Tag: Reviews
6
It's no secret that Saint Thomas (aka Thomas Hansen) has had some problems grappling with substance abuse, psychological issues, and the bad behavior those things too often entail. On this record, he lays it all out with 14 sad short songs that reference many of his lowest moments. The result is poignant and at times beautiful, reminiscent of masterpieces like Big Star's "Third: Sister Lovers", a heartbreaking wrencher of a dark sad record. Unlike that one, though, "There's only one of me" lacks the variety to keep it interesting across its total length. Saint Thomas's high voice starts sounding more whiny than tortured about half way through and the simple acoustic arrangements don't bring any excitement to the mix. It has some magnificent moments that capture the pain, confusion, and sense of loss in depression and addiction, but as a complete listening experience, it falls short.
- Nancy Baym
7
Drone, when done right, is transcendent. When done wrong, few things are worse. This two-track live document of a performance in Moscow falls squarely with the former. I'm not sure how much of the set was composed in advance versus live improv, but the pacing is excellent. The approach is very minimalist with slow, subtle shifts in texture over time, gradually building the tension before descending into the sounds of despair. Even better, it lets up before overstaying its welcome. I can't say that it would have been exciting to see this live and in-person, but it's quite nice on record.
- Avi Roig
8
The overall feel to this album is decidedly downcore. It would be perfect to play during the Saturday night/Sunday morning lull. A lot of these tracks could easily fit onto one of those late nineties, early noughties compilations encompassing the short-lived New Acoustic Movement genre. This isn't a bad thing. In fact, there's some beautiful orchestration on this record. The first single, a duet with Bernard Butler called "Love", wouldn't sound out of place on Suede's 1994 magna opus "Dog man star" – perhaps the record that kick-started the trend for indie bands to use orchestras in their work. A lot of the tracks on the record have a real yearning quality, which comes across in their lyrical content and spiritual mood. In short, if you're having a bad day, put on this record to elevate your mood.
- Nick Levine
2
They were much better than when I saw them last year at the Emmaboda Festival in Sweden, that's something I can't lie about. But even though I love their recorded music, I just can't stand them and their hippie ways of conducting a live concert. It's like a constant cringeworthy moment to observe them slaughter their songs on stage. Their stage show makes me feel like crawling into my backpack and chewing my ears off. I seem to be in a minority though, most people tonight at ULU were happily singing along and going "mental" when confetti and other horrible antics were unleashed upon them. I don't mind the odd bit of crowd participation, and I'm definitely against any Sonic Youth-like snobbery were bands might as well play in another room, but in my humble opinion, I'm From Barcelona are just taking it too far, and it makes me sick, sick to the bone!
- Simon Tagestam
6
I must be honest, I've never heard much from Emil Jensen before, but I feel this to be a good introduction to his music. With five tracks in under twenty minutes, it's nothing too straining on my ever-shortening attention span. The EP kicks off with the title track, which is quite a catchy little number. However, the second and third tracks tend to simmer a bit before the real gems of the release - the two remixes. Both tracks are by far the out-and-out standouts of the album and gets one hoping that in the future, Mr. Jensen's remix foray will lead to proper collaborations.
- Matt Giordano
8
It's a hit! Four tracks of steamy r&b pop (plus an additional remix) really sets the standard for Juvelen. "Watch your step", "Summer spring" and "Of course I remember" are three slow-moving tracks meant to be played post-late night soirées, preferibly with a glass of wine and that special someone you've been making eyes with all night; and the Revl9n remix of "Watch your step" is a deconstructivists fantasy. However, the true centerpiece (and aptly-placed middle track) of this set is "Hanna", a dance-floor gem brimming will pulsing bass and drums. I've quickly become convinced that Juvelen could very well be on his way to pop stardom.
- Matt Giordano
5
Memo to anyone planning to make a half-serious quaalude-influenced science fiction spy movie set on a beach (and featuring squid?): Here is your soundtrack. This instrumental record has hints of surf and spy music of the James Bond variety, but it's all stretched out slow and spacious, spacious enough that even when it's not slow, it feels slow. It's kind of cool in the slightly groovy but non-demanding retro futuristic atmosphere it sets, and it makes good background music while deeply immersed in something else, but it's hard to imagine really getting into this CD. They do get major bonus points for sampling the wonderful 1960s TV series "The Man From U.N.C.L.E.", but they're neither fun nor engaging enough themselves to merit being sampled 40 years on.
- Nancy Baym
9
Seeing as how "Writer's block" was my top album of the past year, I was excited (which might be an understatement) to see them on one of their few dates West of the Atlantic. I had high hopes for the show and they were exceeded quite easily. The band was flat-out amazing. The songs take on new textures in a live setting, with the band highlighting aspects one would not normally expect, such as a stripped-down and gorgeous version of, as Björn introduced it, "Remembering the words to the song" otherwise more commonly known as "Amsterdam". The live interpritation of "The chills" gave a new perspective on the track. To the enjoyment of the crowd, they played "Young folks" in the middle of the set and were joined by Victoria Bergsman and Lars Skoglund (of Laakso) for a rousing version of the track and, later in the encore, paid tribute to Ms. Bergsman with their Concretes cover "Teen love". Overall, this show was fantastic and the band's onstage charisma and playfulness vehemently lets the audience know they're enjoying it. That blatant honesty between performer and crowd is something that's missing with most bands these days. Peter Bjorn and John are on their way to becoming one of the best indie pop bands on the planet, all the while having a great time doing so.
