Label: EMI
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Bodies Without Organs are ex-Army Of Lovers man Alexander Bard, Marina Schiptjenko and Martin Rolinski (who shot to fame on Swedish reality television program Popstars). They're pretty big in Sweden and Eastern Europe and this is their third album. I like pop, and even though I was never a fan of Army of Lovers, I was indeed a very big fan of Page (a Swedish synthpop band that Schiptjenko used to be in) when I was younger. As far as cheap Euro dance music goes, I'd say that this is quite well executed, and there are a handful of infectious choruses on "Fabricator" (i.e. "Save my pride"). I won't spend too much time though trying to polish a turd, if you want some great Swedish pop music just go and buy pretty much any ABBA album you don't already own, instead of this tat.
- Simon Tagestam
6
In numerous interviews, I've seen the members of Mando Diao talk about being influenced by, among others, the hip-hop scene of today and that they're getting tired of being compared to acts such as The Kinks, Rolling Stones and The Zombies. Fine, but just 'cause you talk about what you're influenced by doesn't mean that it shows. I don't hear an apparent change from the first two albums or 2006's more diverse "Ode to ochrasy". What I, on the other hand, do hear is the production skills of Björn Olsson giving this album a rough edge while at the same time giving it a more laidback feel. Sounds shattered? Well, yes it is and no it's not. The trademark that is Mando Diao floats all over this record, the snotty melodies of Gustaf Norén and the The Beatles-esque harmonies of Björn Dixgård are here as they should be, but it's Björn Olsson's participation that helps make this album one of the more well-crafted released from this band. The string arrangements and the one-take procedure was, quite frankly, the injection I have been looking for! It's too bad that the songs featured aren't among the bands best though. For the most part, they re just too anonymous with a few exceptions. The single "If I don't live today, then I might be here tomorrow", "Not a perfect day" (George Harrison, anyone?) and "One blood" are all great tunes and, if the band kept that kind of focus, this album would be as good as its previous one.
- Jonas Appelqvist
2
It's a shame that the only artist from my hometown ever becoming really famous is Per Gessle (of Gyllene Tider and Roxette fame, if you're German I'm sure you know who I'm talking about). It's him and maybe Michael Arnott (Spiritual Beggars / Arch Enemy / Carcass). When I was around 6-7 years old, I was a big fan of Per Gessle's music, and listening to his latest album "En händig man", I can sort of see why I dug this guy all those years ago. The lyrics are often pathetic, but there's a nursery rhyme-feel to both them and the music that explains why they would appeal to someone who plays with Tranformers and spends most of his days drawing birds (cuckoos, specifically, not girls as in English slang) in various sci-fi warrior uniforms. It's sort of sad that Per Gessle, who seems like a nice guy that likes some great music, only will be remembered for making pap like this. "En händig man" is a dreadful album, even worse than the best material Gessle's ever written.
- Simon Tagestam
8
My Midnight Creeps are fronted by the dynamic duo of Robert Burås from Madrugada (here going by the name Bobby Cagehill) and Alex Kloster-Jensen from the Ricochets. That's a great deal of guitar power, and they put it to good use on their second record, which is a considerable improvement on their strong debut. They make no pretenses to originality. To the contrary, they offer a familiar take on swampy, bluesy, dark and heavy rock'n'roll. The old blues singers of the Deep South meet the British 60s, wind their way through 1970s Detroit and 1980s LA, and land in Norway, bringing some touches of Scandi guitar psychedelia with them. They swagger through songs about women, having the blues, and being wronged. It's big, it's bombastic, it's meant to be played loud, and it covers no new territory. But it's so very well done. The musicianship is stellar, and the band seems to be having such fun playing that it's hard not to feel good listening. Then there are passages in these songs - mostly instrumental - where they achieve that rare wall of surging atmosphere that transcends everything else and makes you stop whatever you're doing just to revel in it. Big bombastic rock'n'roll fun interspersed with moments of rock'n'roll perfection? Play it loud.
