Tag: Reviews
I always enjoy to some extent getting new music I am unfamiliar with and it can end up in one of three ways: good, mediocre or bad. Unfortunately, the new Oceano da Cruz album falls into the latter category. And why is it unfortunate one may ask? Well, it's because evoking the emotion of indifference is one of the most frustrating, and it's hard to gauge what to do to different the next time; also, it's an emotion that is without passion. Whilst I cannot deny that the musicianship is excellent, the genre it falls into (novelty music) has just been done better before (see: They Might Be Giants, Ween, Nerf Herder); and at twenty-one tracks, it's quite a long record, and tough to get straight through. However, whenver a song would come on random it would sound better, so I have taken the view of this as more of a "singles" (used loosely) collection and would advise you to listen to a track sporadically. You'll find it much more enjoyable.
- Matt Giordano
More breezy, melodic pop rock from Sweden... how do they keep churning this stuff out so effortlessly over there? Out of Clouds is a six-piece ensemble from Gothenburg and this, their second EP, is a charming little thing. What you get here is four tracks of sweet, summery rock distinguished by strong melodies and the high, plaintive vocals of Joel Goranson, who reminds a bit of American singer David Mead (especially when he goes for the falsetto). "Like a lily", which has already gotten some attention on these shores, balances its airy vocals with a fairly vigorous rhythmic attack, while the evocatively named "Revelations in a cold season" offers clean, pretty guitar lines and a pleasing string arrangement. Lyrically, matters tend to be a little saccharine, as on the reasonably rockin' tune "Untroubled mind", where Joel tells us: "I had this feeling, I feel fine/I wanna spend my days in sunshine/I shouldn't worry cause I am/Under protection of the greatest love/I feel like dancing..." There are sweet harmonies adorning the tune, but everything tends to be pretty much on the surface. On the slightly more melancholy "He's in control", the arrangement has a bit of a '60s vibe, and the vocals reel you in, but the tune seems to be some kinda religious ode, which leaves me unsettled. It's too early to make a real prediction for Out of Clouds, but they definitely have an ear for melody and pop-rockin' freshness. Just watch it on the syrup, boys, 'cause many a band has gotten creatively stuck when they poured it on too thick.
- Kevin Renick
Papercut is Erik Berglund and Ulrica Brunner, two beautiful young people who apparently grew tall on milk, cupcakes and synthpop. At the tender age of 9, Ulrica bought her first CD, "Dance vol. 1", and apparently it's been a strong influence ever since. A keyboardist in Firefox AK, her new collaboration with Erik has resulted in some simple electro-pop with vocals eerily reminiscent of St Etienne. This three-song demo includes the atmospheric "Time" and the more poppy "Adrian", both of which are ripe for remix to become club anthems. Until then, the perfect accompaniment to a stroll around Borders.
- Stacey Shackford
Sambassadeur's eponymous debut was one of 2005's best records - lovely lazy jangle pop with just a wee bit of electrobeat that managed to be blissfully gentle without crossing the line into annoyingly twee. This EP picks up right where that one left off, with 4 songs that show the band continuing to do what they do best. It's a must for those who enjoyed the first record, and a good taster for those curious about the band.
- Nancy Baym
First the bad news about this Finnish quartet -- they only have one song of which 10 variations appear on this record. The good news is that it's a really good song, so even though I keep checking to see if I've inadvertently repeated a number I just heard a few minutes ago, it's nonetheless a thoroughly enjoyable listen. Their sound is (to quote their website) "mellow and cheerful" pop reminiscent of Starlet that foregrounds singer Antti's mediocre yet appropriately earnest vocal delivery and bright guitars. I'll hope for more variety on their next record, but this marks a bright debut from a young band with a lot of promise.
