Tag: Reviews
8
I love everything about Tom Malmquist, from his photo drinking wine while soaking in a tub of dirty bath water and his bizarre myspace bio, to his choice of instruments – guitar, banjo, washboard, saw against leather jacket... Then there's his music, of course. He sounds like a quirky young Tom Waits. Except happier. The four-song EP unfolds like a series of letters to lovers, building up to a somewhat darker duet, "Tyranny of heaviness". But even that sounds gorgeous and oddly upbeat. It's celebratory country, of the most comforting variety.
- Stacey Shackford
5
This album has struck me as being an interesting mix of styles, melding Neil Young with turn of the century Nicolai Dunger and 60s lounge - how does one even come up with the idea to do so? Of course, Björn's pop sensibilities are in all the right places, which is prevalent on the track "Come take a shine" and in the smooth lounge sound of "Hold on". The music is played quite well and the vocals are all in place, but it doesn't grab me and shake me up. Again, this album can come off as a bit 90s sounding and dated (see "Why oh why" amd "Character song") and I'm trying to figure out if it's a sign of what's to come in music, but I'm also confused as to why that style is coming back, as it was only a decade ago! Anyway, the song craft is definitely here, but this whole 90's vibe just seems a bit strange to me.
- Matt Giordano
3
Ugh. Prog rock has enough problems trying to prove it's worthy of respect without soggy little outings like this one reenforcing what many listeners automatically cringe at. From the painfully unimaginative name to Olof Gustavsson's utterly bland vocals to the Asia/Marillion-lite arrangements, this Swedish trio prove they can rip through a bunch of chord changes they've studied in the Teach Yourself Prog! handbook (Tommy Magnusson must shoulder the blame for most of these). But they don't accomplish much else. There's at least ONE rule you cannot break doing this so-called "symphonic rock": thou shalt not bore the listener. Now go break up with your girlfriends and try writing some angry punk songs or somethin'!
- Kevin Renick
6
I wanted this to be good, I wanted this to be great, so it's a shame that it's just ok. Santa Maria is Maria Eriksson from The Concretes and Heikki, which are two bands that I adore. This is a pleasant album, but too often the pleasantness drags on a bit too much and it all becomes a bit boring. The great melodies that make The Concretes and Heikki so fantastic are sadly missed. It feels like the album could have done with an energy injection at regular intervals. Maybe next time... (it took The Concretes about 8 years to become the great band they now are)
- Simon Tagestam
9
Debut release from Göteborg's Boat Club, on the fantastically cool I Wish I Was Unpopular Records. The two tracks on this EP are a sublime combination of New Order and Frankie Knuckles circa "Can you feel it". The feel of this record is atmospheric and epic, with a subtle nod in the direction of the once derided shoegazing genre. The whole package reeks of quality, and surely there are greater things still to come.
- Nick Levine
7
In the course of just two full-length CDs, Sweden's Cake on Cake, fronted by Helena Sundin, has managed to create one of the most instantly identifiable sounds in all of Scandinavia. Sundin's gently feminine voice, breezy childlike melodies and plethora of keyboards, create an honest-to-God authentic style, one that is hopeful, romantic and melancholy all at the same time. "I guess I was daydreaming", her sophomore effort, doesn't break that much new ground, although the instrumentation is richer. You're still offered a casual tour of Sundin's personal thoughts and musings, most of which concern the people in her life, the hopefulness of love ("You make my heart say yes"), and events that made her contemplate things more deeply ("The accident"). There are waltzes both sad and bright and plenty of innocent little ditties adorned by the simplest of rhythm tracks. Sundin sings like she's in a field of flowers, perhaps with a fawn or two watching from afar, but far from being cloying, she's a vital reminder of the value of pure, uncynical self-expression. This is an airy, soothing, gracefully melodic charmer of a record.
- Kevin Renick
7
The line outside snakes it's way around to Camden Lock where dealers serve up weed by day and by night the vinyl junkies adorn this patch waiting for the gig of the night in London: Junior Boys with Firefox AK. This is a sweet billing for Firefox AK witnessed by the day-glo, very nu-rave crowd. She opened with "What's that sound" – rapturous applause followed marking her acceptance into the gang. Dressed impeccably in a blue acetone coloured pinniffer made from the sort of material that bed sheets were made of, the sort which lit up the room with static electricity giving off a indoor wirework display - a bit like the rendition of "Love to run". Yes, what Andrea Kellerman does on stage is this: she is intense, seeks perfection, looks hell-bent on what she is doing, and then in one flash of her smile lifts that focus and atmosphere with the saccharine which is her voice.
The sound could have been better. It always could be – in every venue – yet with this and pounding basslines, sharp guitar effects and the sweetest of vox. "The draft" missed the duet dynamic of her 'old man Rasmus, yet "Madame! Madame!" set out the Kellerman stall just fine to finish a short set.
- Jason Christie
9
There's a kind of madness in the best instrumental rock records; it's just something you notice after listening to a lot of them. Norway's Huntsville are clearly miles above most of their competitors, and the difference must be down to their inspired playing, creative brinksmanship on the edges where electronica, post rock and jazz come together, and yes - a bit of madness. There is nothing ordinary about "For the middle class"; it contains music that's constantly in motion, looking for the least-traveled road to take you down. "Add a key of humanity" is 22 minutes long - a real mind-fry of a track featuring frantic percussion, jittery keyboard sounds that contrast in interesting ways, and of all things, a banjo. It's absolutely riveting, and so is the 15-minute "Appearance of a wise child", which, with its upright bass and locomotive-like rhythm, sounds like a train ride through some war-torn country. Without a doubt, though, Huntsville take you on a wild, often psychedelic ride, making every overlapping sound matter. This is a major release in the realm of Nordic soundscape music.