- Nancy Baym
7
The name says it all: this band, and CD, is a weeper. Even the most jubliant songs carry with them a sort of bittersweet sadness that one can't shake off, but it's not melancholic. Maybe it's because of the mellow vocals or the subdued production. I love how Magnus Carlson enuniciates each of the lyrics, each word a lullaby set free and sent out to the world. The rest of the band is just background, I'm sorry to say. It's great music to wander around downtown to, shunning all other forms of human life except for Carlson's voice.
- Jennifer Ma
6
I don't know much about Pernilla Andersson, except that she seems packaged for mass consumption, with lots of glossy photos and fancy production. And indeed, she's got an easily accessible adult radio sound that even my old dad would appreciate. A shot of soul, a jigger of jazz, a healthy pouring of pop makes for one smooth cocktail. Think KT Tunstall. But with an unexpected nod to Depeche Mode and – brace yourself – Social Distortion. Yup, there's a barely recognizable cover of "Angel's wings", complete with harmonica, and a surprisingly dark "Enjoy the silence". Is she trying to be quirky? Or to steal Robbie Williams' title for most requested funeral anthem? Perhaps. But, as much as I hate to admit it, I kinda like it. Especially opening track "Red", and single "Scary ordinary". File under 'guilty pleasures', and enjoy the occasional big swig.
- Stacey Shackford
8
"Phantom punch" finds Sondre Lerche again not only giving his backing band The Faces Down title credit, but delivering some of his most uptempo material to date. This is where the album succeeds - finely tuned pop gems such as the stellar "Say it all" and "John, let me go" are two of the best tracks I've heard from Mr. Lerche; whilst the stylised punk of "Face the blood" initially came off as a bit of a shocker at such a high-tempo, it fits perfectly in the scheme of the album. While steeped heavily in pop, it's good to see an artist bring in other elements. Coupled with the loose-feeling arrangments, the band is allowed to convey their music at a level that was missing on the more polished "Duper sessions".
- Matt Giordano
8
Madrugada frontman Sivert Høyem closes this second solo album by singing: "I must take to the stage/I need nerves of steel/no matter how weak and how weightless I feel/I just wanted to come across strong." It's an ironic and telling line on an album written just after the biggest year of Madrugada's career. While the songs all deal with vulnerability to varying degrees - estranged narrators desperate for human contact, numbed to that contact, or savoring intimate moments of closeness - the sound betrays no hint of weakness and is anything but weightless. To the contrary, it's heavy, strong, and once you accept its borderline-corny sense of drama, downright beautiful. Høyem is gifted with what's likely the best voice in contemporary rock, and every note on here is sung deliberately and milked for maximum nuance. Fans expecting a repeat of his first solo record "Ladies and gentlemen of the opposition" will find this about as similar to that as Madrugada's "The deep end" was to "Grit" - it sounds very little like its predecessor. Where his first mixed folk with rock and blues for an eclectic set of songs, this is one consistent slow dark march in a minor key. You've got to be in the mood, but when you are, it's breathtaking. Let's hope it sees wider distribution than its current Norway-only release.
- Nancy Baym
I've never liked Melody Club and their cheap and nasty synth-driven melodic pop, but their latest (and third) album is much better than I thought it'd be. Saying that, my expectations for it were lower than you can imagine. I've always thought of them to be quite pathetic, but they've become much less so now, which is really in their favour. The hit single of the album "Destiny calling" sounds like something by The Sounds and I can easily picture the song soundtracking a video featuring fast open top cars (after writing this I checked out the video on YouTube and was very disappointed, they've managed to make a very non-anthemic video for an über anthemic song), and I wouldn't be surprised if the Roxette fans of Germany and America will love this. If they'll keep on progressing like this, come their 27th album, and I might just buy it for my niece.