- Nancy Baym
I sure do love it when bands make this reviewing racket easier. So let me express my gratitude to the eccentric Swedish band Tar... Feathers for doing virtually everything right to grab one's attention with this bizarrely titled CD "Make way for the ocean floor to fall to the surface." I hate trying to fit this into a genre, but "stylized art punk" is the general ballpark here, as this very accomplished outfit combines the fluid, disciplined guitar work and tension-laced vocals of multi-talented band leader Marcus Nyke with the utterly exemplary rhythm section of Morton Billeskalns (drums) and Pal Olovsson Rodenius (bass). Additional programming/drumming is also provided by Simon Stalhamre. The sleeve design itself is colorful and weird, and--bless my soul--a lyric sheet is provided. This is enormously helpful, because Nyke's voice here could be a dealbreaker for some. It's like he sings with clenched fists, in a manner that maxmizes both the tension in the lyrics and the dark emotions (often about social detachment or situational anger) powering many of the compositions. So you tend to feel tense yourself while listening, although the masterful playing acts as a reassuring buffer. "Breathing through a straw" exemplifies the potently effective interaction between the no-nonsense guitar and ace rhythm section; the band establishes a dynamic instrumental core that stays anchored for the entire recording. "Half a sentence" has a gritty energy that straddles the line between "arty" and "punk" with the former winning by a hair, and Nyke's occasional yelps or short shrieks act as a kind of weirdness beacon for the aural traveler. The moody "You are lucky to have nothing" has a captivating instrumental intro and gains from guest vocal harmonies by Anna Tomlin. It's great fun following the lyrics throughout, when they're encased in such willful nonconformity. Sample: "Someone seems to have it all/Someone else tries too hard/Why do some things float?/Why are bunnies hopping?" This may be uneasy listening, but it's truly distinctive. And since on that one and "Tada" Nyke is pretty much playing/programming everything himself, it's hard not to conclude that the guy is probably some sort of wacky genius. At any rate, for consistency of vision and overall sonic excellence, this is one of the best albums on the weirder side of Swedish rock since The State of Floral Beings' last CD. If you can get used to Nyke's edgy vocals, you'll find yourself enjoying one heck of a cool disc.
- Kevin Renick
It's got all the trademarks of Swedish twee - horns, girlish vocals that are just a little off, lo-fi production, fast effervescent melodies with a slightly 50s swing beat. It's even got a handclap solo on "Lack of nourishment" (the EP's highlight). It's almost enough to make you jump up and down on the CD in hopes it'll break except for that the songs have enough depth to hold interest over repeated listenings. It's vehemently not for those who don't like twee, but if you're an enthusiast, give it a listen.
- Nancy Baym
Fuller roots less blip more beat as 120 Days hawks Andrew Weatherall as their own, with a little Josh Wink element to a few of the tracks. Lovely deep, a bit much of the drum club circa 1994 downward distortion on vox and metallic plates of guitar all programmed to the nines. Track by track and step by step, the beats are pretty are well thought out, but the record lacks at least a missive and feels a bit indulgent, not least the 11 minute finale. That said, 120 Days comes recommended to those who enjoy the likes of Primal Scream, Kasabian. Fav tracks are the long intro and relative straight edged "Come out (come down, fade out, be gone)". Stellar stand-out track is "Be mine", a spiritualized, or even leftfield infected memory.
- Jason Christie
I know I've said before, and I'll say it again. What so many Swedish electronic-based acts are gifted at is evoking a warmth that is normally absent from the icy cold genre. This is proven on Biker Boy's new EP, on which the title tracks bubbles along a jaunty pace with the narrator expressing his concern for his lover getting the wrong end of the stick. It is heavily influenced by the Pet Shop Boys, but it's not exactly Che Guevara set to a disco beat, and is more reminiscent of the British duo's more frothy moments. Not a bad thing at all. "Are you going to be the one?" adds as selection of synthesized strings to Biker Boy's palette and cumulatively is the most ballad-like track on this collection. "I was only joking" is a perfect song for the end of the summer. It's both euphoric and moody at the same time. The EP also features an excellent remix package courtesy of Le Sport, Vapnet, Bremen and Kalle J. Pick of the bunch is the Bremen remix which features beats and synths reminiscent of Audio Bullys.
- Nick Levine
Yes, Annika, I would. But you knew I was going to write that, didn't you? What can I say - I'm a sucker for hand claps. And smart, wry lyrics. And sparkling melodies. Which all feature in abundance on Hello Saferide's latest stellar effort. The opening track sees Annika quizzing a new beau, asking such important questions as 'Do you talk in the middle of Seinfeld? Have you slept with any people I work with?' In "Last bitter song", she promises, 'From now on, I'll write about flowers and butterflies/Chickens and kittens and shit' – before going on a brilliantly bitter tirade about some pretty boy and his new buxom bitch. 2006 delivers more of the straightforward pop we've come to expect from the Razzia Records darling, and track three, "The best night of your life", is a fantastically fun song about a crazy fancy dress party that makes me want to salsa meringue my way across the room in a penguin costume. The big surprise, however, comes with the final track, "Leaving you behind", for which the lovely girl-next-door is transformed into a sultry soulful crooner, singing a sad song about moving on. Oh Annika, I didn't know you had it in ya! Let it all out, sista! Again and again, ten times over.
