Tag: Reviews
8
I've often wondered if the point of music is to punctuate the sprawling, sequenced moments of life, to trap memories in such a way that when we hear a song five years on from that first listen we remember the smell of a room, the clothes a girl we knew was wearing, and, most importantly, how it felt to be alive at that time and place in our lives. Mixtapes & Cellmates' recent full-length seems to add weight to my idealistic, dreamer's philosophy; the first instants of "Hold" took me back to warm summer evenings in Stockholm with its wonderfully interwoven elements of Magnet, Last Days of April, and the Radio Dept. This unique layering of influences doesn't detract from the distinctly original approach of the members, instead giving the compositions the ability to bring whispers of nostalgia to a recognizable volume while still etching itself into the present. Mixtapes & Cellmates is a flowing expanse of youthful energy and maturely crafted songs. The production wonderfully highlights the talents of the members: electronic elements provide many of the core facets of the melodies, but without becoming annoying or distracting, providing the backdrop for the soft, yet confident vocals and lost, sprawling guitar lines. The end product is a collection of confidently written, well presented, and full-bodied songs, even in the sparser sections of compositions like "The better half of cynical boys". Mixtapes & Cellmates holds as much dawn as it does early evening, giving it the versatile strengths required to be both a good summer and winter album; hopeful even in its darker moments, as I'd like to look back on these moments of youth in five years.
- Lars Garvey Laing-Peterson
8
You have a lot of choices these days when it comes to the sprawling genre oft labeled 'post-rock.' Recently Mogwai have released their soundtrack to "Zidane: A 21st century portrait" and Explosions in the Sky dropped their most recent and, in my opinion, best record not too long ago. In such a niche-genre, it can be very hard to be noticed amongst the well-established champions of these cinematic, atmospheric compositions; here, it seems, Once We Were will have no problems. Given the many overlapping dynamics explored by post-rockers, there is plenty on "Contra" that can be compared with other musicians, but lazy analysis like this would only divert attention from what Once We Were excel at: crafting mesmerizing, powerful songs, and stringing so many different musical expanses together into one tapestry. Soft analog keys exists next to concise piano notes, vocals slip into the mix alongside intricate guitar work, and Once We Were make it work, make it a fluid, continuous evolution. Like a sequence of seemingly disconnected moments, "Contra" strings these quilted moments together into a coagulated being, almost more concrete being composed of linked fragments than it would be composed only of similar materials.
- Lars Garvey Laing-Peterson
6
Five albums in, you know what you're getting when it comes to Pain (Peter Tägtgren): A well-produced slice of industrial pop-metal, with some stand-out singles (this time called "Zombie slam", "Clouds of ecstasy" and "Nailed to the ground") and albums tracks of varying quality. The previous album was inspired by his collapse, death and following revival and had a real fighting spirit. This one seems mostly inspired by a divorce and is fuelled by equal parts dislike, thinly veiled hurt and a bit of misogyny. That makes for good anger, but not always good songs. The best ones are where Peter doesn't try to hide under furious riffs, but travels the lighter and poppier road. The album feels slightly split; it is like Peter is at a crossroad. He needs to decide what he really wants with Pain. Is it industrial pop-metal, or the heavier songs? Or maybe he should just do the cover album he's been talking about for so long. After all, the "Play dead" (Björk) cover on the album shows a real knack for interpreting others' works, while keeping the emotional core intact.
- Hanzan
7
Film snobs seem incapable of having a good time during fun, blockbuster films. I have friends that refuse to read anything except 'classics' or 'cult novels'. Hell, I'm not deluded enough to be unaware of the fact that I only mention certain films, texts, and music when I am trying to impress someone. But there is a place in this world for uncomplicated entertainment, there's only so many times a year that I can have life-changing realizations and pause for the subsequent self-evaluation, and Tigerbombs fills this niche very competently. Obviously influenced by party jam artistes Ceasers, and helped in their quest by Paola on a few songs, the Tigerbombs' "Things that go boom" is everything that a garage-pop album should be – entertaining, energetic and solid. The songs are very well put together, there's a lot to be said about bands who can consistently craft a three-minute pop song, and even have nice surprising elements, like the wonderful ending of "Hit the lights" that bleeds perfectly into "The winter's gone today". It's summer, you deserve some fun. Tigerbombs want to help.
