New Big Byrd 7" for RSD

Swedish "supergroup" Les Big Byrd has a new 7" called "Zig smile" coming out via Dolores as a Record Store Day exclusive. I'm not sure what songs are on it or anything, but it's limited to 300 copies.

I'm From Barcelona
Who killed Harry Houdini?
Mute/Dolores

I'm From Barcelona's approach to songwriting reminds me, for whatever reason, of Wes Anderson's films: the modernization of older tropes and themes; the narrative and occasionally cinematic style of the songs; the playful nature one can adopt while exploring the significance one attaches to the world, and that is attached to the observer; and it never hurts that tracks such as "Andy" and "Music killed me" could easily find their way onto an Anderson soundtrack (and would feel dreadfully out of place in an effort like "Juno"). References to the "Cosby Show", complete with background television noise, evoke comparisons to Montt Mardié and Jens Lekman, though I'm From Barcelona's interest in the past is not the main focus of the album and serves to compliment their excursions into fuller twee compositions. One can hear elements of Shout Out Louds, and of Scandinavian indie pop in general -- glockenspiels, 60s-style backing vocals and backing instrumentation, but the success of "Who killed Harry Houdini?" is embodied in I'm From Barcelona's ability to stir up remembrances of one band or genre of music and then continue onwards through varied avenues towards the band's original goal. "Rufus", the album's closing composition, wonderfully exemplifies my ideas: stumbling into David Bowie territory, complete with spacey backing vocals and fabulously manipulated lead guitars, only to break back down into the paths carved out by the record's earlier tracks. "Who killed Harry Houdini?" is far more difficult to sufficiently describe than it is to enjoy and eventually fall for.
- Lars Garvey Laing-Peterson

Caesars
Strawberry weed
Dolores/EMI

When "Strawberry weed" is played in my iPod, the first association that comes to my mind is: Coldplay. This might be outlandish, but it's true. If we throw in some Beach Boys, Beatles and Rolling Stones, then we have a recognizable sound, describing Caesars' new album. I expected to hear something more rebellious and edgy, going more back to their hit "Jerk it out", but didn't. This isn't something you want to scream from the top of your lungs to at festivals, this is something more mature, and something you might want to listen to at a sunny day at the beach. The album consists of 24 songs, it's a double album and frankly, I ain't praising that, even if Ebbot Lundberg deserves admiration, doing a fine job producing this. My 'too much feeling' means that Caesars is that kind of band that can bore you, therefore one good, crammed CD could have been enough. However, in this case, "Strawberry weed", "Fools parade", "You nailed me" and "Boo boo goo goo", does it for me; they are catchy and, should we say, MTV material. But I still wonder why you want to throw in something such as "Solina": a 2:59 long, acoustic song, without César Vidal's easily broken but beautiful voice? It's a small pause in the middle of it all that gives me the feeling of a computer game. To the positive parts, the overall impression is that it makes me darn pleased that the band gives us something new, these dudes knows how to do it despite my words above, and let's face it, Caesars are Caesars and as in a salad, you will always get that little extra parmigiana that gives you a tasty experience and some energetic fuel in the end. "Boo boo goo goo" is a perfect example of that. In the end, after hours of listening somehow this poppy, indie sound gives me almost the same feeling as the beach boys, and it makes me say; Strawberry Field... you nailed me!
- Therese Buxfäldt

Håkan Hellström
För sent för edelweiss
Dolores

There are few albums I have fallen for quite as hard as Håkan Hellström's debut "Känn ingen sorg för mig Göteborg". For many, this first album is Hellström's high-water mark. In reviews of his subsequent records, "Känn ingen sorg..." is cast as a specter that Hellström is haunted by, an accomplishment he has not been able to match or surpass. That being said, "För sent för edelweiss" does not eclipse Hellström's debut, but it matches this earlier triumph. "För sent för edelweiss" shows that Hellström is a versatile artist and songwriter, creating a brilliant album that amalgamates the distinctly Swedish sound his first album reveled in with a Springsteen-esque quality -- capturing both Springsteen's talents with anthemic compositions (not that Hellström himself is in anyway lacking when he sets his mind to the anthemic) and the Boss' remarkable ability to craft slower, more moving numbers, with Hellström layering in his own distinct sound throughout. Opener "Tro och tvivel" feels like a track off of the seminal "Born to run", its final moments paying homage to Springsteen's "Backstreets". "Zigenarliv dreamin", the strangest addition to the album, though one that has grown on me, only strengthens the comparisons between Hellström's newest and the records of the 1960s and 70s. In "Kärlek är ett brev skickat tusen gånger", I hear echoes of Van Morrison; the wonderfully lo-fi production enriches the opening of the title track, amplifying the Simon & Garfunkel quality of the song; "Kär i en angel" feels like the songs of the 60s and 70s that Jens Lekman emulates; and it's difficult not to sense a touch of Bruce Springsteen in "För en lång lång tid", my favorite from this album, and one of the best songs I've heard in the past few years.

