The Nomads to release new album

Swedish garagerock godfathers The Nomads have signed with Universal and will be releasing their 10th album this coming year.

Gaffa SE top 30 Swedish album highlights

Swedish highlights from Gaffa SE's top 30 albums of 2011:

3. Mattias Alkberg - Anarkist (Teg Publishing/Playground)
4. Anna Järvinen - Anna själv tredje (Stranded/Universal)
5. Skriet - Det Beslutande Organet (Novoton/Border)
8. Invasionen - Saker som jag sagt till natten (Sony Music/Sony)
12. Graveyard - Hisingen Blues (Stranded/Universal)
14. Deportees - Islands & Shores (Universal/Universal)
16. I Break Horses - Hearts (Bella Union/Cosmos)
18. The Field - Looping State of Mind (Kompakt/Border)
20. Syket - With Love (Baseline Music/Sony Music)
21. Jonathan Johansson - Klagomuren (Hybris/Border)
28. Movits! - Ut ur min skalle (Universal/Universal)
29. Det Vackra Livet - Det Vackra Livet (Labrador/Border)
30. Ison & Fille - För evigt (Hemmalaget/Playground)

See the full list: http://gaffa.se/artikel/55303 (in Swedish)

Sahara Hotnights
s/t
Universal

I suspect I'm not the only one who reviews all-girl rock bands with a higher-than-usual bout of optimism, a utopian belief that one day chicks can tip the profane masculine iceberg known as R'N'R -- but who also, when duly disappointed, applies as swift and sharp double-edged Kenzo sword. As a disclaimer, I'd like to say I began listening to this record in a key of "10". Anyone who's been privy to modern chick bands -- yes, 80% of which I believe royally suck -- still, without a doubt know the two stalwarts from the 2000s onwards are: The Donnas and the band under review, Sahara Hotnights. This year they've come out with their 6th, "self-titled" album, after having released only covers in 2009. My quip with these two bands is, however talented or resilient they've been, is that they've wavered musically by dabbling in too many styles, trying on various genres like prom dresses. The Donnas went from their days as safety-pin wearin' punks to Sheryl Crow wannabes, to now- a glossy, cock-rock, hair-metal image. WTF? While Sahara Hotnights haven't undergone nearly as drastic an image change, blanket marketing of their hits as "garage punk" vs. "80's radio pop" often left me in wonderment. But their super cool stage candour and Maria Andersson's powerful voice tended to make them the favourite of the pair.

This album certainly proves they cohere as a band, if not in a slightly more grown-up way. They can croon with the age-wisdom of blues devotees and chant joyfully like teenagers at a rally. Yet, as a complete entity, this album blows. Maybe I come with too high of expectations... but so much feels wrong. The song order, the monotonous lyrics, the flow and surprisingly, the lack of self-realization where their strengths lie. Then again, maybe I'm over-intellectualizing it and should retreat as a goofy geezer whose pants wet at any band sounding remotely like The Shangri-Las or Huggy Bear.

Naw.

I mean, if SH wrote an album of songs as meaty and compact as "781", track seven, I wouldn't be complaining. Sure, it sounds like a throwback, but we've already discussed how these ladies have been successfully doing just that the last decade. It's straight, ballsy and to the fuckin' point and that's exactly what I want to hear.

Sometimes I feel talking about girls in rock is like talking about reverse discrimination in the workplace. To compensate for the lack of badly needed estrogen, some subconsciously devalue what would be harsh standards applied to the same music performed by dudes. Sahara Hotnights have all the potential in the world to change how we see music, and they undoubtedly know how to rock, but their latest [and last, so it seems -Ed.] shows the iconic album we dream for, still remains en route.
- Ann Sung-an Lee

Ram Di Dam - Different beat (video)

A new single from Göteborg indiepop act Ram Di Dam. Look for the band's debut album to be released soon via Stranded Records/Universal.

Top 10s for 2009: It's a Trap!

Markus Krunegård
Prinsen av Peking / Lev som en gris dö som en hund
Universal

It's always very difficult to not gush and be objective when reviewing music by your favorite artists, and I have made no secret in the past with my adoration for the songs of Markus Krunegård. It's strange though, because I tend for myself to be skeptical of each new record of his, whether it be the solo material or with Laakso. Yet, each time I step back in awe after the albums have clicked. This year he has delivered two new albums on the same day, and I must admit, was a bit unsure when hearing a song here and there and yet, once again, this has changed after multiple listens. As each record passes, you become aware of how much he is improving lyrically -- they've become less direct, and more poetic -- an attribute one never really associates with modern pop music. Songs like "Prinsessan av Peking" and "Kär i en borderline" are glaring examples of the imagery he has been able to focus on, and the results speak for themselves. The arrangements are also top notch, once again mostly working with longtime comrade Jari Happalainen. Laakso fans will take note that "Dystra utsikter" is a re-appropriation of "Long Beach", yet with the sense of hopeful support shifting to that of desperation seeking relief; "Mitt kvarter" is an ode to his residence. I would be safe to say, that by now, Markus Krunegård has more than cemented his place as one of the top songwriters at the moment.
- Matt Giordano

A Camp
Colonia
Universal

If A Camp's female vocalist sounds familiar, it's because you've almost certainly heard her before. Nina Persson is also lead singer of The Cardigans, one of Sweden's biggest musical exports, and A Camp is her side project. Their first album gained wide critical acclaim in 2001, but, due to the continued commercial success of The Cardigans, only now have they had time to follow it up.

