Tag: Reviews
7
Norwegian trio Dinosau seem to be proving a point when it comes to pop. Some electro bands are be content to be weird and mysterious, while Dinosau keeps up with the rest of them, yet still keep the weird interesting and the mysterious innovative. "A little crime" wanders a maze of quirky, pleasant euro-lounge pop, some 50's doo-wop and jazz, yet still manages a standard all their own. Here we have eleven songs that would suit your next garden cocktail party quite nicely. Tracks like "Supermann" and "It's like a bubble" show us what can still be done with synths and a little adventurous experimentation.
- Paul Bredenberg
7
I've been having a lot of fun at shows lately, and it's been quite pleasing seeing how playful and joyous the acts have been to perform. I'm From Barcelona was no different. After being a huge fan of their debut EP, but underwhelmed by their full-length effort, I was a bit concerned about how organised they would be in the live setting. They proved me wrong though, and were surprisingly tight and, as expected, very energetic during their set. Confetti was thrown, as pool floats were used both onstage and for singer Emmanuel Lundgren to surf the crowd. Playing the hits "Treehouse", "We're from Barcelona", "Collection of stamps" and new single "Britney", the band pleased the audience with the sing-alongs. The heat, coupled with the complimentary scotch and beer backstage, also made it a bit rough to stay after the band had played, but it didn't make it less enjoyable.
- Matt Giordano
9
So, I finally got my hands on the almighty Laakso's other release this year, "Mämmilärock", and although it involved an iTunes purchase (which means no artwork), I'm still rather pleased. The main difference with this album is the obvious language choice, as this is mostly all in Finnish; also, this album was recorded almost two years prior to its release this April (which coincided with the release of "Mother, am I good looking?" in Finland). Needless to say, it does not disappoint. From the balls-out rocker "Stockholm rock city" to mid-tempo, yet very catchy "See you in Huhtikuu" and "Hetkinen juice leskinen" to the heavy Eastern European influence on "Unelmia oli" and "Hurrin hurjaa elämää", Laakso is consistently at the top of their game. Although there is a slight language barrier on my part, Laakso has again produced another stellar album, and continues to cement their place in the upper echelon of Scandinavian music.
- Matt Giordano
7
Mainliners have received a lot of buzz recently for their r&b/mod/garage sound. However, it's worth noting how much more is inside this latest self-titled release by the Swedish five-piece. It's easy to peg an artist into that bracket, it's common to see those influences used to the fullest, and executed perfectly, a style that I admit to being a disturbingly obsessive fan of. On this record, I'm drawn into something much more original. All the right elements are there for a 60's pop record, but the songs are perfectly suited for a spot on today's shelves. "Northen soul", this writer's personal favorite, is an exhibit of solid songwriting; fast, catchy, and full of energy. This is not a collection to be passed up.
- Paul Bredenberg
5
After his stellar collaboration with Montt Mardié ("Grand Prix finals"), I had very high hopes for the Mr. Suitcase debut album. Quite disappointingly, nothing on here comes close to touching that track in terms of a dancefloor hit. His problem isn't the club-friendly beats, because all of those, although quite typical in their sound and feel, are executed well and with precision, but is the vocals. Even the single "You don't smile anymore" lacks that heavy hook that would get the ravers and the Mediterranean clubbers singing along. That his songs are lacking half of the strength of a club anthem is really what brings this all down into mediocrity. If Mr. Suitcase, either for his next album or series of singles, collaborates with stronger vocalists to push his beats into ecstasy, then he'll be accompanying his songs in Dubrovnik and Ibiza, djing for the nightclub scene he's vying for.
- Matt Giordano
6
There's always something to be said for radio-friendly pop, and whether it catapults it into the stratosphere or recedes in anonymity, at least it's being acknowledged. Unfortunately for Oh Laura, they're kind of waning in the middle, albeit achieving Swedish Chart success as of late. There's nothing unique about their country/soft-rock pop when compared to their peers. However, on the tracks "It ain't enough" and "Out of bounds" they peak at not only their most hook-laden, but also the most musically textured. I'm not condoning a whole album of tracks written from that ilk, but by using their quality as a base, Oh Laura's next album could then be propped alongside The Cardigans and Alison Krauss not only in terms of sheer pop-sensibility, but also in terms of audience.
