Label: Universal
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7
Opener "The white lady", even in the title of the track, reminded me of Nick Cave. This darkly melancholic, semi-theatrical (and sometimes kitschy) approach is reflected throughout "The island". Draumir's ability to build their songs from intensifying layers of instrumentation and along the tangents of the lyrical storytelling is compelling and fascinating, and is an effort that very few artists can pull off in such an accomplished fashion. The last album I remember enjoying the conceptual approach as much as the musical delivery was Murder By Death's "Who will survive, and what will be left of them?", a wonderfully dark, gothic tale about the Devil, the old West, and zombies. While Draumir's record is not quite on the same level as Murder By Death's, they do share a number of similarities musically, and "The island" is a fine collection that compels listeners with its multifaceted compositions from its inception until the wonderful ending provided by "Dead porn star". Don't be put off by the absolutely dreadful cover art, this really is a good record.
- Lars Garvey Laing-Peterson
7
William Hut has a special place in my history. Hut's former group, Poor Rich Ones, first got me interested in Scandinavian pop music way back in 2001. Their album "Happy happy happy," was a sparkling gem, and once I started learning about this band and other talented Scandinavians, I never looked back. Hut has one of the most pleasing, melodically sweet voices in rock and he's clearly in touch with his feminine side. "Nightfall" isn't quite a classic, but it's pretty good. Hut always puts melody above all else. In fact, all four of the closing songs here capture Hut at his best. Missing are the diverse prog-rock stylings Poor Rich Ones conceived with such flair whereas most songs here are rather simple and laid-back. There are no unequivocally brilliant songs. What is here is merely pretty and kind of soothing, but that is still a good sight better than half the platters I've heard lately.
- Kevin Renick
6
It has snowballed in a fast way for these Norwegian lads and I understand why. In these days, when every other band out there gets their kicks playing indierock with an epic touch, Heroes & Zeros perform with an edge that stands out. Sure, they sound a lot like Muse at times in their most energetic songs and the U2-influences is sometimes too obvious but, hey, that is in no way a bad thing. When a band can combine such influences with great songs, such as "The foolproof" and "Cellophane", a lot is won. In fact, the latter kind of sounds like Sparta and for that I applaud them. If this record contained more of that strong material I would reconsider the 6 out of 10 I eventually gave it. I'm not worried though; Heroes & Zeros will surely put out more of this arena rock judging by how young the band members are. Word has it that they're really good live so I'm awaiting some tour dates in Sweden to check them out. Meanwhile, I will put on "Porcelain" again and I suggest that you do the same.
- Jonas Appelqvist
8
Before every gig on Thåström's latest tour, he and his band listened to Italian dark-wave legends Kirilian Camera to get into the right claustrophobic, dark mindset. With that in mind, it's no surprise that his new band Sällskapet (with Pelle Ossler's amazing guitarwork and old PLP-cohort Niklas Hellberg) conjures dark atmospheres, pulsing hypnotic beats and images of worn-down streets in concrete jungles. While it's easy to draw comparisons to both Kirilian Camera and later-day Einstürzende Neubauten, Sällskapet mostly resembles the third album of Thåström's 90s industrial outfit Peace Love and Pitbulls; only slowed down, stripped of metal-riffs and explosions, and turned into infernal electro-blues. The worn down approach makes the songs stronger, setting atmosphere in the front room with half the album being an instrumental soundtrack to feverish city-nightmares. But the best songs are the ones where Thåström (or in one instance, Nina Ramsby) sings, cutting right to the bone of the listener. When the accompanying DVD sets their songs to images of worn down subway trains, cranes in harbours, dark tunnels and rainfilled streets, it almost makes Sällskapet border on parody. But the rusted beauty of the music makes sure they land on the right side of greatness, both on disc and video.
- Hanzan
To write singer/songwriter Anna Ternheim off as a one-hit-wonder who didn't even write her "hit" ("Shoreline", a Broder Daniel cover), is a bit cruel and not really that fair. I found her first album "Somebody outside" a bit uninteresting and "Seperation road" - her latest offering - does seldom raise itself above the mediocre mark, although I do think it's a better album than Ternheim's first. With the days getting colder and darker, songs such as "The loneliness is gone" and "Such a lonely soul" are a comfortable company, together with a cup of tea. Still, the ten songs on the album are in general a bit too obtuse to make me want to go back listening to them on any regular basis, no matter what the weather's like.