Having read that A Camp showed a darker side to Nina, I expected something much more serious, and perhaps even boring, than I actually found on "Colonia". In fact, it has more hooks than some of The Cardigans' recent albums. If I had been told it was their new release, I wouldn't have guessed otherwise.

The highlight for me is certainly "Golden teeth and silver medals", a charming duet with Nicolai Dunger with wonderfully poetic lyrics. Rousing lead single "Stronger than Jesus" is another favourite, along with tribal romp "Here are many wild animals". Contemplative ballads sit side by side with quirky pop songs on this album, which has already earned Nina the front cover of British broadsheet The Independent's Sunday supplement.

It seems an unfortunate irony that this side-project, intended to be a break from the limelight for Nina, is pushing her right back into it. Yet for fans of her work with The Cardigans, it's a lovely treat to find that the wait for their new album was not such a long one after all.
- Jessica Popper

Anna Ternheim
Leaving on a mayday
Universal

Anna Ternheim's "Leaving on a mayday" is not a mayday, but more of a rainy fall-afternoon with yellow leaves covering the ground. This might sound like just another typical Swedish release that reminds you of a black silhouette of a man trudging through the snow in the dark and the cold, however this is not the case. Producer Björn Yttling from Peter Bjorn and John has added percussion that make this 10 track record really stick out. In many ways, this is a much more varied release compared to previous creations and, even though some of the old Anna is left, seems somehow much further away from Anna's previous, more Kent-ish releases. She still plays in minor keys and has possibly sunk even further down into the Swedish snow, but there is still some sort of warmth at the core of every song. With a strong and distinguished beat, Anna keeps the flame alive. She dropped some jazz, added some pop, and taken a further step towards alternative. The cooperation Anna and Björn is nothing but successful and necessary. There are 10 songs and almost just as many shades of Anna Ternheim. With all this in mind, she continues her way of getting better and better with every release.
- Morten Frisch

Veronica Maggio
Och vinnaren är...
Universal

Ah! This sensual blossom; brittle voiced Veronica Maggio in her nerdy turquoise sport dress has arrived with a matured attitude, from "Dumpa mig" to this more personal album; "ch vinnaren är", is a big pace and invitation to Miss Maggio's youth; we are all sucking it in. Let me mention Lisa Ekdahl, one of Sweden's best folk artists. Her voice is top notch, killing other peoples lyrics; well let's do a parallel between these two women since there is some likeness vocally, and then leave us at Maggio with the word trademark. Yes. In a way, I feel guilty about being passionate for this album; this could be more a brand than pure musicality. She is a good songwriter, no kidding, but many hands have been involved with this production, not at least her boyfriend, the talented Kihlen from the hip-hop band Snook. But honestly, how many artists can succeed totally alone? Despite it all, I'm gonna be a naïve one, because this is sexy, appealing and catchy. Something about her voice melting into the lyrics. Singles such as "Stopp", "Måndagsbarn" and "17 år" are, without hesitation, among some of the best songs on the Swedish market this year. Let me leave you with the line "Jag är tillbaks nu igen, inget hade varit möjligt utan mig."
- Therese Buxfäldt

Markus Krunegård
Markusevangeliet
V2/Universal

Every issue I had with Laakso's "Mother, am I good looking?" is beautifully absent from frontman Markus Krunegård's debut solo effort. The closest "Markusevangeliet" comes to disappointing is in its occasional similarity to Laakso, but, with Krunegård's band being one of the most original voices to come out of Sweden in years, there is little chance of this spoiling the record. Sadly, for those who do not speak Swedish, Krunegård's decision to sing in this Scandinavian tongue may somewhat blight the album as much of its anthemic power becomes lyrically indecipherable and the ability to sing along is removed. I truly hope this facet of "Markusevangeliet" can be surmounted by non-Swedes, and the strength of Krunegård's songwriting is impressive enough alone to help one overlook the language barrier, but it's worth listening to some of the tracks on his Myspace page to make sure you don't purchase a record that you are too distanced from. Songs like "Samma nätter väntar alla" and "Ibland gör man rätt, ibland gör man fel" are as fascinating in their songwriting and instrumentation as they are defined by Krunegård's dour, lacerating lyrics, and one can hardly fail to notice his unique timbre and delivery as almost an instrument of its own. "Se på mig nu, vad tycker du?" and "Den som dör får se/Markus kyrkogård" are two of the best compositions that Krunegård has ever done, especially when the latter enters into its final section with Krunegård singing: "Om du är rädd sluta med det. Om du är bränd och rädd lägg av med det..."

