I've been doing acoustic or semi-acoustic solo shows for years as well as as touring and playing one off shows with all members of MABD or just doing more punk rock gigs as a trio. I mean, playing solo is nothing new to me, I've been adjusting the sets according to circumstances for seven years or something now. But the question is will I go solo, right? Well, yeah. My plan is to release records under my own name from now on. But I will also keep on playing with The Bear Quartet and get involved with other people. I've had some cool offers already. But I can't really talk about it just yet. I disbanded MABD on Monday and made it public today [Wednesday]. It's a bit early, I think.

So what's up w/BQ then? Is a new album underway? Any clues as to what it will end up sounding like?

As nothing has turned out the way we thought it would the last two years or something regarding The Bear Quartet, I can't really say if there's gonna be an album out this year. But we are going to hook up in Calle Olsson's studio this summer, and I've got like 10-15 songs for that occasion. But how they'll turn out, or even if any of them make final cut, I don't know. Thing is, we used to work so fast before, and in my mind we've made like two or three records already. And I'm tired of them now, this one will sound nothing like the last two (imaginary) records. I know it sounds weird, but I can't explain it any other way. We've made an album full of Talk Talk-like ballads and a funk album. In my head. I have no idea what the other's records sound like in their heads. Same goes for the next one, the real one we are planning. But that's sort of the whole point, as far as we're concerned.

Seeing as how you've been playing acoustic, does that mean we can expect an acoustic album? Or do have other plans? Also, do you think you'll still be singing in Swedish as with MABD or will you also work again in English outside of BQ?

I will most certainly not make an acoustic record. Not in the singer/songwriter vein anyway. I lived under the illusion that I was making mainstream music for Swedish radio the last couple of years, when clearly I was not. I don't know why the radio didn't pick up really. But I think I will sing in Swedish for the most part. Swedes who sing in English kind of annoys me. That said, I think this year (and the last) some people have finally made great records in English although they're Swedes. I'm thinking of playing rockabilly in Swedish. With serious lyrics about real and engaging things. I don't think it's ever been done. But it's just an idea.

I want to take things all the way, that's what I mean. I did feel that MABD was quite mainstream on the last album, and don't get me wrong, that was all fully intended, but I think I prefer to work in the extremes more. Or, I don't know. I want to make a million different records before my head and heart explodes, that's all really. I just don't now where to begin just yet.

But I wouldn't rule out English completely. I just don't think there are enough good Swedish lyrics around and I still want to change that.

It seems odd to me that the mainstream didn't pick up on it more either - especially since the Swedish public seems to go crazy for even the most lackluster Swedish language pop. Maybe you should try your hand at a schlager/dansband record? But seriously, now that you've freed yourself to do your own thing, what do you think you'll do first? What kind of niches are you wanting to explore? How extreme are you going to take it?

Well, I want to make a real old-school hardcore record, a dark, dark post-punk/post hardcore one. And I want to finalize what was supposed to be the next MABD-record. Oh, and I have a full album, lyrics, songs everything written for the most annoying record in the world. It's like Greg Ginn's [Black Flag] solo albums, paired with prime-time Throbbing Gristle, Flipper, No Trend, early PiL and early Butthole Surfers. But with me smeared all over it like a rotten egg.

However, I have a large family that I can't and won't let down, who I (together with my wife) have to support and take care of. I have no education whatsoever, no steady income, or anything like that. Perhaps the most annoying record in the world won't put food on the table or pay the rent. On the other hand, I'm turning 40 next year; time is running out and I don't really have any other options, so I've got nothing to loose. I don't know who'd want to release these records, though. And since I'm already living on the absolute edge financially, I can't really release them myself. I don't know in which end to begin, really. But it's early days yet. Things might work out by themselves.

I dunno, it seems like more and more niche/fringe artists are able to make a go at it nowadays. I know that locally here we have hardcore bands like Sex/Vid blowing through thousands of 7"s in a few weeks that immediately fetch crazy prices on eBay. And they don't even have a web presence. Is it maybe that the underground in Sweden is dead? Or am I mistaken? Are you able to keep up with that stuff?