- Lars Garvey Laing-Peterson
2
If only the music was original it would make up for the very 2006/7 poor Euro beat and over styling. Universal Poplab are not kitsch enough to be camp, yet still manage to make bad rainbow pop. In fact, let's just lump them in with Slagsmålsklubban, Lo-fi-fnk (yes, darlings they may be) and invite them to start a study group researching Gunther & the Sunshine Girls because on this strength this record, Universal Poplab are out sailing (and those named are a smoke and mirrors). The lyrics are as infantile as this review: "very end is the beginning of a new beginning... end is near a new beginning and it's end, going on and on and on." Horrific.
- Jason Christie
6
This third album by Billie the Vision & The Dancers is quite interesting. Whilst the music is easily the strongest in their catalog to date (thus leaving the record with no moments that drag on), lyrically, the album is very inaccessible, which is somewhat strange considering their last two efforts. It feels as though they've recorded the album for their friends, with the numerous inside-jokes and descriptions of specific events ("Absolutely, salutely" and "A beautiful night in Oslo") and perhaps the most pop-culture references ever put to tape ("Overdosing with you" and "I've been having some strange dreams"). On top of that, the amount of characters has tripled, adding to the detachment of the listener. It's a tad discerning because I do consider this to be their most solid album, but I can't help but feel left on the outide of their very (very) bizarre world, looking on as Billie the Vision dances with tranvestites, Argentines and The Pipettes in the dimly lit parking lots of Oslo.
- Matt Giordano
9
The Chrysler are a difficult band to describe; slow, layered pop songs that evoke decades past, with this feeling augmented in the warm, lo-fi production of their records. The band's strength lays in its members' consistently powerful craftsmanship, not so much in clever hooks, memorable choruses, or radio single potential. A few people who I've shared this band with have felt nostalgic for "The Moon and the Antarctic"-era Modest Mouse, though this comparison has its pitfalls and flaws.
The tone of "The Benelux years" is set early on by "I keep my eyes on you sparrow", followed quickly by the complicated and affectionate "Seven wonders" – both songs setting the tone for the warmth that permeates the rest of the record, even in the slower, more reflective pieces found as the record progresses. The final sections of this effort conclude with all the strength and skill that its openers employed to bring it to our attentions, and the midway pieces developed to focus it in our conscious moments. Preceded by the Dire Straits-esque "250 hours in 238 days", the closing tracks are melancholy, though deceptively vibrant, and a fitting conclusion to the record as a whole. While my stereo will undoubtedly fall prey to the bright songs that the coming summer will inspire, there are moments that are enjoyed better with slower tempos and in lower keys, and in those moments I shall be found listening to this wonderful album.
- Lars Garvey Laing-Peterson
8
This is the latest release on über-cool vinyl-only label Risky Dazzle. "Cat scratch" brings to mind the glory days of acid-house, notably Josh Wink's "Higher state of consciousness" and more recently, the jittery groove of Benny Benassi. It is as much suited to the hipsters as it is to the purists, who will no doubt be gurning like it's 1991 all over again. Top one, nice one, get sorted!
- Nick Levine
8
Monto Water Rats is pretty packed tonight. There are four bands on the bill, but I only watched the last two. First out is Maia Hirasawa who started out as (and still is, I think) a member of Hello Saferide's touring band, but who has now started conquering the Swedish airwaves by herself with her sunshine pop. It's melodic and pleasant. Hello Saferide are equally melodic, but somewhat less pleasant. Annika Norlin (aka Hello Saferide) is not feeling very well, and she tells us that she's kept quiet all day just so she can sing for us. God bless her! She has also been drinking olive oil throughout the day, and even does so onstage (this is the cause of the the unpleasantness). Sometimes the rock'n'roll life can be truly odd, and tough. I'd rather bite the head of a bat than drink olive oil. Oily drinks or vocal problems doesn't stop Annika from putting on a great show though, and she's got the audience transfixed from the start. As an encore she plays "The quiz" which I haven't heard live before - it was a thoroughly enjoyable first experience. Expect to hear more from Hello Saferide and Maia Hirasawa in the future, they're both charming and write very infectious songs.
