Scandipop has posted a track-by-track take of Robyn's new record: https://www.scandipop.co.uk/?p=3071
Not to go out on a limb or anything, but it's kinda funny -- I love the songs they pan and am not so into the ones they love. Still, I agree with the overall assessment that it's a more cohesive record than "Pt. 1", though I'd go further to say that it's just a slight touch better.
WatainThe first thing you'll notice about this fourth studio full-length from the Swedish purveyors of stench-laden black metal is just how polished it is, at least in relation to anything they've previously vomited forth. It's a strange listen in that such a hefty production sounds great, even though it doesn't fully represent what was expected of the mighty Watain. The music itself is clearly representative of the Swedish horde though, with plenty of riffs that are instantly recognisable as Erik Danielsson and his cohorts, but there's something else in here. Other familiar black metal element has crept into the foray and, as much as some may try to deny it, it must be said that there's a slight tinge of Norway on "Lawless darkness". Or, to be more precise, there's a slight tinge of Dimmu Borgir on "Lawless darkness". Is that a bad thing? Well, yes and no. Dimmu Borgir is Dimmu Borgir and Watain is Watain. They're two definite entities that tread their own ground and pretty much do what's expected of them. For the Norwegians, it's black metal at its most polished, a big budget, high shine, mass appeal madness that works. For the Swedes, it's down and dirty, filth-ridden, black mass uneasiness. That works. Whether or not the high of their extreme cult status has now found Watain aspiring to the grander levels that Dimmu enjoys remains to be seen and, no doubt, will become clear with future releases. Listening to "Lawless darkness" though, it seems as if the journey may have already begun.
As a standalone black metal album this is damn fine stuff, standing head and shoulders above much of the material currently saturating the scene. As a Watain album it's... slightly unexpected. It's definitely a grower and it's definitely s(l)ick stuff, it just doesn't quite reek of the 666-year-old pig's blood that "Sworn to the dark" or "Casus luciferi" did. The sparse leads on the album, I don't think work. Most of the time they knock whatever true menace is currently growing off kilter and generally deaden the impact of the song. The most enigmatic of the tracks on offer is without a doubt the 14-minute closer, "Waters of ain". Throughout its duration it displays Watain at their most venomous, yet, equally, at their most mainstream. It's a great track. It's an odd track. Part of it is a Watain track. Part of it isn't. For the most part, "Lawless darkness" is a great album that I'll return to when I'm in the mood for some quality black metal, but If it's a true sense of impending doom I'm after, I'll just blast "Casus luciferi" instead.
- John Norby
Audio Suede has a comprehensive review of the new Haleiwa album "Pure vida dude": https://audiosuede.com/haleiwa-pura-vida-dude/
The new Robyn single "Hang with me" gets playlisted at Pitchfork: https://pitchfork.com/reviews/tracks/11952-hang-with-me/
ViridifloraSeems kinda weird for such an obviously mainstream pop-aspiring artist to release their debut via the self-limiting 7" format, but it's not as if I mind. The full-color foldover and white vinyl makes for a nice package that befits the ambitious music contained therein. And ambitious it is: both tracks soar with grandiose Swedish melancholy, no doubt helped considerably by the talents of producer/engineer Rikard Löfgren (Bay Laurel/Leon Music), who also happens to share songwriting credits alongside Jessica Johansson, the artist herself. While Viridiflora's electro/pop is in no way groundbreaking, it is well-executed, especially on the b-side "I bleed you out" which attempts a more personal and mature lyrical approach that appeals to me far more than the vague generalities expressed in "High on you". There's still a bit too much guitar on the far side of corny for me to give it a wholehearted recommendation, but it's still enjoyable.
- Avi Roig
Pitchfork gives positive marks to the US release of Regina's album "Puutarhatrilogia": https://pitchfork.com/reviews/albums/14527-puutarhatrilogia/
Far From TellusFar from Tellus' self-titled album is a swirling, cohesive, and, most importantly, damned entertaining effort, combining elements of folk and blues, 70s rock and 80s pop, all on their own terms. Like some strange marriage between The Kinks and fellow Norwegians Superfamily, Far from Tellus ramble through decades of inspiration, tying these echoes together into seamless, layered, and often anthemic compositions. Also, like the aforementioned Kinks, Far from Tellus have a fine relationship with the poignant and the playful, never allowing the latter to overpower or besmirch the former: "Norwegian fairytale mix" blossoms to life with such swagger upon layers of guitar, piano, and banjo, only to transition into a gloriously simple and memorable chorus; "Mogens" opens with a strummed banjo and closes with enough rock organ to make any Zeppelin fan happy, its middle section reminiscent of the clever, driving compositions of Herr Nilsson, yet another Norwegian outfit (I'm sensing a theme here); and seven-minute closer "Bless our souls" builds beautifully to its wonderfully raucous ending, reminding me of Britpop acts like James throughout. "Far from Tellus" is an impressive display of talent and songwriting. I wouldn't be surprised to find it on my Best of 2010 list, even with almost half a year left to go.