Is "För sent för edelweiss" a flawless album? By no means. Though neither was "Känn ingen sorg för mig Göteborg", if you get down to it. Håkan Hellström's faults are part of his immense charm, and the artist succeeds so much more than he stumbles here. It's hard to even remember the faulty aspects of the album while listening to songs like "Kärlek är ett brev..." and "Långa vägar", and it's even harder to stop listening to "För en lång lång tid". I'll be very surprised if this album is not high up on my best of 2008 list. If you're one who believes that Håkan Hellström lost his way a bit after 2000, "För sent för edelweiss" is more than ample evidence that he's back.
- Lars Garvey Laing-Peterson

Slagsmålsklubben
Boss for leader
Djur and Mir/Dolores

This is not the impression I have of those prankters in Slagsmålsklubben. Frej and Co. always equals party-startin' and joyful madness! Or they used to at least. "Boss for leader" shows a much darker and stern side of the lads originally from Norrköping, Östergötland. Although "Hänt" and "Malmö beach night party" resembles somewhat of the 'old' Slagsmålsklubben (with hits like "Övningsköra", "Wellington Sears" and "SMK hittar munspelet", all taken from "Den svenske disco", a great album), "Boss for leader" never really becomes that great album I'd hoped for. And that's a shame, since this was going to be their big introduction to the masses. "Boss for leader" just ain't a fair representation of the band. Not that I think the hardcore fans will ever care, to them (and me) Slagsmålsklubben will always be the band to start up parties and "Övningsköra" will always be the song on max volume on everybodys boombox on every festival you go to.
- Christian Stenbacke

I'm From Barcelona
Let me introduce my friends
Dolores

You don't have to be Nostradamus to be able to predict great things in the near future for I'm From Barcelona. Last year their glorious song "We're from Barcelona" hit Indie Sweden like a bomb and made more people dance than ants in pants, now a year later IFB are signed to Dolores. Now their debut album is out and it manages to live up to the very high expectations. The songs are bursting with energy, the melodies are enormous, and if the band can capture a tenth of this magic when playing live, it'd be a sight worth selling your grandmother's false teeth for (the gold ones of course, hidden under the mattress). If this isn't on lots of "Best of 2006" lists in 6 months, I'll eat my Nostradamus beret and stop playing the lottery.
- Simon Tagestam

I'm From Barcelona
Don't give up on your dreams, buddy!
Dolores

Like the rest of you IAT! readers I first heard about this band last fall when a few shows of theirs were posted on the page (most notably the date with David & the Citizens really caught my attention) and I wanted to find out more about this band, but the web was empty with information. Fast forward to the very early part of 2006 when not only is it announced they have an EP coming out on Dolores, but a website with streamable audio! This got me excited. I anticipated this record in the mail and it does not disappoint. The only downside is that there are only four songs on here, but it makes you want a full-length immediately. These songs are some of the catchiest tracks you'll hear all year, and once spring hits, they'll sound even better in the sun. This debut is one of the most confident assurances of indierock I've heard in a long time, yet it still has elements or lilt and fun.
- Matt Giordano

Håkan Hellström
Nåt gammalt, nåt nytt, nåt lånat, nåt blått
Dolores

This isn't a new album as such from Håkan, but a compilation of unreleased, live and cover songs. Like most of these things, it's mostly for fans and it would be a stupid place to start if you're thinking of checking out Håkan Hellström for the first time, since any of his three other 'proper' albums are better. That aside, if you're indeed a fan already, then I think this album is a must. There are twelve songs on here: two superb (the first two), three very good, three good, one ok, and three that are quite terrible. Six of the songs are covers and half of them work, the others are the previously mentioned terrible songs (I won't complain if Håkan decides to never sing in English ever again). Perhaps you've already calculated this, but this means that there are nine songs here for you to discover and cherish. Now, I regret to say this but I've read somewhere that Håkan's taking a break for a little while (fair enough, he just became a dad). I'm very glad he decided to release this album before he stops making music temporarily so that all of us Håkan fiends got something to calm our hunger with until the next fix. With these songs and some upcoming Håkan clones (it's inevitable, so bring them forth!) I think we might just be able to survive.
- Simon Tagestam

