Tag: Mp3s
The way Mattias Alkberg finishes each line of the verse makes "Walking out" sound like a song of resignation. He drops the pitch like an exasperated sigh while Jari Haapalainen plays the blues. However, the chorus gives a feeling of hope. The steadfast declaration of "I'm walking out" coupled with the airy keyboards gives the song a different atmosphere. It's like music that plays over closing credits to signify an untold new beginning, not closure. Because this is definitely not the end of the story, it's the start of something new, "a life that I have not entered yet."
The Bear Quartet - Walking out
Our usual Friday programming is being preempted yet again because I've got a brand new netrelease from my good friend Björn Kleinhenz! Even better, it's a split release with fellow Swedish singer/songwriter (and tour partner) Winter Took His Life! Eight songs, four each - originally released on cassette by Froggi Records for their German tour last month. Go here or here to download or, if you're skeptical, keep reading. Huge thanks to the artists and the label for making this happen!
Picking a track to highlight a new netrelease is hard, especially when I feel like they are all required listening, but pick a song I must. If you downloaded my recent podcast, you've already heard "China blue", a song I find to be achingly beautiful in a quiet, sombre way. Perfect for a fall mix, but not necessarily the "hot" single. My temptation is to go with an upbeat, poppy number like "The best days of my life", however I think it's best to split the difference, so I've decided showcase "We will burn". It reminds me of sitting on Björn's deck in Göteborg and listening to him sing. He's got such a great natural presence that there's no need for extra accoutrements. I'd even say that Therése Kjellvander excellent backing vocals could be considered superfluous. I also like songs that tell a story and the way it captures such a specific moment in time is absolutely superb.
I've expressed it before, but it really can't be said enough: the biggest highlight of my trip to Göteborg in August was meeting face-to-face with all the various people I've been in contact with over the years of running this site and chief among them is Mr. Björn Kleinhenz. Not only is he a fantastic artist, he is also an incredibly kind and generous person. Thanks again for your hospitality - I am forever in debt to you!
Björn Kleinhenz - We will burn
It's Club 8 day here at IAT and not only do we have a review of their fantastic new album, we've also got an mp3 post for you. As with said review, I'll step aside and let contributor Nancy Baym tell you all about it:
This piano and violin based song from Club 8's new record "The boy who couldn't stop dreaming" (Labrador) epitomizes all that is best about them. The lyrics confront the emptiness of Northern Sweden ("we keep our eyes on the distance/cuz desolation greets us wherever we go") and the interpersonal distances that result ("we see trees/but never anyone who talks"). Yet, even as Karolina Komstedt is singing about cold isolation forcing her to leave home forever while the violins swell ominously, it sounds so warm and welcoming one wants to curl up in the song and stay forever. It's a perfect juxtaposition that makes for a perfect song.
For those of you in or around Malmö, don't forget that Club 8 is playing the It's a Trap! Clubnight this Saturday October 13 along with fellow IAT-faves Samuraj Cities. I'm sure it's gonna be an amazing show, the only pity is that I can't be there myself.
Club 8 - Leave the north
I was a little late to the game with Ghost Brigade's original 4-track demo, but once I finally got into it, I was stoked. Naturally, anticipation was high for the debut full-length "Guided by fire" which came out last month and I eagerly snatched up a copy as soon as I could. On the downside, and I'm not sure this is just familiarity speaking, the re-recorded demo tracks are definitely the early standouts. That's no terrible crime, but I was really hoping for something a bit more surprising. On the other hand, the rest of the record is plenty satisfying. The general formula remains the same: heavy, melancholic doom rock made more powerful by a killer lock-step rhythm section. Comparisons to Katatonia are inevitable, but I find that Ghost Brigade has a far rougher edge due to the use of gruff vocals and more mosh-heavy riffs. Ghost Brigade is also way more rawk. Unfortunately, that also means I can hear a stronger grunge influence lurking beneath the surface. Many of the clean vocals come awfully close to the yeee-ah croon of Eddie Vedder. It doesn't ruin the record, but it does make me cringe sometimes. When said clean vocals work though, they work quite well such as on the track I've posted today. The way the harmonies on the chorus trail off into dissonance is awesome. It's a great counterpoint to the thrashy verse riff and creates a welcome dynamic shift. The sung vocals at the end are nice as well - there's still a slight Alice in Chains/Stone Temple Pilots vibe in his timbre, but it's offset by the evil lyrics ("This time your god won't help you!"). I definitely prefer the darker, heavier stuff overall, but I respect that they're trying to develop a more original sound, a niche I think fans of both older (pre-clean vox) and newer (post-clean) Katatonia can appreciate.
