Listen to Norway reports that The Lionheart Brothers will be releasing the new album "Matters of love and nature" on January 31 via : http://www.listento.no/mic.nsf/doc/art2010113014412330815289
Not sure why they say sophomore release though, as they seem to be forgetting "White angel black apple" from 2003.
The newest from Norway's Lionheart Brothers is a sweet little pop-rockin' 10-song confection that bears a heavy Beach Boys influence (the "Smile" era of Brian Wilson and crew, that is). Everything here is bright and peppy, with horns, organ and loads of other instruments adding delightful adornments to the concise tunes. Marcus Forsgren's lead vocals tend to be in the high register and they're mostly smooth as honey. The signature track is probably "Down at my place," which dazzles with a slinky mid-tempo arrangement, an infectious lead vocal and distinctive wordless backing vocals. Also stellar is "I burn myself on you," a cleverly constructed song that straddles major and minor keys in a compelling manner. Peter Rudolfsen's drumming is more than just timekeeping - there's artful intricacy in his playing. And the presence of instruments such as vibraphone, bouzouki and clavinet keeps the sound mix fresh and appealing - "Bring it down" is a good example of this. Although consistent and self-assured, one or two more really top-notch songs would have elevated this one a bit. But it's still a genuinely charming album, and I'd bet on Lionheart Brothers being one of the next Nordic outfits to gain attention stateside.
- Kevin Renick
This record is so fragile it makes you want to walk around on tiptoes while listening to it, lest you disturb the mood. And that mood is Nordic--not the sunny daydream of Århus or Stockholm in July, but the frigid calm of Norway (or Iceland, or Finnish Lapland) in the dead of winter. Everything revolves around Ola Fløttum, whose delicate guitar and piano parts blend into his lilting voice, which drifts in and out of falsetto. Bassist/keyboardist Ulf Rodge and percussionist H.C. Almendingen add elements impressive in their subtlety, because they blend in seamlessly. Tracks like "The white birds" and "June" are experimental, dreamy and seemingly in slow motion, which have made Sigur Rós comparisons come fast and furious (though, to be fair, the Oslo trio has been around longer). There are plenty of differences between the two, especially in Fløttum's use of English lyrics. Those expecting a fast song every now and then will be frustrated; "Come up for air" never breaks from its wintertime pace, which adds even more fragility and beauty to this impressive release.
- Matthew W. Smith