Håkan Hellström
13 CDS
Dolores

In 1989 Jakob Hellman released his debut album "...och det stora havet" in Sweden, an album that's still considered by a lot of Swedes to be the best debut album (and by some, like me, "the best album" period) ever to come out of Sweden. What has made this album stand out even more is the fact that Hellman never made another record, and for a while he disappeared completely from the Swedish music scene, only to resurface a few years ago for some live shows. When Håkan Hellström released "Känn ingen sorg för mig Göteborg" in 2000, a lot of people fretted that he would "do a Hellman" and never released anything ever again. Now, five years later, I think we – the people who worried so much - can finally start to sleep well at nights. Not only did Håkan deliver his third excellent record ("Ett kolikbarns bekännelser") earlier this year, but in a few weeks he will release a record of leftover songs. "Tretton" is the first single of this disc (titled "Nåt gammalt, nåt nytt, nått lånat, nåt blått"). The song is a cover of Big Star's "13", and it's pretty faithful to the original (although most of the lyrics are translated to Swedish, the parts left in English could have been quite cheesy, but they fit in really well). Naturally Håkan, with his infinite charm, makes the song his own. I just hope this won't be his last album...
- Simon Tagestam

Alf
Alfs andra
Dolores

Alf's first album (from last year) was superb and although it got a lot of critical acclaim, Alf's career never properly took off. His second album is a really nice follow up to all those super melodic songs from "Augustibrev", since it feels like Alf's taken a step forward, without leaving his first album completely behind him. The songs are more complex, and where "Augustibrev" stuck in your head at first impact with your ears, "Alf's andra" (Swedish for "Alf's second" – what an clever title!) took me a few listening before I really got into it. The lyrics are also a bit darker, which works as a nice contrast to the happy-go-lucky songs from "Augustibrev". Thankfully, none of this means that Alf isn't able to write hits anymore (see "Kunde vart jag"). So, if you're hungry for some catchy Swedish music sung in Swedish, you should get this album (preferably accompanied by "Augustibrev").
- Simon Tagestam

Alf
Kunde vart jag
Dolores

Alf sings in Swedish and makes charming pop songs. His last album "Augustibrev", from 2004, is a little gem that deserved more recognition (and sales). "Kunde vart jag" sounds a lot like the best songs from "Augustibrev", which is of course great, just great. Hopefully Alf will soon be propelled into the lush stardom that he so rightly deserves. You can have a look at the annoying video to the song here.
- Simon Tagestam

Broder Daniel
No time for us: 1989-2004
Dolores

Broder Daniel are Swedish, very big in their homeland, and their music is quite unique although there are some obvious influences, such as Jesus & Mary Chain. They've released four albums, going from a crazy punk sound on their first album to a more mature and melodic sound on their last album "Cruel Town". But to be honest, it's all crazy nice. "No time for us" is quite an ingeniously compiled compilation, it appeals to almost everyone, whether you're a massive Broder Daniel fan or whether you just doesn't know where to start with them. The first CD is crammed with most of the best songs from Broder Daniel's back catalogue, but it's CD2 that made me drool over this release when I first got it (from my girlfriend's family - thank you very much!). On this one we get exclusive demo outtakes, and such, from the whole of Broder Daniel's career. It's great stuff of course, but mostly for fans and I wouldn't recommend it for anyone who doesn't love Broder Daniel. Best way to go about this must be to buy the CD, listen to the first one, fall in love with them, buy all their albums, dance a bit, cry a bit, and then go back to CD2 after you're pretty much down with the band. It's always baffled me how Broder Daniel never made it big outside Sweden, but then it might not have been their main concern (now I think they are more than happy with being one of the biggest bands in their country). Hopefully we get another one of these treats in ten years time after another four teen angst-ridden albums.
- Simon Tagestam

Deportees
All prayed up
Dolores/Virgin

Indierock heavily influenced by Prince – a match made in heaven, some might say, but although a band like Phoenix has demonstrated that the result of such a mix can be quite good, the Deportees (hailing from Umeå, Sweden) gives us all a warning example of how disastrous this alluring blend can turn out. They almost had me fooled though, with their first fine single "Arrest me 'til it hurts", but compared to the other songs on this debut album, it sticks out like a flower growing in the middle of the highway. It's a real shame that "Arrest me 'til it hurts" has to be accompanied by such an insipid bunch of soulless tracks that "All prayed up" consists of. In fact, this album is so slick, bland, and unsexy that it often comes across as something by a second rate boyband. A bit harsh you think? Yes, perhaps, but even harsher for the poor souls who buy this album, lured by "Arrest me 'til it hurts" (hopefully the awful record cover will have a repelling effect).
- Simon Tagestam