Tag: Reviews
6
22:22 are attempting quite an interesting sound with their self-titled debut album. It's a mixture of folk, electropop, Devo and vocals channeled in an Arcade Fire-type fashion. The ideas are present for something really exciting to come forth, it's just that they're in their infancy right now and it doesn't sound cohesive. Mixing and overlapping the parts could possibly fix this, but that can only come with working together more and finding out what works, and with the foundations they've laid, it may very well happen in their next couple of albums.
- Matt Giordano
6
While a competently written album, and one that is well executed by the musicians, "Kajak" seems to drift by rather effortlessly without always catching one's attention. There are some stunningly beautiful moments, "Regngalsinn" and "Sex eða sjö" being two of the album's highest points, but Benni Hemm Hemm's lullaby-like delivery, soothing and gorgeous as it often is (see: "Stoffer"), seems to dull the immediacy of their approach and cast a near-juvenile shadow over their compositions. Much of "Kajak" feels as though it could be the soundtrack to a man walking down a deserted road during the Depression, a nostalgic element present that retains many of the dated melodic themes from those earlier eras of American folk music. There is the power within Benni Hemm Hemm's music to evoke a visual response, and as I sit on my mother's porch in the foothills of the Blue Ridge mountains watching the breeze reflected in the gentle movement of the trees, "Kajak" is an appropriate companion. Though, while the music is suitable for lazy Sundays and afternoons spent in the country, it certainly doesn't resonate quite so strongly when engaging in life rather than merely watching is pass by.
- Lars Garvey Laing-Peterson
8
This latest release from 1969 Armstrong is influenced by some of the better bands from the golden age of shoegazing. Lead track "Something on yer mind", with its primitive drum beat, is reminiscent of early Jesus and Mary Chain and the more contemporary A Place To Bury Strangers. Standout track "Devil in me", with its assured swagger, recalls Ride in one of their poppier moments and also brings to mind early Britpop. With this, their third EP, 1969 Armstrong have proven themselves to be at the forefront of shoegaze-influenced Swedish bands.
- Nick Levine
7
The latest release by Arbogast is an impressive effort. Not simply because the vocals and instrumentation are almost entirely handled by one man, Svante Widerström; but because it's been so damn long since I've heard any good rock. With partner-in-crime Patrick Fransson playing the drums, Arbogast has managed to create a sound that pays homage to rock from an era largely forgotten. I'd leave the album playing in the background at work, and swear I'd just heard something by Ozzy or Guns n' Roses. There's plenty of fantastic guitar work to be found on "TPTSTW", particularly on tracks "Not be present", "Flying the flags", "Raining Stones" and "Soiled by shadows of the brave". Sticking points to the CD are few and far between. The only thing that prevents Arbogast from getting a higher score is the lyrics. The subject matter is there most of the time, but the grammar isn't. It might be a minor issue to some, and Mr. Widerström pre-emptively strikes down my nit-picking with the song "Laugh or die", and maybe to some extent, on "Look at yourself, and cry". But it hurts me to see something some so close to perfection stop barely short. It's almost as if the lyrics were an afterthought, when they could have underscored the musical talent present on this album. All in all, however, "TPTSTW" is a brilliant showcase for Arbogast's potential, and I look forward to hearing more from them in the near future.
- Heinrich Souza
7
The self-titled debut by this Danish trio is situated squarely in the fertile soundscape where electronica, jazz and post-rock meet. Like Norway's Alog, Badun's tracks tend to be short and evocative, but they rely more heavily on their rhythm section to guide the way. Fretless bass and Fender Rhodes sonics abound, and the percussive brush strokes are infinitely subtle. This isn't difficult music, but neither does it play safe by being merely ambient-pretty or groove-anchored. Instead, this music glides aloft on its own glitch-driven air currents, remarkably sure of itself even if the listener is sometimes left guessing. It's all a bit on the chilly side aesthetically, but if you just stick it on without analyzing too much, this is intriguing stuff.
