This demo is kind of old, but that doesn't mean it isn't worth your attention. I bet Budopunch often gets accused of being Hellacopters copycats, but they're quite a bit better than most other bands I hear doing similar stuff. The songwriting is definitely above average and they've got some killer backing vocal harmonies, especially on "Tonite". Nothing life-changing, but still quite nice.
- Avi Roig
What's not to love about this album? It got lush melodies, nice vocals, and clever lyrics. An example of this greatness can be found in the song "It was in 1982" when The Chrysler manage to incorporate the chorus of Neil Young's "Only love can break your heart" into the song (how clever!). If I hadn't bought some tea as a present for my mum for mother's day (it's on 29th May in Sweden), I would have given her this cd. That's how good it is (I woulnd't give my mum a shit present, you know).
- Simon Tagestam
ConvojGöteborg-based quartet Convoj's self-titled EP is a promising mix of atmospheric rock in the vein of Interpol and fellow Swedes Torpedo with bits and pieces of Fugazi. This release contains five songs that draw in the listener with its dueling guitars and the vocals are a perfect match for the music. For a person who is pretty picky about her music, I was very impressed with this release.
- Navy Keophan
They probably hate, and I mean hate, the Ben Fold's Five comparisons, with good reasons because they sound nothing like that trio. But how often do you come across a pop trio that has a bass player, a drummer and a pianist? However, in the span of this EP, what Eskju Divine do is win me over which doesn't make much sense since I don't enjoy the band they resembles most (to my ears anyway): Coldplay. They have the same epic and melodic sensibilities, with the difference that Eskju Divine generally rock more. And their singer isn't whining.
- Simon Thibaudeau
GravyStarting this record I thought I was putting on a new, and better soundtrack, for "Van Wilder" (or insert any college-based comedy). As much as Gravy borrows from the Pixies (as Avi as judiciously pointed out last week) they still make every song their own with awesome arrangements, the awesome Doo-Wop backing vocals and xylophone bursting out of nowhere. This is just great, fun music that you cannot help but smile and enjoy.
- Simon Thibaudeau
In the world of twee, I am the baffled outsider looking in and not quite understanding exactly makes a lot of these bands any good. That said, I can appreciate a good song and on this EP, Martin McFaul has two of them. The main problem is when McFaul tries more complex electronic arrangements and fails miserably at integrating them to his songwriting. He should stick to his acoustic guitar, a simple drum beat and a supporting bass, and rely on his songwriting.
- Simon Thibaudeau
It's been two years since Millencolin has been on the West Coast and I, being the requisite fan, was looking forward to seeing them. Something about seeing a band two nights in a row sounds kinda boring but it was nothing but. The bands that opened for Millencolin on their little trek across the West were Roses Are Red, A Thorn For Every Heart and Boys Night Out. I wasn't really impressed with seeing three bands that were all five-pieces and it was really hard to decide if it was a cruel joke of sorts. Oh well, at least some of the kids there were into them.
Then came the headliners.
Millencolin burst onto the stage with energy and the crowd responded accordingly. They played about four songs off of their latest release "Kingwood" and also peppered the a-little-over-an-hour long set both nights with songs from "Same old tunes", "Life on a plate", "For monkeys and "Pennybridge pioneers". In-between song banter between guitarists Erik Ohlsson and Mathias Färm and bassist Nikola Sarcevic were lively and entertaining. I'm not sure how many times my neck became a target for crowd surfers during the Henry Fonda show but it was worth being up close and personal with the band. The crowd for both shows were very different. For some reason, all the idiots that throw stuff at bands during their set decided to show up for the Anaheim show. Whatever. I had fun meeting them on Saturday, having my glasses knocked off and smashed to bits, getting a random drunk guy putting his arm around me after that show and seeing them put up with flying shoes and water bottles on Sunday. Good times all around.
- Navy Keophan
Richard, your voice is awfully annoying. And the fact that it is SO high in the mix doesn't help me appreciate your record. When I hear your music, I hear a kindred spirit of Arthur Russell with the very important aspect being that Arthur seemed to have fun. You don't seem to have as much fun doing this and it doesn't help the music. I must congratulate you on "Hangin' on a limb", it is an outstanding track. I am sure it will get better from here but right now, the magic is not quite there yet.
- Simon Tagestam
No, it's not anywhere near as good (or as cheap!) as the "It's a trap! reader's companion", but this comp does still offer a good intro into the Swedish indie scene. I did however get turned on to a couple new bands, so I guess it did its job.
- Avi Roig
Most of the members of the Swedish band Consequences are best known for backing others. Guitarist Daniel Jansson has worked with Anna Ternheim, while Mattias Areskog (bass), Niklas Korssel (drums) and Åsa Jacobsson (organ, piano) have logged time in Marit Bergman's backing band. Uniting with singer Jonas Heijkenskjöld just over a year ago, the quintet has just self-released its debut EP, "Please wait". Power pop with swirling organ and cheery backing vocals, the music of Consequences is undeniably catchy. Some of it, though, sounds too familiar. "Come on", interestingly enough, sounds quite a bit like "Come on, come on" by the Von Bondies, while the title track includes the lyrics "every breath you take/every move you make." Thankfully, the band saves the best for last. Heijkenskjöld's tired vocal delivery guides the impressive "Wasted under the stars" with a nod or two to Aussie band The Church. Jacobsson's organ drives the melody on the bittersweet "Don't hold back" - when Heijkenskjöld delivers the line "I can't wait for you forever" several times, he sounds like he means it. Consequences blend really well together. Hopefully they'll build on this and zero in on improving their songwriting.