- Simon Tagestam
5
Girlish vocals, youthful enthusiasm and straightforward indie-pop arrangements: that's what you find on this 3-song EP. Although this is largely a demo (and it sounds like it), these girls show promise, especially in the second song, "Cravings". I like the energetic drumming and background "la la la's." Elsewhere, the sound is missing an edge and starts to sound meandering. With a producer, I think this young Swedish band could do something pretty decent. They do sing in key, generally altogether, and I like the idea of a band named after one of the world's smallest countries. But think bigger, ladies. Think bigger.
- Kevin Renick
4
It's a great thing that these days everyone can make a record, but it doesn't mean that everyone should. Löfström writes sweet poppy minimalist songs with pleasant melodies, and there are plenty of moments where it almost gets close to being something special, but it never rises above sounding like a record a guy threw together in his house with his friends.
- Nancy Baym
9
One always hopes that the sophomore album is an improvement, a realisation, and when it is just that, the results can be glorious. Such is the case with the second proper full-length effort from Montt Mardié (and it's a double-disc nonetheless). With the two CDs clocking in at a hour combined, there is no filler attached, yet one can choose just thirty minutes of listening enjoyment at once should they desire. The first disc, "Clocks", is where David Pagmar's vision of everything swinging is pulled off properly, with the instrumentation and vocals working so well. Take note of the pitch-perfect harmonies on "Birthday Boy (drama)", the sad spoken word of "Set sail tomorrow (strings)", and the stellar minimal instrumentation of "Travellers". Disc two, conversely, is comprised of collaborations, and harkens more to the 80s in its sound. Montt Mardié not only delivers ballads ("Surprised" with Andreas Mattsson and "Pretenders" with Hello Saferide), dance numbers ("Metropolis" with Fredrik Hellström of Le Sport and "My girlfriend is in the Grand Prix finals" with Mr. Suitcase) and even one in his native Swedish with the always-stellar Vapnet ("När ni gett dom våld ska vi ge er kärlek"). "Clocks/Pretender" is the sound of a matured Montt Mardié, and this album floored me with how much every single thing has been improved. Lastly, I'd recommend picking up a physical copy of this, as the packaging amazing.
- Matt Giordano
8
My Midnight Creeps are fronted by the dynamic duo of Robert Burås from Madrugada (here going by the name Bobby Cagehill) and Alex Kloster-Jensen from the Ricochets. That's a great deal of guitar power, and they put it to good use on their second record, which is a considerable improvement on their strong debut. They make no pretenses to originality. To the contrary, they offer a familiar take on swampy, bluesy, dark and heavy rock'n'roll. The old blues singers of the Deep South meet the British 60s, wind their way through 1970s Detroit and 1980s LA, and land in Norway, bringing some touches of Scandi guitar psychedelia with them. They swagger through songs about women, having the blues, and being wronged. It's big, it's bombastic, it's meant to be played loud, and it covers no new territory. But it's so very well done. The musicianship is stellar, and the band seems to be having such fun playing that it's hard not to feel good listening. Then there are passages in these songs - mostly instrumental - where they achieve that rare wall of surging atmosphere that transcends everything else and makes you stop whatever you're doing just to revel in it. Big bombastic rock'n'roll fun interspersed with moments of rock'n'roll perfection? Play it loud.
- Nancy Baym
9
The Cocteau Twins are back! And now they're called... Rumskib! I don't mean for that to sound condescending; actually this luminous Danish duo recreates the sound of the ultimate shoegazer band better than anyone I've heard (even more than the previous nominee, Autumn's Grey Solace). There's no denying that multi-talented guitarist/songwriter Keith Canisius has Robin Guthrie's churning, atmospheric guitar sound down pat, and vocalist Tine Louise Kortermand has a sweet, pure tone that evokes Elizabeth Fraser without being an obvious imitation. "Where are the flowers" and "Crucial love games" are just two of the stunningly beautiful songs here, showcasing everything good about the dreampop genre in concise sonic settings. There's a couple of alluring instrumentals, too - the best of which is the bracingly moody "Ferris wheel blackout". This record is consistent and well-produced (Canisius and programmer/synthmeister Jonas Munk shared the honors in that department), and the spirit of the genre positively gleams throughout. So weep no more for the premature cessation of Cocteaus-style transcendence... this is easily the next best thing.
- Kevin Renick
Mixtapes & Cellmates
Once We Were
Universal Poplab
The Chrysler
Montt Mardié