- Matt Giordano
7
This collaborative effort is as smooth as silk, seriously. Nina's extremely sweet vocals over quiet piano tracks struck this reviewer less as jazz (at least what I think of it) and more as just beautiful balladry. "Du min vän" and "I sin sorhet" are just two fine examples of this. With Valentine's Day coming up, this record is a must for any couple looking to stay home by the fire with some red wine, laying under a blanket.
- Matt Giordano
7
Apparently Canadian-born Richard Reagh has been busy in his little woodland retreat outside Stockholm, creating his own little aural technicolor dreamcoat, sewn together with dozens of little sampler patches from a multitude of sources. Sometimes the resulting pattern is pleasing – Montt Mardié's contribution for "Boo Backe" simply sparkles in sequined brilliance. Sometimes it's a bit garish - I'm not convinced snippets of "Ring my bell" and "Copacabana" really work in an otherwise somber song about war. But it's always interesting. And wisely, he leaves all accessories behind for a sparse, breathless collaboration with El Perro Del Mar on Neil Young's "Hangin' on a limb". If Richard's singing the blues, he's disguised it well among electronic bleeps, squeaks and tinkles to fashion a rather sexy, if not outrageous, little addition to any daring wardrobe.
- Stacey Shackford
8
"Phantom punch" finds Sondre Lerche again not only giving his backing band The Faces Down title credit, but delivering some of his most uptempo material to date. This is where the album succeeds - finely tuned pop gems such as the stellar "Say it all" and "John, let me go" are two of the best tracks I've heard from Mr. Lerche; whilst the stylised punk of "Face the blood" initially came off as a bit of a shocker at such a high-tempo, it fits perfectly in the scheme of the album. While steeped heavily in pop, it's good to see an artist bring in other elements. Coupled with the loose-feeling arrangments, the band is allowed to convey their music at a level that was missing on the more polished "Duper sessions".
- Matt Giordano
6
These Finns return with a new six-song batch of sludgy, dirge-heavy punk and this review is long, long overdue. I like it best when they settle into a comfortable groove and are content to bludgeon you relentlessly and repetively with a simple, crushing riff. Closing number "No pulse" is a brutally effective example, sounding like some unholy hybrid of late-era Black Flag meets Darkthrone by way of early Neurosis. It's heavy and hypnotic. Unfortunately, the more they try to change it up, the more they stumble. Keep it simple, keep it strong.
- Avi Roig
8
The smallest detail can set a group apart. In the case of this compelling art-pop group from Denmark, the harmonies on the opening track "Just a word away" exploit a minor third interval so precariously, with close male-female vocals walking an absolute tightrope together. They pull it off, and it's a thing of delicate beauty. Another daring move: no drums. Yet you hardly notice, so powerful are the vocals and the melodies. This band is patient enough to let the waves of emotion in their songs build slowly, and the songs contain plenty of space. An ideal soundtrack for ruminating, or watching scenery pass by gradually as you drive, perhaps. But this is skin-prickle music, the kind of sound that works on you subconsciously and underscores whatever you are longing for in life. I'd like to hear a full-length to really get a grip on what Attrap is capable of, but this EP truly makes a stirring first impression.
- Kevin Renick
9
It's always thrilling hearing something that doesn't quite sound like anything else. Detektivbyrån are influenced by the folksier side of Sweden's musical heritage, but there's a sweet purity at work here that seems to have sprung right from nature. Indeed, in Avi's profile of the band awhile back, they said they were inspired by wildlife (wolves in particular) and the ocean. Although a couple of tracks offer soft, glowing keyboard work, the ones you'll most remember are like whirling, rustic little dances. The third track in particular is one of the most gorgeous, infectious instrumentals I've ever heard, taking everything Björk had in mind on "Vespertine" and consolidating it in three minutes. Warm, lovely and life-affirming, this disc is one of the nicest surprises to come out of Sweden in ages.
- Kevin Renick
6
Don't Be A Stranger claim in an interview that the title of this 4-song EP is not a "Santa 'ho ho'" but the fact that "every song we make has an "ho ho" lyrics-part in it." Indeed, there is no holiday jolliness on here, but there is a charming sense of humor ("I know I'll be your perfect problem" she sings to the man she wants in one song, and in another she offers the come on line "We could be lonely together!"), and you gotta love a band that describes itself on their MySpace page as "Christian Rap/Hawaiian/Screamo." The sound is more accurately described as somewhere between Labrador-like twee, mellow rhythms and smooth singing, and indiepop's clever edges. The arrangements are often sparse, highlighting the singer's lovely voice. It's a tightly crafted fine listen, but easy to forget once it's over.
- Nancy Baym
Emil Jensen
Juvelen
Nina Ramsby and Martin Hederos
Attrap