Ghost Brigade - Horns
Abalone Dots are a lot like the Swedish version of the Dixie Chicks. Pleasant to the ears (and eyes), but overall, entirely unremarkable. There's nothing wrong with their acoustic pop country sound, it's just not that exciting. Their singing and picking is competent and well-executed. I certainly can't fault the songwriting - the band's self-penned material (including co-writing help on a few tracks from Marit Bergman) is fine. Even the cover tunes, a mainstay of many country records, are well done and fit nicely. The problem is that there's simply no personality, no spark. They take turns sharing lead vocal duties, but I'd be hard-pressed to tell them apart, let alone pick a favorite. Even a guest appearance by Kristofer Åström (see today's mp3 selection) does little to improve the proceedings. Disappointing.
Abalone Dots - Under the rain (ft. Kristofer Åström)
Musically, I like Meleeh quite a bit. They've got a great balance of aggression and melody and they throw in just enough little rhythmic tricks to keep things interesting without overdoing it. The weak link however, are the vocals. They aren't bad per se, but they're definitely far too screechy for my tastes. Of the many influences they draw from Refused, that's definitely the one I appreciate the least. The syncopated breakdown on "Malign" on the other hand, is pretty damn awesome.
Meleeh - Malign
Seeing as how I just posted a new podcast, I figure I might as well keep on draining away my allotted bandwidth as fast as possible. And what better way to do it, than with The Bear Quartet's monster epic "Bear Quartet International Airport". Here's Matt Giordano to give you the lowdown:
This song is fucked up, seriously. Our beloved BQ seemed to have stumbled on the musical equation for a throbbing headache, and such a headache can only be cured with repeated listens. Newcomers to the band might have a hard time appreciating the track, as they may find it a tad grating. The first half of is a nice speed-inspired tempo, whilst the second is gorgeous noise. At 5:20 in the song appears to break down, only to kick your ass once again, just to break down further into a new movement two minutes later. With doomsday-esque bass and vocals that make Slayer look like Hannah Montana, The Bear Quartet have found their innner Vivaldi and brought the musical apocalypse unto the listener.
The Bear Quartet - Bear Quartet International Airport
Our usual Friday programming is being preempted this week because I've got an extra-special treat, Tobias Hellkvist performing a cover of "Abomination" by KVLR. What could be better than one of the current best up-and-coming acts covering one of my all-time favorites? Naturally, I think it's awesome, but then again, how could I not? It's almost as if it was tailormade just for me!
Tobias' version keeps the basic melody intact, but by stripping away the heavy drums (one of KVLR's main calling-cards), he gives the song a whole new feeling. Johan Sellman's original vocal is commanding and venomous while Tobias sings with something that's more akin to simmering resentment. There's a slight weariness that's at odds with the lyrics, but it works in the end, kinda in the same way that the new José González record does. You don't have to shout to show you're angry, y'know? It's the quiet ones that you really gotta watch out for.
Tobias Hellkvist - Abomination
Danish act Marvins Revolt may have pared down to three members, but they certainly haven't streamlined their sound. They've taken that noiserock/post-punk they were doing and taken way further out into prog territory. More notes, more starts, more stops, and yes, more better. I'm not totally crazy about the ricky-ticky opening of this particular track, but there's so many other great moments, I forget about the weak beginning. Like when those keys come in and offset the guitar/bass riff until they all come cascading down together, leading back into the second verse. Or whatever you'd call that part as this definitely isn't verse/chorus type rock'n'roll. Also, the way they kick it up a notch soon thereafter, altering the parts just enough to build the excitement. The best part however, is the end. That's when the endlessly cycling guitar riff starts up over the odd drumbeat that seems to lack a clear downbeat. Then the bass and vocals slowly come back in, taking the lead and creating a tumultuous polyphony. Just when you think they'll go to a fade-out, they wrap it up in a neat little package. Well done!