I started up a kind of community center for grown ups last year, you know, rehearsal spaces, a place for gigs and the occasional party. It was me, Jonas Teglund [Park Hotell] and a bunch of hardcore punks. They, the punks, have several gigs each months, bands from all over the world (I've seen Tervet Käädet, MDC and Born/Dead to name but a few only this year), and the local hardcore bands like Avskyvärld and Kranium are touring constantly all over Europe. They release 7" EPs and splits with other bands and sell them on gigs. You know, just like in the old days. But I don't think they sell thousands of records and I don't think any of them earns a living from touring either. I mean, the underground is not dead in any way, but it's a micro-genre in a small country. Then again, I suppose Kristofer Åström gets by playing his brand of country-rock doing the same thing for about the same sized crowds all over Europe. I don't think there's too much money in the punk/hardcore community. I understand that if I were to sing in English I could probably sell more records and tour more often and at a higher standard in Europe (since Sweden is kinda sick of me by now). But that line of thinking just triggers something profoundly Bear Quartet-ish in me, and I think fuck you, I'm gonna sing in Swedish anyway and even more. No compromise, not even in the face of armageddon, as they say in Alan Moore's Watchmen. I think it's a handicap, but I can't really help it. I just can't conform. Maybe when I grow up.

Ah, so even the hardcore scene is alive and well way up in Luleå, eh? Speaking of which, do you think that living up there has hindered your career at all? I mean, it seems like a big part of the reason MABD is no more is because everyone is so scattered. Do you think you'd be more successful in a more "major" city like Stockholm or Gothenburg? Or is that simply incompatible with your iconoclastic personality?

Hehehe. If I had thought of it as a career. Yeah, of course it's been a problem and will continue to be a problem, living in Luleå. One quite major part of us quitting was my inability to take the business/career side of it seriously, and feeling guilty that I was holding back the others who, in the beginning anyway, felt there was a possibility to actually earn a living from this. But I actually prefer to play Debaser Slussen in Stockholm as to play in Debaser Medis, which is a much bigger venue. I think maybe some of the others were hoping that we would play a even bigger place the next time we played Stockholm. But I didn't (and to be honest, still don't) care enough to make that happen, and they (not everybody, but some of them) haven't really told me to my face, but I think they were a bit disappointed about that.

Every now and then I try to shape up, be a proper Artist, with A Proper game-plan or whatever, but I can't be bothered. I just wanna go home and write some new songs instead, rehearse them, record them and put them out. I don't have time for careering. I'm about something else.

How soon until we get to hear something new then? Have you had any label offers yet or are you considering other distribution plans? My door is always open of course, though money is scarce/nonexistent.

I've had offers. Or rather, one expressed interest and one offer. I'm always considering other distribution plans. My problem is recording, not releasing. Or rather, I care more about being able to make the record(-ings) than getting it out. Record labels and/or means of distribution are the next step. The ideal thing would be to find a way to record whatever I want, and THEN get a label. As my plan is to make all sorts of records, I can understand if the majors and the more traditional indies hesitate to sign me, or to fund my recordings. By that I mean that I can't say anything about when or what will be released. But I'm up for just about anything. Although I'm not too keen on making home recordings. I want a actual studio, maybe a producer and someone to work the studio equipment.

And thanks for the offer. I will consider it.

LINK: http://www.mabd.se/

The Spurts
SOUNDS LIKE: Terrible name, but I can't help loving their shambly, rough-edged power-pop sound.
HIGHLIGHTS: Long way home, Stay tonight
LINK: http://www.myspace.com/lovespurts

Virak
SOUNDS LIKE: These guys have been on my to-do list for ages. Great atmospheric/cinematic rock from Denmark.
HIGHLIGHTS: Arms raised, Little creeps
LINK: http://www.myspace.com/virakdk

Easy
SOUNDS LIKE: The quip says it all: "Norskweeegian soul". Actually, it used to say "Norwegian Forest Skweee", but either way, you cannot lose.
HIGHLIGHTS: Every track is great
LINK: http://www.myspace.com/easyno1

