Tag: Reviews
9
It's a safe bet that if you were to check a thesaurus entry for the word "furious" one of the synonyms you'd find would be Eskatol. This Oslo six-piece is one of the few bands out there who have successfully managed to marry all-out hardcore aggression with metal technicality and melody to create an astounding body of work that sounds as if the two subgenres were made for each other. It's not often that this works but, by hell, it does this time! Best examples are evident on the likes of "Feierferd", "Med knyttet hånd", and "Hellig system" with their pure metal melodies and leads, touching on a math metal complexity in places and, above all, encrusted in an extreme hardcore angst that furnishes the album with integrity and passion. It's clear that Eskatol are a genuine band far from the confines of pandering to an audience or contriving a unique sound. Yes, their sound is unique, but the fact that it plays out so naturally shows just how authentic these guys are. There's an unbridled intensity on display here and, with only three of the fourteen songs clocking in at the 3:00+ mark, it's clear that there's a heck of a lot going on within each tune. It must be said that, as with most hardcore-based albums, "Blodørn" does have a few moments where there's repetition in the air. Thankfully, these moments are very few and far between on this. Crust, hardcore, death metal, melodic metal: Eskatol have all corners of the extreme covered. And for those of you who like your music extreme, Eskatol have you covered!
- John Norby
3
I live in Micronesia, a land of pay-per-KB dial-up internet and no Myspace or Youtube. Imagine, then, I'm running down Silver Gleaming Sound Machine's impressive array of e-accolades, barely able to control my excitement as I wait for "All tomorrow's gardens" to arrive by media mail. SGSM it seems, could be the knighted future of Copenhagen, the heir to the last great Danes of pop (I'll admit it), Alphabeat. A Krautrock bent and 60s psychedelia, in my mind, could prove a darker, more rewarding palette than "This is Alphabeat"'s overtly sugary appeal.
In theory. Imagine when I get the album and it plays more as a spiritual sister to Asteroids Galaxy Tour (one more band and it's officially a movement), a faulty electro-Motown update that I can't even dignify with the term pastiche, as the internet connotation of that word is moving ever so slightly towards "encomium" in our nostalgia-driven society. The sprightly percussion and electro-punk lean of album opener "Hawk" -- maybe the only redeemable song on this mini-album -- can't save SGSM from an overall lack of catchy choruses or cohesive arrangements. Typical of a crop of rising pop outfits in Scandinavia, SGSM tries to look in too many directions at once. Here's a nod to Pink Floyd, here's Le Tigre, and let's steep that all in the tinny pulse of turn-of-the-80s Krautrock! Overly smitten critics use buzzwords like "ELO" and "Kraftwerk", and in the process they forgive them for a dearth of palatable songs.
I don't know. Maybe the iPod commercialistas who find these bands great in 15 second snippets will continue to force feed us downmarket ethereals like SGSM in order to heighten the pop-futuristic appeal of tablet-based products. Maybe it's what we deserve. Whatever the case, I'm not nearly satisfied with Denmark's recent pop output. The country of Roskilde and indie greats The Raveonettes, Efterklang and Under Byen, to me, is of late lagging behind its Northern cousins in the pop arena. Whatever. Maybe we'll get lucky and the new Alphabeat album will become the Danish pop savior of 2010. Hah.
- Nathan Keegan
5
Like the patron saint of the 1980s, Karin Ström brilliantly recasts generic synths into fairly intriguing electropop instrumentals. However, despite creating engaging a backing for her poppy crystalline vocals, the two never jell, making new album "Fantomhalvan" more an exercise in Eurovision Song Competition showmanship then cohesive music-making. Tracks such as "Hackney Downs" and "Tills fulheten stillar vårt blod" momentarily spark a bit of playfulness, but overall the listener is left wonder how Ström's misguided attempt at self-production actually happened.
Admittedly, my inability to attach to Ström's work could be due in part to my inability to speak Swedish. While she is kind enough to provide linguistically handicapped listeners with translations on her website, something -- quite literally -- is lost in translation. Content without form, we get an endless parade of jilted lovers, bitter memories, and nights spent alone. Reading, rather than hearing, the deluge of half-baked metaphors is not unlike taking an illicit peak into a friend's secret poetry notebook -- sure you feel for the girl, but ultimately, it's a bit too embarrassing to acknowledge.