- Matt Giordano
7
Finally, a record worth noticing from Burning Heart again. After lots of mediocre releases, Path of No Return has, judging by the labels own statement, gone full circle with their metal-/hardcore. And I agree in a way. The debut album "Black nights coming", released on the The Mars Volta-label GSR, left me disappointed and indifferent. But after listening to this album, I'm bound to say that they've gone through a huge improvement and have added new dimensions to the music. It's not all about technique and skill anymore; something that was mye overall impression last time around. And from what I've heard, that was the main part to why previous vocalist Adam Hector left the band shortly after the debut. There's a whole different depth to the band nowadays, both when it comes to the music in general, but also in the lyrics and graphics. That is something that I welcome. Musically, it's reminiscent to Swedish colleagues Nine, but also American combos such as Himsa and Snapcase. Yeah, remember those dinosaurs? Hardcore with a metal touch is somewhat the new black these days and, sure, it's easy to accuse the band of jumping on the bandwagon, but having been around since 2001, Path of No Return can be considered veterans in this genre. Not only that, they're veterans with songs! And that's something that lots of other bands in the genre lack. That there are also influences from Swedish hardcore trendsetters Refused is not surprising at all, but they're not making it into a carbon copy except for the bridge in "Broken dances" wherein the guitar melody is similar to the one in Refused's "Last minute pointer". But where that classic Umeå-band always maintained focus throughout every album, that's what this Örebro-band is having problems. A full-length format seems a bit like overkill, instead an EP-release would've probably been in the band's best interest.
- Jonas Appelqvist
7
While I have nothing but respect for our dear editor-in-chief, and find myself agreeing with Avi's sentiments far more than not, I personally think "Victorious" is a pretty surprising record. Not evolving all that noticeably from their sound on "Let there by morning", The Perishers are one of the few bands whose sound is tempered just right, thus rendering what would usually be a 'stagnant rut' or 'inability to progress' for any other band to feel just fine, a welcome return, even. Songs like "Almost pretty", one of the most depressing, yet wonderful songs I've heard in quite some time, and "Come out of the shade" overshadow some of the other tracks on the album, but there isn't anything on this album that approaches the territory of 'poor craftsmanship'. Solid throughout with moments of brilliance and innovation peppering this album with more than enough occasions of intense beauty to make this record one worthy of owning in it's physical form.
- Lars Garvey Laing-Peterson
7
Printer marks their foray into international territories with this EP, a small compilation of some of their better work off the album "Rhizomatic baby" and their recent "I can take more". The group's sound is very cool, slick electronica and almost has an old-school trance feel to it at times. Which is impressive when you consider that the group makes use of traditional instrumentation for the most part, and plays live sets to good effect. My initial impressions of the overall sound of the group weren't very good, however; their sound is almost too cool, much too slick. Like the sort of thing one would expect to see in a trendy[sic] car commercial, or worse yet, something pushing Skyy Vodka. Further listens however, reveal more substance to the band than the casual listener will take away from them. While not perfect, the lyrics are far better than your average vocal techno, ranging from sombre and pensive ("Don't expect") to mildly disturbing ("Minds out"). On the whole, while this EP has me looking forward to hearing more from the group, I'm going to save my higher marks for a full-length release from them for the simple fact that this compilations seem less like a labor of love to me, and more of a marketing strategy. Till next time, Printer. Till next time.
- Heinrich Souza
8
Girls with guitars, hooks, and flawless beats blasting on my stereo is just what I need to keep my pencil moving through that all-nighter. I think perhaps "What if leaving..." will get me the A. The title track will bring a smile to your face instantly, guaranteed, or your money back. (Atparticipatingretailoutletsonly) The Hotnights bring in a good rock n' roll sound something close to Suzi Quatro, and there's a pleasant southern rock thread throughout, especially in "The loneliest city of all". This record is a good reminder that some bands get big for a reason. It's a big sound, with a big payoff. Catcy, catchy, catchy. Now let's see about that A...
- Paul Bredenberg
5
Let me start with saying I really wanted to like this album a lot. Maybe too much. I absolutely loved "Doomsday machine" and was hoping this would, if not top it, at least be something close. To my total surprise, I was really disappointed with this release. Angela Gossows' voice is left almost without effects, which surely makes her sound vicious, but also very mundane and annoying for an entire album. However, this is not the only weak point of this album. Most songs lack a catchy chorus and I often can't tell one song from the other. Sometimes they are saved by shredding leads, but that's one of the few things that stand out as positive on this album. I hope it grows on me, but it seems unlikely.