- Simon Tagestam
On this, their third full-length, the cocky youngsters have grown up. And bear with me here, that's not necessarily a bad thing. Mando Diao still put out dirty rock n' roll with great hooks from the 60's, something they've been doing since the "Motown blood EP". The difference between "Ode to ochrasy" and the previous ones is that this one contains songs. Songs that proves a maturity required in the music scene of today. The record kickstarts with the killer "Welcome home, Luc Robitaille" and you can actually feel their ambition to make it a Classic. And I'm the first to admit that I have been wrong when doubting in these guys. Up until now. 'Cause really, every song featured is a damn fine song. From the mellow, soulful "Josephine", to the euphoric "Song for Aberdeen", through to "TV and me", the single that's a fairly big radio hit in Sweden as we speak. I imagine that the decision of having Calle Olsson (Union Carbide Productions, The Soundtrack Of Our Lives) producing was a healthy thing to do. But - and there is a but - the only thing I object against is that, while the production is a craftmanship as good as any, it's not as in-your-face as I want this type of rock n' roll to be. But that's a secondary comment. The primary thing is that Mando Diao have made a record that, if there's any justice in the world, should be remembered for a long time. Time will tell.
- Jonas Appelqvist
With a promiscuous and skew approach, Envelopes hit me right in the gut. If you mixed Talking Heads with early Bob Hund, this is what it would sound like. But the more you listen, the more you discover. With an intact lo-fi sound, these guys attack with catchy melodies and a flawless recording that, to me, can be seen as a reaction on how the record industry sounds today. Cause really, if this record was released 20 years ago, it would be so up-to-date. If you're into the Sarah Records back-catalogue, Pixies and even Laakso, don't miss this record. And do check out the brilliant single "Sister in love" and the recently released single not featured on this record, "Free jazz"! Smart and joyful indiepop that deserves a wider audience. I know I'm hooked!
- Jonas Appelqvist
As an unabashed fan of Norwegian singer/songwriter Anja Garbarek, I was stunned to hear the news that she'd completed a new album. Anja is not the most prolific lass in the Nordic universe: "Briefly shaking" is only her fourth disc in 13 years, and the first since 2001's superb "Smiling and waving". But lordy, this gal makes the wait worthwhile by consistently releasing stunning records. Music that's both ecstatically passionate and wonderfully weird always wins me over, and Anja is a sorceress in that regard. The eleven tracks here range from Broadway-style theatricality to elegant pop classicism to moments of sublime sensuality, especially when Anja just melts you with one of those beautiful melodies she has such a flair for. If fans of sublime modern pop can't find you after this classic record, then they're sure as hell not looking in the right place.
- Kevin Renick
Imagine Mark Lanegan with a band that is slightly depressed, wonderfully melancholic and subtly rock more than Screaming Trees. Sounds like later day QotSA? Well, yes, but different. Coloursound Revolution are very similar to QotSA but remain themselves somehow and this album is certainly a lot better than "Lullabies to paralyze".
- Simon Thibaudeau
Loopy is destined for the in-flight music program on Scandinavian Airlines. The Copenhagen-based group represents all of SAS's constituents: it features a Danish bassist and guitarist, a Swedish drummer and a Norwegian singer/guitarist. More importantly, the band has created a noteworthy debut album that blends UK-style guitar pop (think Snow Patrol) with some surprises. The melancholy title track meanders most of the way, before drummer Mathias Elovsson speeds up the tempo considerably and brings the song to a crashing halt. The top-notch "Never loud" is oh-so-minor key, showcasing soulful vocals from Leiv Aasen. A few songs get needlessly repetitive (like "Morning Star"), but the spacy "Silent Song" (which sounds a bit like Slowdive) makes up for it. The blend of shoegazer and pop on such well-constructed songs makes Loopy a band I'll have my eye on.
- Matthew W. Smith
Håkan Hellström's career is quite intriguing, from playing bass in indie combo Broder Daniel he has, after two solo albums, become one of Sweden's biggest and most popular artists. Hellström has somehow managed to become a major artist (and a proper household name) without alienating most of his original indie audience, which is quite a feat. It comes as no surprise then that this new single from his forthcoming album "Ett kolikbarns bekännelser" (which roughly translates as "Confessions from a colic child"), is the most anticipated single this year in Sweden. The single did of course race directly into the number one spot in the singles chart. My expectations for this song was probably way too high, and I should have realized that my hopes would inevitable be crushed no matter what. But even though there's some nice flute playing by Dungen (who's to my bewilderment has received a lot of hype in the States in the past months) the song is unfortunately not as fantastic as Hellström's previous singles/songs.
- Simon Tagestam
BWO
Mando Diao
Per Gessle