- Laura Studarus
All About Jazz gives high marks to Elephant9's new album "Walk the Nile": https://www.allaboutjazz.com/php/article.php?id=35810
10
After releasing two stellar singles in 2009, Elias & the Wizzkids have returned with their second album, "Just do it!". They have changed their sound immensely since the early days, and said singles alluded to the band's new, finely honed pop sound and clean production as opposed to the alt-country leanings of their first record. I must say thought, it's quite enjoyable hearing Elias Åkesson's scratchy voice over the lush arrangements of this new set (see "Oh these nights" with it's anthemic chorus). However, the band doesn't fully forsake their old sound, they just consolidated it to the closing track "What would kill us". And it works so well, because each track recalls varying influences, and excels wholly on its own. The 80s-leaning opener "Waste of time", the 70s-pop-meets-Beatles aspect of "Crooked road" and the absolutely huge "Hit & run". But the underlying strength of each one makes this a much more cohesive set than this review may lead on -- the structure of the album is as impeccable as the songwriting and performance. It's hard not to gush (in the professional sense) over a great album, but when one hears it, it is the logical conclusion.
- Matt Giordano
2
Millencolin have written some very catchy skate punk songs during the 16 years they've been around, but unlike some of their contemporaries (e.g. NOFX) you can't give them any credit for much lyrical flare. Back in the day when CDs were all the rage it happened to me more than once that I bought a new Millencolin CD and reading the lyrics in the booklet on my way home totally killed all the excitement I'd built up in shop when buying the album. Usually I tried to ignore the lyrics when listening to the CD and most of the time it still sounded alright, but I couldn't completely ignore their crassness. This problem has only increased with the years and it really came to show when in 2004 Nikola Sarcevic released his first solo album "Lock-sport-krock" (with English lyrics, it very much sounded like an acoustic version of Millencolin). I liked a couple of songs on it, but the cheesy lyrics make it quite a hard listen. "Roll roll and flee" that was released two years later and was an improvement, so I'm a bit disappointed that Sarcevic now has decided to sing in Swedish on this, his third solo album ("Nikola & Fattiglapparna"). By having Swedish lyrics Sarcevic really puts them in the spotlight (if you're Swedish that is; if you're not, it probably has the opposite effect). Even though there are one or two good moments to be had on the album, most of it sounds like a poor man's Kristofer Åström with kindergarten-like lyrics and some terrible rhymes. I heard in an interview that Sarcevic wrote the lyrics first in English then translated them to Swedish which, to be honest, doesn't sound like such a great idea. It's a bit of a shame that the album is so dire, since Sarcevic's got a bit of knack for a melody and I kind of like his voice.
- Stefan Nilsson
Dusted reviews the new jj album "jj nº 3": https://dustedmagazine.com/reviews/5579
7
A few years ago, Tobias Fröberg opened for Peter Morén's North American tour. While charming and hilarious, there was a distinct sense of also-ran, as Fröberg's engaging stage persona couldn't quite make up for the fact his songs were, at best, sweetly adequate. However, "The big up" gives us a different Fröberg, one who is ready to step out from behind "big brother Morén's" shadow. For those of us who have been longing to embrace both artist and music, it's about time!
Built around organ, understated strings, and a pronounced sense of melancholy, the songs of "The big up" are bluer, and the emotions a bit sharper than 2008's "Turn heads". Love, it appears, still weighs heavily on Fröberg's mind. Although, from the paean to lost war love "Sandra", to guitar-driven "I wanna hurt like that", to spectacularly understated "When we go to war", pain and violence is never far behind. Even when his self-deprecating charm peaks though on track "I hope that I die before you", it's not without a keen sense that the end is always in sight. So consistent is his theme and care that, by album's end, even the refrain of final track "Baby baby baby" feels indebted with emotion far beyond its simple words. Also-ran no more, introspect suits Fröberg.
- Laura Studarus
Fluid Radio reviews FNS aka Norwegian experimental artist Fredrik Ness Sevendal (Slowburn, DEL, Children & Corpse Playing in the Streets, etc): https://www.fluid-radio.co.uk/2010/03/fns-fns/
8
Super-prolific Swedes Emil Johansson and Joakim Westlund are the originators and creators of this project, the ethereal, trancelike third part of their "Canto" series. From the onset it continues their electronic/ambient journey and sounds off like a movie soundtrack you'd expect to hear on an Oscar-winning Euroflick that has everyone raving about its creative genius. Most of the tracks on here are bright, uplifting anthems that elicit a happy smile; almost as if a fond memory has come flooding back. On the other side of the emotional coin, there's a sinister undertone that belies the contented aura of the majority of the album, evident on "Lying memorial", and that touches the edges of dark ambience. In between, all manner of emotion comes to the fore; optimism, love, sadness, longing, sympathy, and contentment all play a part in "Sun spark solaris" and demonstrate that the music not only elicits emotion but was created by emotion. It doesn't get much more ponderous than dimming the lights and letting The Giant's Dream take you on a journey of fond memories and longing desires. Sublime.
- John Norby
Eskatol
Silver Gleaming Sound Machine
Karin Ström
Elias & the Wizzkids
Nikola Sarcevic
Tobias Fröberg
The Giant's Dream