Seda
SOUNDS LIKE: Seda is Teresa K. Aslanian, wife of fellow Norwegian artist Jakob Holm-Lupo (White Willow, The Opium Cartel), an artist I correspond with every so often. Her brother is also dating one of my oldest friends. It's a small world!
HIGHLIGHTS: Oh yeah, the music - I like "Head of a girl" and "Look out my window" best
LINK: http://www.myspace.com/sedaseven

That Dude Prince
SOUNDS LIKE: Up-and-coming hip-hop out of Stockholm. Definite hitmaker potential.
HIGHLIGHTS: Knock you down, Red button
LINK: http://www.myspace.com/tdprince

Evocation
SOUNDS LIKE: Classic Swedish death metal. Oh wait, that's probably because they first started in the early 90s and have only recently gotten back together to pick up exactly where they left off.
HIGHLIGHTS: The dead, Greed
LINK: http://www.myspace.com/swedenevocation

The first time I heard the word "fjortis" - see Urban Dictionary and Uncyclopedia - was in association with a young Hellström fan, about the same time I learned what friends meant by "lammkött" - literally, "lamb's meat" - and why certain girls in the cafés we frequented were referred to as "pandas". While obviously more associated in those circumstances with immaturity, even these insulting relationships ally Hellström's music rather strongly with the liminal expanse of youth, adolescence, and coming maturity. As much as we'd all love to believe that we were always as cool as we think we are now, a brief flip through a photo album would easily decimate this certainty. At one time or another, we were all fjortisar.

Imagining an afternoon spent in Vitabergsparken in Stockholm without hearing "Kom igen Lena!" blaring from some battery-powered stereo seems almost sacrilegious. Håkan Hellström, relegated to a somewhat guilty pleasure during my too brief stay in Sweden, will forever be associated with long summer days, cases of Kopparbergs pear cider, and other facets of those post-adolescent experiences where we numbed self-discovery with distraction, traded drunken logic for experience, and stumbled awkwardly out of our late teenage years into our twenties, our arms around whatever girl would have us, our hands preoccupied with sweating cans of 10 kronor cider or cheap bottles of red wine, our voices raised in chorus:

"För många ramlande flickor ramlar förbi
För många rammelsängar att ramla i
Människor ramlar runt på stan
Människor ramlar hårt, precis som du - och jag..."

Håkan Hellström is as much a part of Göteborg as Bruce Springsteen is part of New Jersey, though I'm sure many would rather me align Hellström alongside New Jersey's kitschier, less canonic Bon Jovi. Either way you arrange it - be it "Livin' on a prayer" or "Born to run" - Hellström continues to be a dynamic figure in the Swedish music scene. Whether you are of the opinion that it's been all downhill since "Känn ingen sorg för mig Göteborg" or you've taken the inspired with the forgettable and still find yourself thinking well of his career, Håkan Hellström, especially with the release of the brilliant "För sent för edelweiss", is moving from one-time teen idol to an iconic musical presence. I see Swedish directors in ten or twenty years using Hellström's music in their soundtracks the same way Wes Anderson has repeatedly used the Kinks, the Rolling Stones, and other acts associated with the British Invasion of the 60s and 70s. There is something so encompassing and communicative about Hellström's music, the original work of an avid and influenced student, that while many of his contemporaries will become referred to as "dated", Hellström's works will remain present and alive, able to evoke youthful memories and still carve out meaningful expanses in our present and older days.

