Swedish jazz? Yes, please! Pianist Ira Mogilevsky does let her bandmates get in on a bit more the action this time 'round though, so I suppose that does diversify the repertoire. As before, Ira's own pieces definitely reflect her Russian/Israeli background and on this particular record her tracks seem to lean more towards the slow and moody (despite the title, not that I'm complaining), but they are also balanced out by songs such as "Music box", a boppier number penned by drummer Vlad Nedelin with an odd time signature and a tense melody that seems to favor chromatic movement. As someone who doesn't necessarily seek out that much jazz these days, I really am glad that this record found its way to me. It's already received considerable playtime in my house and will continue to get much more in the future. Very recommended.
I spent a good deal of time online yesterday reading heartfelt tributes to Ronnie James Dio, a man who was not only incredibly talented and blessed with a long career, but also much loved by everyone he came in contact with. The overwhelming consensus is that the man was one-of-a-kind, humble and friendly to everyone and well-worthy of his iconic status. I only saw him perform once (on the "Angry machines" tour circa '97 IIRC), but it made me a fan for life. I went in with absolutely no expectations and he put on the kind of performance that befits a man of his reputation, even though he at that point, quite far from the soaring heights of his earlier career. Speaking to other folks these past few days I know there's plenty other Dio fans out there who are missing him and, as you can hear from this mp3 post, his influence actually extends further than you might expect! EP's Trailer Park plays Americana-style folksy rock but, like many children of the 80s, he knew and loved Dio as a youngster: "It was 1984, I was ten years old and I was cycling to the ice rink in Visby for a hockey practice. I had a brand new yellow Sony Walkman and in it was a tape with Dio's debut album. I was wearing something that should resemble spandex pants (my mother had made them for me) and a denim jacket with a picture of the album cover of "Holy Diver" on the back. Hard rock and ice hockey was my entire world and Ronnie James Dio was god." I doubt he was the only one. This is Eric from EP's Trailer Park's tribute to the man, performed with backup support from Christian Kjellvander and recorded with Tobias Fröberg.
EP's Trailer Park - Holy diver (feat. Christian Kjellvander)
Despite the intermittent rain up here in this part of the world, there's no doubting that spring has finally arrived. Let this new single from The Amazing be your soundtrack. The band's new EP "Wait for a light to come" is out now and it is bliss.
Finnish metal acts Sotajumala and Deathchain have a new split CD out now via and the label was kind enough to send a copy my way. Conceptually speaking, it's a fun idea: two bands, one original song plus one Iron Maiden cover each. In execution however, all is not well. Things start off poorly with Sotajumala's "Sinun virtesi", a typical modern death metal track with clicky drums (heavy on the blasts, 'natch), burpy vocals and your usual swarm-of-bees guitar tone. Totally pointless, totally boring. Their Maiden cover on the other hand ("Prowler"), is excellent, no doubt helped along a fair extent by the appearance of one Paul Di'anno on lead vocals. Stop and ponder how sad it is that the dude is now reduced to doing karaoke covers of his old band's songs and the luster starts to dim, but he does actually sound remarkably good still, near 30-some years down the road. Deathchain doesn't fair nearly as well with their take on "Purgatory" -- they're way too stiff to approximate Maiden's trademark gallop and guest vocalist Tommi "Tuple" Salmela (Tarot) pretty much sucks. All is not lost though, Deathchain's one original cut ("The crawling chaos") is a total black-thrash rager in the vein of Grotesque or The Crown. All razor sharp riffs and harsh vocals -- definitely bodes well for the band's forthcoming album. I love Maiden and all, but this one song is the winner by a longshot.
Moses was a three-piece heavy rock from Denmark way back in the glory days of the late 60s/early 70s. I know I post a lot of similar stuff from new bands aping this style, so it's nice to get a slice of the real deal every once in awhile. And now, since Moses' sole (I believe) album "Changes" was recently reissued by , I have even more of an excuse to do so. No big surprises to be had musically speaking, these dudes are your typical fuzzed-out blues jammers, leaning a bit more towards Blue Cheer or Cream than Black Sabbath or Led Zep. I don't say "typical" to put them down though, I only say that so you don't go in expecting to be blown away by some was-lost face-melter. Naah, it's just a solid album that deserves better than being lost to history and, as someone who buys a heckuva lot of reissues, I can appreciate that. Play loud!
"This song is about..." Who cares! It's summer project time! Martin Senter (EL-SD, Seven Feet Four, etc.) started a new punk band "just for the fun of it," which really, is the only reason to do music in the first place. Anyhow, the band is just him playing all the instruments and Isabella Sundell screaming out the words and I think it sounds great. Certainly goes well with the new Lögnhalsmottagningen 7" that just showed up today. Hopefully he'll pull something together and will take it to the stage because that's, as much as love punk singles (not really), that's the best place to experience this kind of music.