Despite all of the warnings that Laakso's impressive catalog sent out, "Markusevangeliet" affected me in a way that few records have ever been able to. Markus Krunegård may very well have crafted the best album of 2008.
- Lars Garvey Laing-Peterson

Petter
God damn it
Universal

There aren't that many Swedish rappers who have managed to achieve commercial success. Petter is an exception, he released his debut album in 1998 and even though his last two albums didn't sell as much as the previous ones (due to not being as good, I'd say), he's still the biggest hip-hop star in Sweden. Nowadays Petter lives in a Swedish ski resort and writes a popular blog (mainly about his kids). On his sixth album he tries very hard to come across as just a normal person who is like everyone else, though it feels a bit tired, like something a politician would do. His rhyming skills just aren't that great and the whole production is very unoriginal. However, his blog is actually a pretty good read, and much more interesting than his current musical output.

Even though Petter is very honest and open in his lyrics, he no longer has that drive that gave him such an appeal in the beginning of his career when he released tracks such as "Mikrofonkåt". The title track is ok, but the whole album is too much of a half-hearted effort, and sampling Säkert! on "Logiskt" feels shoddy and cheap.
- Simon Tagestam

Lars Winnerbäck
Daugava
Universal

I believe it all started with Carl Michael Bellman in the 18th century. Bellman wrote songs that now are an important part of the Swedish musical heritage and have been the blueprint for many Swedish musicians to follow. For many years now there has been a school of solo male troubadours in Sweden singing mostly about love and how hard life can be. They're usually not as witty or original as Bellman, but there seems to be a fondness for these types in Sweden, since there constantly seems to be one of these guys on top of the charts. In the last 10-20 years the style of choice has been to sound like (a very accessible) Tom Waits, with some Balkan and folk music influences thrown in for good measure. If you ever find yourself around a campfire in Sweden on a hot summer night, it's very likely that some loafer-wearing smug chap will materialise out of nowhere with an acoustic guitar singing songs by aforementioned songsmiths. Lars Winnerbäck is currently the king of this genre, and this (his eighth) album is ruling the Swedish album chart once again after it was released in September 2007 (probably due to him doing rather well at various music awards). It's generic stuff, and often quite boring, except perhaps on the biggest hit of the album "Om du lämnade mig nu" which has a certain sentimental appeal to it.
- Simon Tagestam

E-Type
Eurotopia
Lulubelle Records/Universal

It's something of a miracle that E-Type can still peddle his music, let alone that he has been allowed to keep on doing it for so long. Why, after more than 10 years of sonic torture, haven't people taken to the streets and forced the Swedish government to ban E-Type from recording ever again? Is he perhaps big in Germany or Russia, and the Swedish people are scared of being invaded if they do something about this musical toxin? Last week Iran decided to start a war against obscene rap music, but if they had their priorities right they'd do the world a favour and concentrate their efforts on E-Type instead. If they did that, I'm sure that we'd all turn a blind eye to their plans to build nuclear arms.

Criticizing E-Type is perhaps like shooting fish in a barrel, but I think I'm justified to do this since I've had the extreme displeasure of listening to "Eurotopia" in its entirety while on public transport. It made me feel ashamed and depressed, as if I was sitting there and having my ears raped voluntarily. Being subjected to this album has definitely been one of the most unpleasant experiences I've had in 2007, although deleting it from my ipod gave me a serene feeling of having my soul cleansed.
- Simon Tagestam

King Midas
Sorry
Universal

Oslo's King Midas are seasoned pros in the music world, "Sorry" is their 14th release (including both singles as well as albums). The band has been through their up and downs, but have succeeded in holding it down, and that fact should not go unnoticed. "Sorry" has a mischievous air to it, not unlike a typical Robyn Hitchcock record, or a dark, sinful track from the Velvet Underground. Like the melancholy, angry, edgy themes we've heard from the aforementioned artists, King Midas proves it can still be done right, with of course, more synths. Standout tracks include "Honky tonk symphony", "Westend boys" and "Walk away, ringo". There's no reason why this record should not be in someone's top ten list for this year.
- Paul Bredenberg

Anna Ternheim
Lovers dream and more music for psychotic lovers
Universal

When Anna Ternheim stretches she doesn't go all that far. Still, this five-song EP is a nice twist on the melancholy tranquil folky singer-songwriter piano-based songs that comprise her first two records. The instrumentation is different here, and the sound more spacious and experimental, though still instantly recognizable as her's. Perhaps most refreshing are the lyrics which, as the EP's title implies, go beyond her standard forlorn and defiant love songs toward the mentally ill without the in-your-face humor of, say, Hello Saferide's "High school stalker". "I refuse to believe you've left me / 'cause you'll never leave / nor stop loving me / 'cause I would hurt you beyond belief" she sings with the sweetest tones, setting up an intruiging (if disturbing) juxtaposition. At the end of the day, though, it's still Anna Ternheim all the way, not in the least bit dangerous. But if you like easy going, very pretty, and relaxing mellow songs, you'll enjoy it, and if you don't, you won't. I do.
- Nancy Baym