/Lars Garvey Laing-Peterson

Bluebridge the Quartet
SOUNDS LIKE: Postjazz? Well, that's what they call it. Imagine what it sound like if EST indulged their rock side a bit more and I think you'll be close.
HIGHLIGHTS: Bergman, Torsdag, 2008 exclusive
LINK: http://www.myspace.com/bluebridgequartet

Desktop Orchestra
SOUNDS LIKE: It's amazing what you can accomplish with even a basic home studio these days. This is interesting electro/acoustic pop that should appeal to fans of acts like Fredrik or Fontän. Skirts the edges of experimentalism, but never alienating.
HIGHLIGHTS: Both tracks are great
LINK: http://www.myspace.com/desktoporchestradk

Epidemics
SOUNDS LIKE: Ex-members from Disconvenience soldier on with the punk-rock thing, 'cept now the vocal hooks are way bigger and the songs are better. Match that up with some excellent walking basslines and I can't help but think of The Rezillos. Nicely done!
HIGHLIGHTS: Bloodstains, Never grow up
LINK: http://www.myspace.com/epidemicspunk

Gentil
SOUNDS LIKE: Takes the weirdo electro/fucked-up indierock stylings of latter-era Bear Quartet and runs with it. Still a bit rough around the edges, but bursting with potential. Of course that probably means they'll be doomed to obscurity, but I'll be listening.
HIGHLIGHTS: Chapter 1 why language matters, Debaser
LINK: http://www.myspace.com/gentilmusic

Harasser
SOUNDS LIKE: Normally I'd say that attempting to emulate Swedish hardcore legends Breach is an idea that's doomed to fail, but somehow these Danes pull it off. Bravo!
HIGHLIGHTS: Fortabelse
LINK: http://www.myspace.com/fasterkatt

Panter
SOUNDS LIKE: Easily fits within the paradigm of modern indie MOR, but they do it well, so who am I to say it's no good? Again, tons of potential.
HIGHLIGHTS: Every song is eminently likable, but I like the low-key "Part time queers" best
LINK: http://www.myspace.com/pantermusic

Tracklist:
01. TALK 1
02. Lukestar - The shade you hide
03. Marybell Katastrophy - Hidden agenda
04. Britta Persson - At 7
05. TALK 2
06. C.Aarmé - Blodet
07. Firefox AK - Winter rose (Tellevika remix)
08. Lack - Bombing the moon
09. TALK 3
10. Barra Head - Undermine
11. Paper - My life is going under
12. Montys Loco - Criminal
13. TALK 4

Petter o Hanna is the project of Petter Vågan, of more that half a dozen projects like Vertex, Eyewaterlillies, Phy, ROOM and Vågan Quartet, and Hanna Gjermundrød, of Schemozzle, Kenyabop and When She Utters.

Before this concert I knew absolutely nothing about any of them apart from the fact that they are Norwegians. Second, I had no idea what these people were doing in Montréal. I mean we have a fairly healthy experimental scene, but but most of it is local; we don't get a lot of touring acts, much less people relatively unknown that didn't seem to have much of a following from the little I had heard before the concert (it was promoted locally by a good friend of mine.) Needless to say I was curious.

The night started with Le Sentier Lumineux, a duo that always brings smiles and head bopping. Le Sentier Lumineux are a couple of experimental music veterans that decided to form a strictly free-jazz duo of wind instruments, most often saxophone and drums. Their approach is simple and rooted in the tradition of mid-sixties free jazz: relentlessness and listening to your partner. As usual they did a pretty great job and the comedy bits by Jacob Chelkowski were more than welcome.

Soon after, Petter o Hanna took the stage. After a few moments of vocal loops and ethereal textures by Hanna, Petter took more space and the interplay of the two started going in overdrive. The first piece was really incredible as Hanna's voice is both powerful and soothing with a hint of sadness and that made all the difference. For the rest of the set, though, Petter took more space and Hanna was more percussive and that did not work out as well.

Full disclosure (gear-head alert): I hate the Korg Kaos Pad. I think it sounds like shit. Petter, running his pedal steel guitar through a Kaos Pad was OK for a long while, and it showed me nearly for the first time ever, a good utilization of the device. However after a while he began using it in the usual irritating way that people use it. Simply enough, the thing makes it possible to do a whole lot of things that are impossible to do without, but also it all makes them sound crappy.