- Matthew W. Smith
Sweden already got The Embassy, The Knife, Three Is A Crowd, The Tough Alliance etc, and now they got Eurosport to add to the list of bands that make great electronic pop music. This CD has three tracks on it, and two of them ("Tell no one about tonight", "Shaking a lot") are near perfection. This is music for lazy Sunday afternoons, this is music for drinking lots of alcohol to, this is music to fuck to. Does that sound contradictory? It's not.
- Simon Tagestam
This is the third full-length platter from Sweden's Fint Tillsammans, and it's a quirky, hour-long delight. The trio sing in Swedish, which might be tough on some listeners (not THIS one, though). But there's so much variety in the music-which ranges from jangly folk-pop to romantic ballads to oddball art rock-that all but those who like staring at a lyric sheet while listening should be able to enjoy it. There are 17 tunes, crafted with subtlety and ingenuity by Henrik Wiklund, Martin Stensö and Henrik Svensson. When I make notes for a review, I usually mark a little star next to tunes that rise above the norm. Ten FT songs earned that distinction for me, which is pretty impressive. Among the highlights: the infectious rhythm, subtle vocals and zippy burst of retro-sounding guitar on "Somna om", the amusing "Dududududududu", the wistfully lovely ballad "Tank om", the timeless-sounding melody and clear, intimate vocal on "Regnet regnar langsamt" (a good one to play for your date if you wanna create a romantic mood) and the foot-tapping charmer Track 9 (the real title is just too long to type). This is one of many driving songs that illustrate what a great rhythm section this band has; bass and drums are spot on, throughout. Fint Tillsammans have pretty much made a classic here, a diverse record that doesn't fit neatly into any categories except "Scandinavian," and I always love it when that happens.
- Kevin Renick
The First MilesSo last night Avi gave me The First Miles "Aim for the heart, go!" to review, sort of as a game, but good lordy, it turned so serious because this is like the best album I have gotten in ages and ages. I LOVE this folky/rocky/Americana album. The first time I listened to it, I immediately liked it. By the ninth or tenth time, I was pretty positive that I would play nothing else in my stereo for a couple of weeks at least. Jeppe Foldager's voice gets better and better with every listen, deep and sorrowful, but somehow always hopeful. Like he is smiling sweetly despite of a breaking heart - and well maybe he is, after all, this seems to be the theme of the album. "Aim" starts off with super catchy and poppy song that lures you in and makes you bop your head and smile and then you realize, "Oh. He's sad." But amazingly you are happy and you stay happy, dear listener, all the way through this musical journey of love and loss and longing. And you relate to it, because who hasn't felt the terror of loving someone so much that you just don't feel safe and sometimes you just need their reassurance? Because love is scary and committing to love is scary and yet, you do it and you don't give up. And there could be no better album to sum that up- sometimes quiet, sometimes forceful, always soulful, a voice so deep, guitars so smooth, and an occasional banjo so perfectly twanged. So you will listen to it over and over, like me. And, like me, you will find yourself at times introspective, at times just relaxed and simply loving the noises coming through your speakers, but always you will be smiling sweetly. The First Miles even manage to pull off a duet "Baby baby baby baby baby baby baby, I love you" in the middle of the album and I usually hate duets, but this song is amazing. Annemarie Jensen's voice is kinda quirky and Foldager's so deep and they balance each other out perfectly by not fitting but somehow fitting together perfectly and you just kinda think, "yeah, that IS love..." This album is incredible. And if you don't trust me, trust Avi. He likes it tons too.
- Kelly Hoover
I loved Refused. I found The (International) Noise Conspiracy intriguing in the very beginning of their career, before they turned extremely boring. I liked the first Lost Patrol album and wasn't too keen on the second one. What about this new album from the ever-so-creative Dennis Lyxzén then? Well, there's none of the slower beautiful stuff that can be found on "Songs in the key of resistance", and too many songs sound like something by T(I)NC. Surprisingly enough, there are 5 fantastic pop songs on this album, that in a fair world should all be released simultaneously worldwide, then all entering the top 5 all over the globe (with "Golden times" occupying the #1 spot everywhere, of course).
- Simon Tagestam
If musical differences were a part of Refused breaking up, it's funny how, now sever years after the split, Dennis Lyxzén (with The Lost Patrol Band) and David Sandström are making pretty similar music (melodic rock). David and Dennis should really re-ignite their partnership and form a new band, Dennis would surely benefit from David's impressive songwriting ability, and Dennis could bring his "commercial appeal" to the table. Enough of this wishful thinking now and let's review this album - David Sandström's third album is in the same vein as his last great album, but whereas "The dominant need for the needy soul" shot of in all directions, "Go down!" feels more like a proper and solid album. This aspect alone makes "Go down!", in my opinion, an even better record than its predecessor.
- Simon Tagestam