- Kevin Renick
4
Alright, awkward as this is, I have something to confess: I've been a closet Jessica Folcker fan ever since her debut back in 1998 (Well, maybe fan is too strong a word, listener perhaps?). I have nothing to say in my defense, except that Ms. Folcker's music provides an odd sort of comfort to me. I know exactly what to expect from her albums, the one catchy tune, followed by nothing spectacular. However, this album has been substantially better than I expected. The album gets off to a decent start, as usual, with "Never wanna lose you", and while it fizzles out slightly, the subsequent songs aren't that bad. Am I saying that this is a gem of an album? Absolutely not. The songs on this album are, for the most part, safe, schmaltzy and bland; but they're extremely listenable, regardless. Which, in my opinion marks a tremendous improvement on the part of Ms. Folcker (or that of her production crew, Andreas Kleerup and Andreas Unge). To sum up: If your life has been missing that special something since Britney Spears' recent descent into insanity, Jessica Folcker's "Skin Cclose" might be worth looking into.
- Heinrich Souza
6
After 15 years in the game, Infinite Mass released their first compilation. It's a massive affair, with one disc dedicated to the hits and one to rarer out-of-print cuts. Arranged next to each other, the jumps between electro-g-funky "Mah boyz" and Caesars-sounding "No. 1 swartskalle" can be jarring, but it shows both the musical growth and will to experiment that has been Infinite Mass' guiding star. With surprising instrumentation/samples, a sometimes lethal beat and key focus on having a good time, it may not be the most thought provoking or challenging music, but the condensed highlights can still throw a pretty decent party. The second disc falters quite often, but still contains gems like a blaxploitationish take on Kiss "Black diamond" or the twisting, stuttering "Hello", which pushes hip-hop's endless fascination with "Scarface" so far over the top that I doubt it ever will be outdone.
- Hanzan
9
Norwegian jazz pop has been a rich vein of creative gold in recent years, with artists like Bol, Solveig Slettahjell, and Susanna & Magical Orchestra making stellar records. Add Christel Alsos to the list of ladies who deliver the goods in this genre. Her debut album "Closing the distance" is first-rate. Alsos has a soft, slightly husky voice that grows on you throughout this record. Her band plays with a level of sophistication you can feel, and the string arrangements are flawless. The closing tune "Still" may well be the single most intimate performance I've heard on record this year. The lyrics are strong and the music is poignant, timeless and deeply resonant. Alsos is more than just a "promising new talent" - she's already come through with one of the year's most quietly captivating, mature works of introspective songcraft.
- Kevin Renick
5
I'd be curious to know if this Swedish group chose their name to head off critics that might apply that description to their sound. Whatever. This music is neither depressive, nor art. It is slightly above average bar rock, the kind of testosterone-laced riffage that would sound better while drinking. Singer Klas Bohlin is an acquired taste - he has a manly, but not very nuanced voice which I found a bit grating. That said, "Solar system" and "Season for regret" are catchy little rockers that will get your foot a-tappin' but the slower tunes here are fairly dull and there's not much else about this band that really stands out.
- Kevin Renick
8
It's hard to follow up a record like TFAS's stunning "Radiola". Doing so with an album of cover songs by close friends Rough Bunnies seems an odd choice, but it works surprisingly well. Lyrically, there's very little difference - the same characters are back, only now Frida and Anna are writing the songs instead of appearing in their titles. And the same topics of drinking, drugs, and love gone wrong remain the focus. The wit is still there (in "You should be in love with me" - which I hope will be the next single - the protagonist offers "we could watch TV / until our eyes get dry / from being inside / and we could only go out when it was spring outside" as though that's appealing). The title sounds hokey, but truth is, Gustaf Kjellvander is a real singer, one who cares about every tiny turn of phrase and who's got a voice that can transform songs that sounded mediocre at best in their original versions into shining moments of pop brilliance. These songs may lack the depth or diversity of his own, making the album more like a candy bar than a satisfying meal, but who doesn't like candy? And bonus points to Kjellvander for leaving the gendered pronouns intact (I especially like hearing him sing "seems like the meaning of my life is to drive my men away").