For the third set of the night Petter and Hanna invited a few Montreal luminaries to join them, with two clarinets, one drum, one saxophone and one more on electronics. Strangely enough for the amount of people on stage, and off, this improv was impressively disciplined and a lot of listening was going on. Everybody was attempting to pick their spots to enter. While it wasn't perfect, it was, however, the best set of the night.

Text and photos by Simon Thibaudeau

How does one look when one looks like something from a forest? Perhaps something like Ulf Ljusberg? Yet again, maybe not, but the sound of Ulf Ljusberg could certainly be something you could find in the depths of a vast maple woods of Canada, or just about any wilderness there is to be found. Every once in a while a musician comes along who can capture the soul and essence of things – Ulf Ljusberg is one of those.
- Christian Stenbacke

I have a difficulty of describing your music with just a few terms, every time I get close to a definition it slips away again. How would you yourself describe the music of Ulf Ljusberg?

I feel the same way, and I should know better, right? I often get stressed out because people ask what the music sounds like and I really want a quick fix description to not sound totally disorientating, and usually I start off with a 10 second "uhmm..." I hate when that happens, so I have started to use other people's descriptions and it helps a lot. The latest one is "bossa-folk-jazz-pop" and that's not too bad, eh? To simply try to describe what I want to accomplish with my music - it would be something like "acoustic music that shifts from melancholy and emotional to more aggressive and a bit funky with a lot of different influences and a focus on rhythm and the element of surprise in harmonies". However "folk/blues" is the one I use most often for obvious reasons.

A solitary man armed with a guitar and a voice of honey; it's a difficult genre to master. What where your thoughts upon taking up the guitar in the first place, have you ever been frightened by the "competition" or the legacy of the genre?

In the beginning it was all about playing electric lead guitar in rock bands, which I did for several years and that was all I ever wanted to do at the time. I did the Mike "Jumping Cat" McCready in front of the mirror you know, which is not perhaps what you'd expect? In the meantime I began to write my own songs and sing and that has since evolved. For many reasons, better or worse, I have never felt part of that specific legacy.

You're truly a gifted and imaginative guitar player, do you have any specific role models when it comes to guitar playing? Where do you get your inspiration in general?

I grew up listening a lot to contemporary blues related rock'n'roll, which later introduced me to some of their predecessors such as Jimi Hendrix and Led Zeppelin, and I think that shows in my guitar playing and music writing in many ways. I also learned a lot listening to Ani Difranco, and when I started experimenting with open tuning that really set me free from how I used to think, write and play in general. That was a huge step for me and that changed lots of things.

First there was Something from a Forest, now there's Ulf Ljusberg only, what's the story and what's the difference?

The expression comes from a Dutch guy who said I looked like something from a forest and I used that as an alias until the end of 2005. I liked that kind of Red House Painters cloak, when it's not too obvious and "in your face." I don't think my real name was ever mentioned in the first demos I put out. Eventually I just grew out of it and musically there is really no big difference in what I want to do apart from the natural progress.

Common or Garden Records is a project of your own, how does it work and what plans do you have for the future of the company?

I started the label in 2004 together with Tobias Hall and we have been building up things slowly. It's not until this previous year that both of us have had time to really focus on strategy and how we want to continue. For the last couple of months I've been working on getting involved with other independent actors, both in Sweden and in other countries – networking - with the intent to consociate on an informational basis, share ideas and work with promotion in each respective area and so forth. I was very glad and inspired when I first read about "The Swedish Model", since that's kind of what I've had in mind, and that is also a confirmation that there is an understanding and interest to work together and achieve greater things out there. "No man is an island," so to speak.

Love is indeed a powerful force - You recently moved to the city of Växjö to be close to the Mrs, how does this effect your music writing and ability play live shows for instance?

When I told my sister that we were moving away from Stockholm she said: "well, all you need is a guitar, a computer and a coffee maker and you're happy with life," and I guess there's a lot in that. Of course there are downsides to things as well, but in general it has worked out very well. Musically it's perfect, I have lots of time to write and record. There are also a lot of different places to perform live shows here, to be introduced to a new audience, but I'm also going back to Stockholm to perform.