- Richard Wilson
7
Denmark's Death By Kite have the unique ability to exude all the confidence of influences Placebo, Mew, and Sonic Youth, whilst simultaneously enjoying a degree of forgiveness afforded by their youthful energy and honest approach. The end result is a record that feels at once familiar and novel, both responses enhanced by their diacritically juxtaposed counterparts. There's a strangely nostalgic quality to the music, fashioned from the band's influences and the lo-fi production, that also adds yet another touch of authority to Death By Kite's self-titled effort. If you've been looking for a record drenched in delayed guitars and vocals reminiscent of Brian Molkos' delivery, that concurrently radiates a record overlooked in the late 90s and an album combining the dirtier approaches of contemporary bands like Figurines with the wonderfully dark musings of Joy Division... look little further. The Swedish part of me hates to admit it, but these Danes really have done well.
- Lars Garvey Laing-Peterson
6
The self-titled Killerchaps album is, in many ways, everything a 70s saturated indierock album should be. Composed of ten catchy, concise burst of songs, "Killerchaps" wraps up in just over 25 minutes. Unfortunately, while the tracks are well crafted and the brevity of the record never allows for any awkward pauses, the approach becomes nearly formulaic as the record continues. It never develops into a ghastly or horrific exercise, Killerchaps just wind themselves tightly around the straight-forwardness of their songs, allowing for little lateral movement of the guitars, bass, drums, or vocals. It feels that with the obvious talents of the band, that the 60s, Sonics-like style, combined with the contemporary influences of groups like Modest Mouse and Kings of Leon, should allow for a bit more playful variation in the composition. "Hound like tigers" and "Equally dumb", the standout track of the album, both take a few steps away from the standard sound and succeed resolutely for doing so. Overall, "Killerchaps" hits the mark, it just may be forgotten when all is said and done with this year of releases.
- Lars Garvey Laing-Peterson
8
Drawing as much from the layered swells of bands like Decibully and Broken Social Scene, as from the anthemic approach of Arcade Fire, this is a fine, if not damned accomplished debut album. While there are touches of bands like The National, another band oft quoted as having 'jumped on the Arcade Fire bandwagon,' there is as much of the lost, jangled melodies reminiscent of indie music from the late 90s to give The Kissaway Trail an oddly nostalgic quality while simultaneously being placing themselves alongisde contemporary artists presently in the public mind. "Forever turned out to be too long" is everything an opening track should be: elusive and alluring, bringing to mind bands that garnered our love of music, and obviously influenced the band's delivery, though composed of unique strata that give the compositions an original tangibility. Bleeding out of the opener in one of the finest transitions on record, "Smother + evil = hurt" brings the pulse of record to bear for the first time, and pushes this wonderful album off on its way. "La la song" and "Eloquence and elixir" are yet more examples of their brilliance as artists, and provide as much energy in the latter minutes of the album as the opening tracks instilled. As a proud half-Swede who used to call Stockholm my home, I'm once again forced to admit that Denmark has unveiled yet another talented band.
- Lars Garvey Laing-Peterson
8
Jazz is a strange beast, and I can understand why many people of my age bracket are not quite as impressed by the genre as those of previous generations - though this statement by no means condones this depraved, limiting attitude towards music. If there was vote for the contemporary artist to impress upon people the importance of the jazz movement, I would most likely throw my voice behind that of Norwegian talent Håkon Kornstad. "Single engine" is one of the most engaging and interesting jazz albums I've heard in quite a while, nearly on par with John Coltrane's "Ballads", whose wonderful "You don't know what love is" was brought to mind as I listened to Kornstad's "Korkade". Vocals seem totally unnecessary as Kornstad's saxophone provides a medium, as playful as it can be mournful, through which to reminisce, to create (for I've found writing to jazz has actually been one of the finest uses of my time), or to just relax after a long day of running so hard to stay in one place, or push oneself a few inches closer to that ultimate goal. "Ambergris" feels almost like the jazz equivalent to Sigur Rós' powerful "Untitled 3". If you've ever been curious about jazz, pick up a few Coltrane, Wayne Shorter, and Michael Becker albums. Then, if you're thoroughly smitten, you'll be in the perfect place to be overwhelmed by this Norwegian's fabulous narratives. He's the frontrunner of the current lot.
- Lars Garvey Laing-Peterson
DinoSau
Laakso
Mainliners
Mr. Suitcase
Oh Laura
Path of No Return
The Perishers
Printer
Sahara Hotnights
Arch Enemy
Death By Kite
Killerchaps
The Kissaway Trail
Kornstad