- Simon Tagestam
TSOOL are famously prolific, so no one's surprised that this b-sides/rarities compilation is a two-disc set (or that it was nominated for a Swedish Grammy). TSOOL are also famously talented, so there are songs here that other bands would love to have as a-sides or at least album tracks. B-sides often sound like afterthoughts, thrown together at the last minute. There are a few in that category on this release, like the sitar-noodling instrumentals "Playstation bordello" and "Cleaning session raga". But happily they're the exception, not the rule. Drawn-out rockers "Dow Jones syndrome" and "Galaxy gramophone" showcase frontman Ebbot Lundberg's ability to shift from a world-weary voice to a defiant yell and back as the songs dictate. I'm baffled as to how the brass-tinged epic "We're gonna get it right" wasn't/isn't a single, and the previously unreleased "Side effects" is a good softer, acoustic song with dreamlike synth playing from Martin Hederos. What's next from the group? "Origin, vol. 2", as originally intended? Hopefully something sooner rather than later.
- Matthew W. Smith
I'm sure lots of (Swedish) dads will get this album as a present this Christmas. You see, Joakim Thåström is very much a legend in Sweden. He started out playing guitar and singing in the excellent punk band Ebba Grön who were active in the late 70s and early 80s, when they released some magnificent records that still sound crazy nice, even if you don't speak Swedish. After Ebba Grön, he fronted Imperiet (more new wave/romantic than punk), then he went on to do some solo albums (most of which were influenced by industrial music). His latest offering is something of a nostalgia trip that deals with his past in almost every song, and the music is very "back to basics", acoustic guitar based and melodic. All in all, "Skebokvarnsv. 209" is a bluesy and mellow affair that suits dark winter nights perfectly, and even if it now and then feels a bit naff, I enjoy the album's cheesiness. At one stage when I was a kid Ebba Grön was the only thing I listened to, but I never really got into Thåström's other stuff, so it's a bit surprising that I like most of the songs on here as much as I do, but I do, I really do, whether or not this got anything to do with nostalgia from my part I do not know nor care about.
- Simon Tagestam
Well, after reading about Kaizers Orchestra for two years and desperately wanting to hear them, I finally had the opportunity to immerse myself in their third CD, "Maestro". And I'm pretty impressed overall. The band sings everything in their native Norwegian, which makes them pretty unique right there. But the way lead vocalist Janove Sjakalen enunciates and emotes, it's really not so crucial to know the words; the essence comes across, believe me. This band has a fire and energy that make for compelling music, even if you have to be pretty open-minded to follow the crazy zigs and zags of their sound. They have their own mutant brew: one minute you're hearing a kind of Eastern European traditional folk, the next, cinematic spaghetti western sounds, the next a crazy, funky Ween-style cartoonish exuberance. And then there's some almost straightforward Tin Pan Alley songcraft, although always adorned with odd production quirks. If the lyrics were in English, the indie rock rags would be all over Kaizers; that may happen anyway if enough open-minded listeners give this eccentric but purposeful sound a chance.
- Kevin Renick
When promo copies of "Super extra gravity" began making the rounds, some early reviews proclaimed it to be a complete departure from the band's last effort, the outstanding "Long gone before daylight". Stellar new single "I need some fine wine and you, you need to be nicer" does have a sense of urgency missing from "Daylight", and drummer Bengt Lagerberg does get more chances for his sticks to fly this time around. And yes, erstwhile producer Tore Johansson is back in the fold, speeding up tempos where he gets the chance. But don't be fooled. "Super extra gravity" is not a departure--it relies on the same talents and overall improvements in the band's sound evident after the long post-"Gran turismo" hiatus. Nina Persson's voice now has a warm, natural feel and range not heard on the icy "Gran turismo" or the lighthearted but flat "Life". Her improvement as a lyricist continues, especially on "Don't blame your daughter (Diamonds)", an ode to personal responsibility: "Don't blame your daughter/that's just sentimental/Don't blame your mom/for all that you've done wrong/Your daddy's not guilty/you came out a little faulty/and the factory closed." Like its predecessor, "Super extra gravity" features stripped-down instrumentation (guitars, bass, organ, drums) augmented by strings at opportune moments, but eschews the heavy synth sound of "Gran turismo" and the cutesy touches (bassoon, recorder, etc.) of the early albums. Songs like "Overload" and "Holy love" would fit right in on "Daylight". Unlike "Daylight", though, this one does run out of steam towards the end. "In the round" and "Good morning Joan" are forgettable, making this a very good album that's not quite as consistent as the one before it. If you get a chance, check out the woozy bonus track "Slow", the closest thing to Cardigans psychedelia I've heard yet.
- Matthew W. Smith