- Lars Garvey Laing-Peterson
Mono StereoMono Stereo are a Swedish band mining the same sort of aimlessly rambling psych/garage-rock territory as Norwegians Serena-Maneesh, swapping out the latter's wall-of-noise footswitch overkill for a vaguely 60s retro bent. A-side "On and on" is anchored by a looping pseudo-sitar riff that befits the title, run over deeply buried vocals and a simple 2-chord vamp that neither builds nor excites until the mix mercifully fades out sometime before we hit minute five. The flip places the vocals a bit more up front, but it's still more or less the same sort of endless go-nowhere droning, bereft of hooks or dynamics. At least with S-M, the records sound interesting even if the songs do not, this really isn't anything other than tedious.
- Avi Roig
PopMatters reviews the latest Kent album "En plats i solen": https://www.popmatters.com/pm/review/128541-kent-en-plats-i-solen/
Still Single lauds the self-titled LP from Danish noiserockers/post-punks The City Kill: https://still-single.tumblr.com/post/890474897/the-city-kill-s-t-lp-redtape
LiechtensteinLiechtenstein are a neat little twee band from Göteborg who have been going for a few years and they just released this 3 track EP. Their lyrics deal with typical twee subjects and have no-nonsense song titles ("Passion for water", "Spending time with you" and "On the tram"). The music is a mix of shoegaze meets twee with a pinch of punk, resulting in a sound like a less-tattooed version of Vivian Girls. It's not exactly game changing, but definitely better than other similar artists out there. It gets a bit repetitive now and then though, as Liechtenstein are really hammering their choruses into the listener's brain. I guess that is part of their musical heritage, but annoying nevertheless. However, all in all, it's a sweet EP that showcases a band that has progressed nicely from their debut ("Survival strategies in the modern world", released last year) and I'm quite keen to hear their forthcoming album.
- Stefan Nilsson
PopMatters reviews the reissue of Danish 70s rockers Moses and their album "Changes": https://www.popmatters.com/pm/review/126897-moses-changes/
The Silent Ballet reviews the blackened nature metal of Finnish act October Falls: https://thesilentballet.com/dnn/Home/tabid/36/ctl/Details/mid/384/ItemID/3528/Default.aspx
Pitchfork reviews the odds'n'ends collection "Dealing in antiques" from Finnish indiepop act Cats on Fire: https://pitchfork.com/reviews/albums/14485-dealing-in-antiques/
Also reviewed, act K-X-P: https://pitchfork.com/reviews/albums/14500-k-x-p/
WaklevörenBloody helvete! We all knew that Norwegian punk-laden thrashers Waklevören had it in them to create an absolute killer of an album, but until "De dødes arkiv" hit the streets, we had no idea just how much of a napalm blast it would create. This, their third release, is their best and most varied yet. It's got the hardcore, fuck-everything attitude they're known for, but it's so strong now that it just oozes from the speakers, leaving no doubt that this is truly genuine metal played with absolute passion.
You could maybe class Waklevören as the quintessential anti-supergroup. Comprising members of Red Harvest, Immortal, Aura Noir, Fuck You All and Infernö, they have every right to demand respect but, the fact is, they really don't give a damn. It's obvious in this, their heaviest record so far, that it has been a case of "Let's drink a shitload of beers and jam out some brutal hardcore thrash. If they like it, fair enough. If they don't, who cares!?" There's not much point in trying to single out highpoints on here as there's not a dull moment to be had. And the fact is, that if you're into the kind of filthy vehemence spewed by the likes of countrymen Obliteration or Sweden's crustcore kings Skitsystem, you'll absolutely adore this. It might be a bold statement, but I'd even go so far as to say that this is possibly the best album released that falls under that crusty, punky thrash umbrella. If ever there was an essential album within a particular genre, this is it. Having reviewed hundreds of albums over the years, I must also point out that this is the first I've ever given full marks to. Why? Just buy the fucking thing and find out!
- John Norby