Tag: Reviews
The Grand Opening is primarily the efforts of John Roger Olsson, a soft-spoken young man with an undying will to tell stories of love and heartbreak. "This is nowhere to be found" is Olsson's debut and its ten brooding, down-tempo tracks will leave you feeling a little softer and a little more malleable even after just a few minutes. Every song is crafted to bring you down a few notches and pull you into a contemplative state, the lyrics dive into the happy and unhappy (guess which wins in the end) and though they are a little on the simple side, they have enough moodiness to alter the rest of your day. While acts like Doveman are sapping things down in the states, The Grand Opening appears to have things handled for the EU.
- Phil Del Costello
Henry Morgan's Solokarriär is an untitled 4-track CDr, one of 20 sent to fanzines and alike. "One day, one day" is the opener, a two part: frenetic machined drums with largess lyrical delivery which brings the song to dreamy places. Unforced, Morgan is almost staccato in conveying the emotion in each song. There's that same nervous excitement about the songs heard throughout Vapnet's "Thoméegränd" track. Take a torrid hometown melancholy on "Face from my hometown", "It's not my heart that speaks, but the quivering of an old wound" he sings. "Keeping Me Warm" is the least accomplished of four otherwise decent tracks, including a cute cover of Bright Eyes' "An attempt to tip the scale". If you are one of the 19 others to get a copy of this disc - let's start an old fashioned fan club because, as it stands Henry Morgan's Solokarriär, is one of the best of 2006.
- Jason Christie
Already a bit, but soon to be probably even more, talked about Loney, Dear (or Emil Svanänge, which is his real name) move in the territories of atmospheric slow pop songs. Quite often it reminds me of the more mellow songs of The Flaming Lips. "Loney, Noir" is a great album that I know I will listen to for some months to come, it's very pleasant and it's one of the few albums I've listened to lately that makes me want to chill out in my bed and do nothing but listen to it from start to finish.
- Simon Tagestam
I've never liked Melody Club and their cheap and nasty synth-driven melodic pop, but their latest (and third) album is much better than I thought it'd be. Saying that, my expectations for it were lower than you can imagine. I've always thought of them to be quite pathetic, but they've become much less so now, which is really in their favour. The hit single of the album "Destiny calling" sounds like something by The Sounds and I can easily picture the song soundtracking a video featuring fast open top cars (after writing this I checked out the video on YouTube and was very disappointed, they've managed to make a very non-anthemic video for an über anthemic song), and I wouldn't be surprised if the Roxette fans of Germany and America will love this. If they'll keep on progressing like this, come their 27th album, and I might just buy it for my niece.
- Simon Tagestam
I've never heard of this band before, so this listening to this record was a nice little surprise. Avi compared these fellows to Ben Folds Five, which is very fitting. They also inhibit some of the quirkiness of The Mopeds, (both bands are Swedish all-male trios as well), and they sound like a lot Swedish indie bands did in the late 90s. I loved a lot of those bands, but with it now being almost 2007, this is what I don't really like with this album. Even though they've got pretty good songs, they unfortunately come across as really dated. Hopefully Nom De Guerre will sound a bit more up to date on their next album (I know, that sounds almost iconoclastic of me), produce some (even) better songs and improve their lyric writing skills (sometimes the rhymes are disastrous). If all this happened, I think they could produce something pretty, pretty good.
- Simon Tagestam
It's always hard when an album comes out at the end of the year, and how to judge it. However, it clicked with me with last weekend when I was riding on the train and just staring out into the space beyond the window. Winter is almost here, it's a cold and overcast fall day and Sibiria has just released easily the most devastatingly beautiful record of the year. Tracks like "Det har varit svårare", "Kompistjyv" and "Inte prata med främlingar" instantly struck chords with me; and the instrumental "Paria" is downright gorgeous. Actually, everything about this release is just beautiful. Congratulations Sibiria, you have created one of the best indiepop albums of the year.
- Matt Giordano
Cover records are always a bit hard to review. The Sweptaways are a 28-piece all-female choral group, and to hear them cover Kiss ("I want you"), Black Sabbath ("Changes") and the Pet Shop Boys ("Gowest") is quite refreshing. This album works well as a straigh-through listen (although at 28 minutes, it still can be a bit overwhelming) or when you pair up the covers with the originals. This record won't be accessible by all, but those to whom it will appeal with enjoy it thoroughly for the strength of performance and the interpretations.
- Matt Giordano
If anyone at NME is reading, here is you next favourite band. Cartridge sound draws very heavily from the sound of modern British rock (Kasabian, The Rakes, Arctic Monkeys), and whilst I'm not too into that whole scene, I believe they could easily handle their own on a bill with any of those groups. On "Enfant terrible", Cartridge is overflowing with energy and it shows on every track. The band keeps a rather quick pace throughout each track that, when preformed live, one can only assume it is the same, if not faster. "Coma state" and "Rooms painted green" are two noteworthy tracks on here, however in my estimation, "Tree crowns" is the best on the record.