- Stacey Shackford
Last year I was fortunate enough to hear Juni Järvi's self-released CDR "Meanwhile", which I loved. The CDR gave me very high hope for future releases from Järvi and I'm so relieved that not only did he meet my expectations with his debut album, but he also surpassed them by making an album so good that I can't stop listening to it. Whereas last year's CDR was shooting off in various musical directions, Järvi (thankfully) seems to have found his niche on "Meanwhile...". Most of the songs are slow, lush and beautiful with absolutely gorgeous melodies. "Falling down like snow" is one of the best, sounding a bit like the theme song from "Twin Peaks"; an atmosphere that runs through a lot of the songs here. There are also some poppier Jens Lekman-esque tracks on the album, all being magnificent and they serve as a nice break from the slower, sadder songs. It's for albums like this I listen to music, I urge you to seek it out, sooner than later.
- Simon Tagestam
Klas comes across like a mix between Jesus & the Mary Chain and an early Beck (or a not-as-quirky Adam Green) on this self-released CDR. It's Swedish, lo-fi, melodic and utterly charming. Apparently Klas didn't know when he recorded it that The Tough Alliance already have had the good taste to do a cover of 50 Cent's "Many men", although Klas's fine ninety-six second version (with whistling and all!) sounds very different from TTA's rendition. There's definitely room out there for both covers. Four of the six songs on this CDR can be listened to/downloaded on Klas's myspace page - just one click away!
- Simon Tagestam
After delivering the spectacular debut "Drama", what does David Pagmar give us? Why young reader, he comes through with the first installment of proper new material. The first track on the EP, "1969", is in similar vein as his debut, but is much more fleshed out with horns fully complimenting the vocal melodies, as well as carrying his ideas to new heights. Now the second track is really where Mr. Pagmar shows his wild side. "My girlfiend is in the Grand Prix finals" is a full-on dance assault, and I'm sure the IAT! DJs will be spinning this ridiculously catchy and fun track at Tack! Tack! Tack! for months to come, and it will be a massive hit. The third track "The pilot" begins with a slight Postal Service-sounding introduction, but quickly breaks into a mid-eighties Michael Jackson meets KC and the Sunshine Band disco synth pop masterpiece with hooks abound. And the closing track, "The memoirs of a never doubting scientist," is a soft ballad, sung in the falsetto whisper we've all come to love. Overall, and maybe due in part to the fantastic interview, but mainly because of his great songwriting, I've found myself listening to this EP at least once a day for the past couple of weeks, and I'm looking forward to what comes our way next.
- Matt Giordano
I have totally fallen for the sweet charms of Britta Persson. How could I not? Her voice is simply stunning. Her lyrics tug at even the hardest heart strings. And have you seen that fringe? And her huge, oversized specs? Adorable! "Defrag my heart" was my guilty, girly geek anthem, so I was very excited to get my hands on a copy of a full-length album. It doesn't disappoint. You don't have to dig too deeply to unearth a few gems. In fact, all you have to do is press play, as the first track, "Winter song", is an immediate winner. It also happens to be the first single, selected through an online vote by fans and the subject of a fantastic video featuring the boys of Suburban Kids With Biblical Names. "You are not my boyfriend" is another stand-out track, and "Bellamy Straat Straat" comes a close third. The rest of the album is simple and sparse, with only the most subtle instrumental arrangements, allowing Britta's surprisingly sultry, soulful voice to shine through. And it ends with an absolutely gorgeous ethereal duet with collaborator Kristofer Åström. She describes the sound as "old fashioned and Nordic and also Madonna, Fleetwood Mac, Low, Natasha Bedingfield, but lo-fi." I'd just sum it up in one word: Beautiful.
- Stacey Shackford
The Charade have lineage in a number of well regarded Swedish bands of days past, including Happy Deadmen and Red Sleeping Beauty, so they can at least make some claim to innovating this kind of supertwee relaxed music that brings to mind big fluffy clouds, sunny days, cotton candy, and prozac. Like Club 8, Acid House Kings, or Sambassadeur, they have gorgeous etherial female vocals with some male backgrounds (and occassional leads). The Charade also throw in a lot of background harmonies reminiscent of girl groups of the 60s. If that much fluff weren't enough, they've got happy optimistic lyrics about things going right. There's not a trace of darkness to be found. Were there not so many songs that are catchy, pretty, or both, it'd be excruciating. Instead it's a fine gentle pop record with some strong highlights mixed with mediocre filler.s
- Nancy Baym
Tar... Feathers
Biker Boy
Hello Saferide
Montt Mardié
Britta Persson