- Nancy Baym
10
I have the utmost admiration for young artists who take on a genre that is often ignored or belittled by others, and proceed to inject fresh new life into it. Sweden's Tobias Hellkvist has done just that in the area of drone-based ambient with his exceptional new CD "Transports". This is a virtually flawless, efficiently produced showcase of warm, shimmering drones and evocative sonic adornments that exemplifies why some of us are still in love with ambient. Hellkvist has the aesthetic of an inspired painter, lost in the beauty of what's slowly emerging on his canvas. "Aching," "Slowly but surely" and "Nothingland" are all lush, hypnotic soundscapes with the shimmer of a frozen lake on a sunny winter morning; "Moment at Ven" utilizes gentle guitar picking and seaside bird calls to place you squarely in a soothing landscape. Nothing is wasted or excessive here, it's just seven perfect tracks of serene, blissful ambient pleasure.
- Kevin Renick
7
William Hut has a special place in my history. Hut's former group, Poor Rich Ones, first got me interested in Scandinavian pop music way back in 2001. Their album "Happy happy happy," was a sparkling gem, and once I started learning about this band and other talented Scandinavians, I never looked back. Hut has one of the most pleasing, melodically sweet voices in rock and he's clearly in touch with his feminine side. "Nightfall" isn't quite a classic, but it's pretty good. Hut always puts melody above all else. In fact, all four of the closing songs here capture Hut at his best. Missing are the diverse prog-rock stylings Poor Rich Ones conceived with such flair whereas most songs here are rather simple and laid-back. There are no unequivocally brilliant songs. What is here is merely pretty and kind of soothing, but that is still a good sight better than half the platters I've heard lately.
- Kevin Renick
8
This has been the surprise record of the year for me. Though they are often categorized as twee - a label their flute + acoustic guitar + alternating boy/girl singer sound would seem to merit - I'd plant this release firmly in the indie pop category, circa the late 1980s with its momentary flashes of bands like Throwing Muses and The Feelies. It's hard to use a flute without sounding horribly arty or just plain horrible, but here it offers a nice sunny dimension without ever stepping over into sugary or, worse yet, saccharine. The heavy bass no doubt helps this, as do the slightly flat but never annoying vocals. The songs are all good, and they have a really nice way of creeping under your skin so that while you're consciously getting hooked on one, you're unknowingly about to decide another is really your favorite. At nine songs in half an hour, it's too short, but it's a half hour well spent. Get one of the first 300 copies and it comes in a sweet hand-sewn sleeve.
- Nancy Baym
9
This, the follow up to last years "The construction of amp-train", shows off an improved band with way more interesting song structures and intricate songwriting. Not to say that the previous album was disappointing, it was just too obvious that these Danes had more to show off. In a genre like post-rock, wherein the band at occasions hover, that often tends to go for the more rectifying way to approach its listeners, Lis er Stille always has an ace up the sleeves. Surprising turns, beautiful strings and a singer that, on this album, steps up a notch, are all ingredients that makes this record one of the more interesting I've heard this year. The fact that the piano plays a central part in their soundscape gives it an extra dimension and the similarities to Mogwai are not at all misguided. It is indeed hard to compete with those Scotsmen, but Lis er Stille can definitely consider themselves worthy opponents. A tune like "Lorelei" would make anyone in the genre jealous.
- Jonas Appelqvist
7
With nerve and uncompromising attitude, Mob follows up their critically acclaimed "I believe in you" with more noisy rock strongly influenced by Sonic Youth and the likes. In fact, the four songs featured on this disc could easily be outtakes from "Daydream nation" or any other record released in the eighties by New York's finest. And that is both good and bad. Y'know, being a fan and all of Thurston, Kim, Lee and Steve, I've heard this before and don't really need more carbon copies. But on the other hand, Mob's intense rock really gets to me and, to be honest, I'm a sucker for these massive walls of distortion and find myself loving it after all. I will definitely be keeping an eye open for these guys in the future.
- Jonas Appelqvist
Depressive Art
The Fine Arts Showcase
Tobias Hellkvist