Tag: Reviews
7
I want badly to give this record an 8 or a 9, though while "Drum of glass", "Neon", and "Lowlife" all convey that nervous energy perfect before a good night out, there is a complete lack of focus on Monomen's self-titled LP. The huge synth rock approach similar to that of fellow Scandinavians Strip Music and 80s champions New Order is bizarrely abandoned for a series of instrumental tracks in the latter half of the album. Why the band thought removing the vocalist's near perfect 80s goth delivery would in any way enhance the record is beyond me. These instrumental compositions are not bad, "Aurora" is even damned good, but the sudden shift in gears detrimentally affects the overall feel and solidity of the album. Luckily, Monomen close with "Lowlife", and much can be forgiven when lost in those final minutes of the record. The "Monomen LP" is a worthy collection of tracks, I just hope that the next records keep the instrumentals, interesting and competent as they are, as b-sides only.
- Lars Garvey Laing-Peterson
8
The self-titled debut by this Norwegian lass inevitably makes you think of great female singer/songwriters of the '70s like Carole King and Joni Mitchell. When Susanne play piano (which she does on most of the eleven songs here), the way she confidently strikes those big chords and belts out the lyrics certainly brings "Tapestry"-era King to mind. But when she strums an acoustic guitar, it's Joni you'll think of, even though Susanne's vocal timbre is quite different - more akin to Ane Brun, actually. She's got a lot of competition, but there's plenty of evidence here that Susanne could evolve into one of Norway's best singer/songwriters.
- Kevin Renick
8
Erik Enocksson has masterfully crafted a dark, melancholy, beautiful and still uplifting soundtrack to the critically acclaimed "Farväl Falkenberg". Ten slow, meandering tracks of droning strings, creaking wood, plucked guitar strings and piano. This is an album of music powerful enough to shake you even if you've never heard of the movie for which it was written and, while it does capture the heart and soul of the movie, it is easily able to stand on its own legs. From the whistles and handclaps of the opening "The joy of D. H. Lawrence" to the closing lullaby "The lingering procession", it is a touching, sombre and comforting. Easily one of my favourite albums of the year.
- Viktor Ålander
7
According to the D'oorhinge L'Orange website, Mechanical Bird's sequel to 2005's "Manuskipt" was a three year effort. For a style of music as uncomplicated and rarely groundbreaking as this, that may not bode well. But songwriter Jakob Brixen recorded the songs by himself with the occasional guest, and the effort put into this album seems that of a perfectionist. "11 songs for perchers" is not quiet beauty, as one might describe most alt-country or folk, but ambience, melodrama, skill, and focused effort. The moody ambient sounds introducing each track slowly fade out and slide under the strumming acoustic guitars, personal lyrics, and occasional strolling drums, and contribute just as much to the album as the works themselves. Don't take this description and think the songs are slow and boring, there is a good amount of hidden energy within, but the energy is let out slowly, with the utmost precision and control, and a minimal amount of pretension. It is an impressive display of craftsmanship, if not entirely original in its concept. But what is anyway?
- Paul Bredenberg
10
The Shout Out Louds made a triumphant return to the States this week and when they took the stage, the crowd gave them their all. Mixing tracks from both "Howl howl gaff gaff" and "Our ill wills", the band rocked through a set lasting about 80 minutes with the crowd loving each and every one. Singer Adam Olenius' vocals were top-notch, and the harmonies of his bandmates gave each track the top quality we have come to expect from the band. They appeared to be having the best of times too, with smiles and laughs being constantly traded from member to member, their nonchalant stage persona making everyone feel as if the band were playing just for them.
- Matt Giordano
3
Rock n' Roll is a tradition. Many follow it. Few make it to the end. Thunder Express, despite their desire to conquer the great frontier, apparently by laying tracks as quickly and easily as possible, have derailed somewhere between the mid-seventies and early eighties. Some bands are able to thrive on their own sound, stick to it consistently, and modernize it to achieve an acceptable standard. However, on "Republic disgrace" (appropriately), the concept of a solid sound seems to have been left back at the station. This record meanders through territory conquered and well scouted by the New York Dolls, Rolling Stones, and then into some weird mish-mash of rock ballads and Led Zeppelin rip-offs. While their 70's grooves can be fun and catchy at times, as tourists on the rock music trail, Thunder Express has gone for the cheap souvenirs, cheesy postcards, and crowded museums. It is an excursion that would well have benefited from a venture off the beaten path.
- Paul Bredenberg
8
I'm not overly wild about Scandinavian groups doing Americana music, however, the Swedish group Amandine is easily one of the best in the field. On their new disc, "Solace in sore hands" the aesthetic is pure and the music so well-arranged and performed that I found myself surrendering to the charms of the album. Lead vocals by Olof Gidlöf are in a high register for the most part and they have an aching vulnerability that suits the music. Although this is primarily a slow, contemplative outing, the melodies are strong and you can't ignore the delicate beauty of songs like "Iron wings". "Shadow of grief" is a good example of Gidlöf's heartfelt vocals, and the way they stand out amidst sparkling piano and simple guitar parts is distinctly Scandinavian. "Silver bells" is the best of the uptempo songs, with a dash of horns providing nice flavor. Overall this is solid, melancholic, folksy pop that sounds great driving on the open road.
- Kevin Renick
5
A Perfect Friend is a collaboration between singer/songwriter Thomas "Denver" Jonsson and C-J Larsgarden (of Pacta Sunt Servada and various other projects). Their debut album moves within the disarming, harmless confines of what most music critics like to call 'folktronica'. There are scratches, beeps, static and gentle rhythms, accompanied by organ and glockenspiel, reminiscent of a less ethereal Tape or Library Tapes. The duo set themselves apart a bit from the average electroacoustic/folktronica/ambient constellation with the use of Thomas' vocals on some tracks, but in the end there just isn't much about this album which makes it stand out from the pack. Still, it is a fine soundtrack to a hazy afternoon by the water, with the summer sun in your eyes.