- Kevin Renick
7
This is not the follow-up to Frida Hyvönen's excellent debut album "Until death comes", but a side project that soundtracks a dance performance involving humans and poodles. Even though there are ten tracks on it, the CD clocks in under half an hour. It's a great little collection of songs though, and it gives me high hopes for any future side projects from Hyvönen. Hopefully she won't forget to record a "proper" album at some stage. Until then, I'm more than happy to be fed great little nuggets like this.
- Simon Tagestam
7
I've often heard the term "art damaged" to describe a certain breed of off-kilter modern rock, and I was never sure what was meant by the phrase. But the third CD by Swedish trio Logcabin sure sounds art damaged to me, if we take that to mean a moody, often esoteric, often abrasive piece of work that has real ambition behind it. There's distorted guitars all over this 11-song platter and some My Bloody Valentine-style static blending with distant, sad vocals straining for your attention. The lead voices (Gustav Karlsson and Karin Nordquist) are never upfront enough to discern the lyrics, but the feeling of melancholy near-detachment comes through strongly. There's a buzzing, angry-insect quality to many of Logcabin's songs, and yeah, some of it stings. But it's just compelling and creative enough to be worthy of your attention, especially if fuzzy, guitar-heavy Swedish melancholia is your thing.
- Kevin Renick
8
I sort of pity Love Is All tonight, being the support band at a sold out London's Astoria to a 2,000 strong audience who's there to check out the great Regina Spektor can't be the easiest thing. Especially since the two artists are quite far apart musically. Whereas Regina Spektor is spellbinding in her own right with her extreme charm and fantastic songs, Love Is All is more of "put the dancing shoes on" type of band. But with a set list consisting of some old favourites, mixed with a few new songs (that sounded ace), they came out on top and they appeared to have quite a lot of people in their thrall. They're coming back to play in London at a more intimate venue in the middle of March. I'm really looking forward to seeing them properly then.
- Simon Tagestam
9
Sweet as apple-pie pop from Stockholm highschool girls, led by a pounding Hammond organ. These four tracks emulate some of the true twee pop greats such as Bis and Girlfrendo. "Those dancing days", the northern soul inspired song which the band are named after, could easily fit onto the soundtrack of "Austin Powers". "Hitten", possibly the band's signature tune, is a fizzy pop number which will have you singing along instantly. If this band are not the next big thing, I am willing to bet my life savings that one of the members of this group will feature on a Top Twenty selling Swedish album within the next five years.
- Nick Levine
7
Short and sweet. Or, spastic and speedy. Songs with guitar riffs that race ahead while the singer struggles to keep up with lyrics about sinister hearts and missed phone calls. Most hover around the two-minute mark. The Faintest Ideas (nee Javelins) produce power punk-pop, of the variety more often heard in the hallowed halls of Glasgow than Göteborg. C86 fans will be kicking up their Converse-clad heels at this catchy collection, and even pop princesses like me will love "Nosebleeders on the track". And what about that title? Worth five points alone, I reckon.
- Stacey Shackford
5
I couldn't wait to get my mitts on Pär Hagström & Cirkus Transmopol's debut album after falling in love with "I'm not going home tonight", an empowering, air-punching, hip-swaying highway hit that teeters only a wee bit precariously on the line of 80s anthem rock. "Sing and dance" not only crosses that line, however, it penetrates deep into the heart of Cheeseville, and I don't think I was ready to take that trip. The remainder of the album strays elsewhere – into Eastern Europe, to collect a bit of the gypsy folk that seems to be picking up momentum thanks to Beirut and Gogol Bordello. With Cirkus included in the name of the band, I suppose it shouldn't come as any surprise that there's also a hint of the theatrical, with some songs verging on cabaret, but it wasn't a combination I was expecting from this mysterious Göteborg collective who describe themselves not as a band, but "more like an orchestra, or a joyful funeral procession… a huge mass of people tumbling around on a mysterious stage or as a calm sea of milk with two lonely sailors upon it." Yeah. Weird.
- Stacey Shackford
5
Second album from hippiechick-come-eccentric who can sing like bat out'a hell, and is named after the fifth Tellytubby (allegedly). Brace yourself, it's a full on affair. That I set the player to random seems to have made no difference because 'random' is the operative for "Prinsessor". Warped classical, circus bigtop, singer/songwriter mark a few of the turns - and don't she just love la-la-la-la's, ma-ma-ma-ma-ma's and bird song sound effects. Note the dual assault of English and Swedish language songs. There's lots of movement to "Closer"; bombastic to begin then insipid McDonald's equivalent of Dub is: "Call on me".
A horrendous mish-mash of styles and so ear bashingly provided; but she does have these flashes between keys throughout. Bear in mind Laleh is one massive pastiche, and that "Step on You" could be called 'The world's best song by the greatest session musicians ever' - Fleetwood Mac would have been proud! It's preposterous, but The Knife ought to get Laleh's vocal sampled - not least on the first few versus of "I know this". This album is genuinely good when ambling, but hideous when clever.
- Jason Christie
Björn Norestig