Marvins Revolt - Bugs in time
Division of Laura Lee reportedly have a new album on the way, but that's a mere footnote in my world 'cuz I've got the new Repoman EP and, to put it simply, this thing kills. Seriously, I've had it on endless repeat ever since it showed up on my doorstep a little over a week ago. I had no idea that Per Stålberg had it in him to do something so fierce. Stylistically, these dudes play raw pigfuck hardcore that's deeply indebted to Die Kreuzen, but the one band they probably remind me the most of is Dead & Gone. It's the same basic formula - trippy guitars echoing over a bulldozer rhythm section while some dude blows out his vocal chords with paranoid ramblings. And then, when everyone finally comes together on a single riff, it's like getting hit in the face with a shovel. In a good way, naturally.
I had been hearing things about Repoman's live show for awhile, but was skeptical the recordings would live up to expectations. Fear not, they do.
Interested folks can score a copy of said EP right here.
Repoman - Chemically obsessed
It's taking me a lot longer than expect to wrap my head around the new Hyacinth House album "Black crows' country". I absolutely love their self-titled debut from 2005 and still consider it to be one of my favorite underrated gems of Swedish music, but this new one defied instant gratification. In some ways, I shouldn't be surprised, especially when I consider that the first one didn't really have anything one could describe as a hit single. There's no one moment that makes you go "yes!", rather it's the sum of the whole that makes it so wonderful. With this new album, that goes double. You see, Hyacinth House has taken the past two years to make huge stride forwards in their craft - they no longer play anything that could merely be labelled as alt.country, no, this is art-rock dressed in country clothing. The instrumentation remains the same - twangy guitars and banjos still rule - but the aspirations are set way higher, much in the same way that Wilco has strove for their past few albums. Well, 'cept that HH retain way more of those country roots and have not gotten increasingly boring as they slowly drift towards jam-band status. It also helps that HH maintains more of a sinister fire & brimstone vibe ala 16 Horsepower/Woven Hand, though I don't think they actually call for hellfire and damnation anywhere on the record. You just get that ominous feeling. This particular track I'm featuring ("Lucky stranger") is almost postrock with its broad dynamics and spacey textures. And that outro - my god, what a finish! It's still not nearly as great when it's divorced from context on the album, but I truly believe that HH has once again made an exceptional record.
Hyacinth House - Lucky stranger
October's Record Club selection: Superfamily - Warszawa
No surprise really, especially since I've been touting these guys ever since I first stumbled across their amazing videos. Simply put: this is probably the best Norwegian indierock band around right now and this album is simply fantastic. Listen to the title track and third single (or watch the video) and I think you'll understand what I mean. Richly melodic and maybe a bit affected, but always imbued with a sense of joy. That's actually what I like best about the band - they appear to take immense pleasure in their art and it permeates everything they do. No scowls, just smiles. You might detect a slight Hall & Oates influence, but despite the cheeseball keyboard sound, I don't think it's being played up for irony. Good songs remain good songs despite bad hair and silly moustaches. In fact, I heard a Hall & Oates tune while out shopping yesterday ("You make my dreams") and it gave me that same happy feeling. What's not to like?
Superfamily - Warszawa
"I'm still in the grass" is a kiss-off, a jaunty little number that revels in the afterglow of severed ties. It's almost so happy as to be cruel, but I see it more as an overwhelming sense of relief. The weight of the relationship is lifted, but their sick impression still remains, so you gotta go a bit overboard to deepen the distance. Or maybe not - maybe it's just the pure pleasure of telling someone off who completely deserves it. Either way, it's a song to be sung with a full-on shit-eating grin.
The Bear Quartet - I'm still in the grass
Our Friday post this week belongs to Nancy Baym:
In light of the news that the next Peter Bjorn and John album will be entirely instrumental (cleverly preempting any accusations of selling out?), I thought it a fine time to revisit "Punks jump up!" a fun and very short poppy instrumental from their 2004 EP "Beats traps and backgrounds". As the title implies, it's excellent music for jumping, though not really very punk. Maybe it's a glimmer into what we have to look forward to? Or not. Either way, it's worth 72 seconds of your day.
Peter Bjorn and John - Punks jump up!
At first glance, you might mistake Mai (aka Johanna Wedin) for a plainjane singer/songwriter, but truthfully, I think she'd be much more at home clothed in black and on a label like Projekt. The few songs where she strums a guitar and indulges in stereotypes are the anomaly, not the norm. They're also the weakest moments of her record. It's the atmospheric tracks where she lets the electronics take charge that are its brightest moments. Actually, scratch that - there's nothing bright about them. This music is dark and gloomy in all the best possible ways. Save this track for the dead of winter.
Mai - You should come