- Viktor Ålander
7
With the follow-up to "Everything now", Pelle Carlberg shows again his master touch with lush, reverberating pop songs; horns, strings, harmonies, the works. He's been known to tread ground dangerously close to the Go-Betweens, and "In a nutshell" is no exception. Instead of drifting across land and sea to Australia however, there's enough unique flair to keep his latest effort grounded at home. These acoustic guitar-driven songs, with threads of 60's British folk woven throughout, will no doubt appeal to seasoned listeners of Edson, and his solo work as well. The production values seem to be getting thicker, but hopefully the reins will be held back, lest his songs lose their charm. On this disc, nothing is lost, on the other hand not much is gained. His songwriting will no doubt continue to develop, and it will be interesting to see what comes next.
- Paul Bredenberg
7
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.
- Lars Garvey Laing-Peterson
7
Veering back a bit from the electronic-hinges of the past few months, Hybris has delved into that vault that is the Swedish music scene to focus on a band that has its heart set on the music of the 1950s mixed in with the indiepop/alt-country stylings of today. At only four songs, one a cover at that, it leaves the listener looking ahead to a proper album. Thr first three tracks: "The dance" (easily the best on this release), a good uptempo cover of every run-of-the-mill singer/songwriter staple "Wonderwall" and "Regret" all set a nice tempo before "Autumn leaves" mellows it all out. Perhaps switching tracks three and four would have prevented the EP from fading into silence; however, this is yet another promising band on a label that I know will put their passion behind it.
- Matt Giordano
4
Månegarm is at their best, when they let the fiddle play beautiful epic folk-melodies over mid-tempo power riffs. When they try to speed up their folk influences, it becomes laughable humpa-humpa. Like a Finntroll minus hysterical trolls. And when they try to show their black-metal chops, it feels forced. Neither is as efficient as their epic viking metal. In fact, nothing here matches the best of their previous LP. And the acoustic songs are nice, but not on the same level as their accoustic EP. Maybe the band got bogged down in the storyline, this being a concept album with a tale to tell? Whatever the reason, the songs don't soar like they should, thus losing the interplay between the fiddle, heathen-sounding vocalists and acoustic breaks that is their power. The melodies feel generic and nothing stays after a listen. Where their previous album "Vredens tid" flowed effortlessly, "Vargstenen" falters, flails and barely seems to know what it wants. Nothing the occasional good song or moment can save.
- Hanzan
8
Offhand, Custer, Ohio, USA, springs to mind. This was likely unintentional and fortunately, very few expect a band to be defined by their name, at least not completely. "States" is an EP, and included on the disc is their previous EP release "Leaves". Two for one isn't a bad deal. Throughout the record, jangly guitar, reverb-laden vocals, and somber lyrics make for a sound not unlike the UK's Field Mice. In fact, the title track could be straight off a Sarah Records disc. Unlike the Field Mice however, who are known for dipping into a kind of beautiful comatose tempo, the disc keeps up a steady pace, with some clever hooks and a well-balanced indiepop mentality. Oh! Custer, with only two members, has conjured up a solid, energetic record. Fans of The Legends and Comet Gain should take notice and give this a spin.
- Paul Bredenberg
9
I am surprised that the postrock genre continually finds new champions and has not yet stagnated around its established forerunners. Scandinavia has provided many of the groups that have proved themselves able to compete in this niche genre, pushing and expanding its limits and scope, and Sweden's Pg.lost are definitely amongst my favorite of this new wave of postrock acts. While comparable in many ways to Explosions in the Sky, specifically in their buoyant musical outlook and the sense of optimism and hope that pervades "Yes I am", Pg.lost don't flinch away from distorted onslaughts similar to that of Mogwai or Mono. While I personally loathe having to compare an upcoming band to their better known contemporaries since it seems to suggest a lack of originality or an inability for a band to find their own voice, this is far from the case. While the tone and style are akin to what other bands have done, Pg.lost have no difficulty filtering these influence through their own unique approach, creating some of the best music I've heard this year. "Yes I am" is stunningly forceful and compelling given its brevity. I'm confident future recordings will establish Pg.lost as amongst the best of their field, and can only hope it is not too long until I'm proven right.
- Lars Garvey Laing-Peterson
10
Maracas! Strobe lights! Glow sticks! Noisemakers! A bubble machine! A glowing orb fake microphone! And a dysfunctional smoke machine - these were to be the tools of The Tough Alliance for the night. After a great opening set by The Honeydrips, they took the stage like two madmen, dancing and singing/miming along to "Something special" from their new album "New chance". With all the toys for the group to play with, the objects, along with drinks from the crowd, were all being passed around the stage area while the ecstatic crowd encroaching closer as each moment passed by. When "First class riot" began, the crowd went absolutely nuts, singing as loud as they could and probably making the people at the bar upstairs wishing they were downstairs. The band's engergy far surpassed that exerted by the crowd, obviously driven by the packed venue. I honestly wasn't sure what to expect, but what I got in return was easily the best show I've been to all year and my brother, who was also in attendance, agreed with me. Other than the few confused audience members standing cross-armed and bewildered, the crowd was dancing and singing along and really having a damn good time. After all, we go to shows to be entertained, and with The Tough Alliance, that's just what you get.
- Matt Giordano
Thunder Express