- Matt Giordano
Wow. What a tight bombastic burst of big glorious driving pop! When Jim Kelly at Parasol Records starts rearranging his top ten lists to squeeze in a last-minute contender, his band of choice is usually worth a listen, and indeed, this one's more than worth it. It's loaded with memorable melodies, powerful catchy riffs, gloriously full sound, poignant lead vocals, fun harmonies, and thoughtful lyrics. There are glimpses of references here and there, but they've really got their own thing going on. I'm with Jim: one of the year's best.
- Nancy Baym
With three sold out shows in four days prior to this, her last US dates of the year, anticipation was for a spectacular set by Ms. Sarah Assbring; and it lived up to everyone's expectations. Backed by three musicians (guitar, guitar/bass, and hammond organ) the band brought out sonic elements not present on the record, emphasized by beautiful vocal harmonies and Motown-esque backing vocals. The true highlight though was Sarah's voice. Whenever one goes to a show it is of interest to see how close the singer can replicate the best take that was included on the album and tonight everything was hit, and was hit well. Some of the titles she played included "Candy", "Dog", and "This Loneliness". However, the true gem of the lot was the performance of "I can't talk about it" with the toe-tapping tambourine; and on that rainy (and by that, I mean downpouring) Thursday in New York, it made everyone dance, smile and feel the love of the musician for the music.
- Matt Giordano
Maybe the originality of their sound would make more sense to a local, but from where I live, this debut sounds like what might happen if a bunch of indie rockers got really drunk and fell into a time machine that took them to a 19th century sailing ship where they drank until they burst into song. This is not necessarily a bad thing. Whether they push their raucous folkiness too far will depend on your own boundaries. To these ears, they usually stop just short of the limit - as soon as I think "if they don't stop this right now I might have to skip to the next song" they stop and I enjoy myself again. Still, sitting through the whole thing isn't always easy. But then, I'm sober and I suspect this is music for live shows where everyone can sing along rather for than quiet moments alone.
- Nancy Baym
At its best, this Danish debut sounds like a slightly campy combination of the Pernice Brothers and Chris Isaak. Alas, the rest (most) of the time it sounds like the soundtrack to an imaginary American roadtrip that's taken a surreal, comedic, and not particularly pleasant wrong turn. They try for funky now and then, try for Nashville other times, but all in all, it's postmodernism gone awry - not all influences are meant to be combined. It's a shame since they've got a fine singer, some good melodic instincts, and some splendid twangy guitar. It might make you laugh, but I don't think that's what they were going for.
- Nancy Baym
Yet another band from Umeå that delivers! Hell, if you didn't know better, you'd think that the songs featured on "Paranoia" were recorded in the mid-80's, following the likes of Minor Threat and Black Flag. To be honest, this is 25 minutes right up my alley! The Insurgent Kid-members are in no way strangers to the hardcore scene, coming from various successful bands in the past (Abhinanda, D.S. 13 to name a few) and it shows. The performance is flawless with singalongs, raging (and unbelievably tight) drums and guitar-riffs that carry every tune home. The fact that these guys recognize that a song doesn't have to be longer than, say, 2 minutes is admireable as well! This release proves Wasted Sounds to be one of the most interesting labels in Sweden at the moment. Can't wait for the premiere of "American hardcore" in Scandinavia? Get ahold of a copy of "Paranoia" and it'll be worth the wait!
- Jonas Appelqvist
On this, their third full-length, the cocky youngsters have grown up. And bear with me here, that's not necessarily a bad thing. Mando Diao still put out dirty rock n' roll with great hooks from the 60's, something they've been doing since the "Motown blood EP". The difference between "Ode to ochrasy" and the previous ones is that this one contains songs. Songs that proves a maturity required in the music scene of today. The record kickstarts with the killer "Welcome home, Luc Robitaille" and you can actually feel their ambition to make it a Classic. And I'm the first to admit that I have been wrong when doubting in these guys. Up until now. 'Cause really, every song featured is a damn fine song. From the mellow, soulful "Josephine", to the euphoric "Song for Aberdeen", through to "TV and me", the single that's a fairly big radio hit in Sweden as we speak. I imagine that the decision of having Calle Olsson (Union Carbide Productions, The Soundtrack Of Our Lives) producing was a healthy thing to do. But - and there is a but - the only thing I object against is that, while the production is a craftmanship as good as any, it's not as in-your-face as I want this type of rock n' roll to be. But that's a secondary comment. The primary thing is that Mando Diao have made a record that, if there's any justice in the world, should be remembered for a long time. Time will tell.
- Jonas Appelqvist
The thing about Taken By Trees is, if you liked The Concretes, you'll like this; and if you didn't, then you won't. Ms. Bergsman hasn't been taking voice lessons at all (which is obvious from "In colour" and now these demos), and she's not treading new ground at all; a new audience won't be gained other than devout fans. "Lost and found" could have easily been an extra from "In colour," which is evident by its unfinished feel. I guess she just wanted to take back the twee and all of these tracks are quite sparse - which is good, and brief - which is better. All in all, demos are just ideas, but with someone who's been writing songs for a better part of the past decade, you'd expect something to awe you, something to make you believe she quit her previous band because she was being held back creatively, but this just doesn't come close to any of that.
- Matt Giordano
The Grand Opening
Henry Morgan's Solokarriär
Sibiria
The Sweptaways