What kind of response have you received so far? I can imagine that it's hard to make one self heard these days, even though myspace and whatnot, since more artist fight for the attention of potential listeners. Especially since, as I've experienced it, most of your tunes need some time to really sink in and affect. What's your take on the music climate closest to you?

There is certainly a duality in the fact that it's so easy to present your music nowadays and yet so hard to get people to listen to it due to the huge amount of music available. However, with the internet and myspace come infinite possibilities if you are imaginative, and today it's all about finding your audience and I believe there is one for every genre. If your listeners are halfway around the world - it doesn't matter! That is definitely a good thing. For me personally, it's a struggle yet a pleasurable one, since as you mentioned my tunes need some time to really sink in. I think we are most effective in getting new listeners while playing live and perhaps that is something natural. Many times the sound engineers are the ones we persuade the most, and that's good credentials, but sometimes I'd wish for the addition of more sugar to the cake!

LINK: http://www.myspace.com/ulfljusberg

The group's initial statement was released last week, but it left me with more questions than answers so I had Martin Lundmark from member label A TenderVersion Recording help fill in the blanks.

How did The Swedish Model come together?

I guess it began when some of us met at SOM:s annual meetings. After awhile we felt that that organization was too big and slow moving when it came to certain areas, so we wanted to start our own network where ideas could be spawned and co-operation could take place fast and easy.

For the non-industry saavy, can you explain what SOM is?

SOM (Svenska Oberoende Musikproducenter = Swedish Independent Musicproducers) is a organization for independent record labels founded in 1974 with about 250 labels as members. It was founded to help preserve and develop the rights and interests of smaller labels.

How did you decide on what labels to invite? What's the common thread that holds you all together? Is there skill and/or knowledge sharing at work?

I think a common thread is that we all feel that we are not a part of the traditional "music business". We are also sick and tired of the negativism that has plagued the debate and the general music climate lately. We all believe that there is a place for music companies in the future, we just have to adapt and be open to all new solutions, and make up some new ones ourselves! And yes, we share knowledge, contacts, information etc.

So then, what exactly is the purpose of The Swedish Model?

The purpose is to work together and try to grow and get more attention both within and outside of Sweden. We also want to be a creative outlet of ideas, a think-tank or whatever you call it. We want to spur each other to come up with ideas on how to use technology and the internet to spread the music we release and love, and to be a positive voice in the debate.

How would you like to see the music industry evolve? What role do you see the label (and The Swedish Model, by extension) fulfilling in this new world?

Old ways of distributing and selling music are on the way to die. Artists now have the power and ability to market, distribute and sell their music themselves. However, just because they can doesn't mean they WANT to. So there is definitely still a role to play in the new world. I think we also have to stop treating the CD-album as something holy, as music gets more and more track-based, bands might be releasing songs month by month for example. Our role is to make sure that artists who want to try new ideas of spreading and releasing their music have help to do so from people like us who are genuine music lovers and open and adaptable.

Got any examples of new initiatives already in the works? Anything you can tell us about to look forward to?

Not just yet actually, but we are working on it!

What's the future of The Swedish Model? Do you plan on adding more labels or other partners? Where do you see yourselves in a year's time?

At the moment we are not planning to add more labels. We are focusing on getting our common work together running smoothly and to follow up on our ideas and visions. I think in a year this interview has been done with The New York Times, Berliner Zeitung and The Times. The Swedish Model has met with a lot of people interested in evolving the music industry and our music has been heard by a lot more people than ever before!

It's very early morning back in January when I get an email out of the blue inviting me to give a keynote talk at by:Larm as part of their seminar. My son, ever the astute observer, rags on me: "I can't believe you get PAID to go to Norway and listen to rock bands!" I can only say "neither can I, I only hope you'll be as lucky one day."

Wednesday

I arrive on a Wednesday morning. Not long thereafter, I'm in the main tent the night before the festival officially launches, overwhelmed by the 170 bands on the program and ready to overindulge.

First up are UK act The Kooks who play a short acoustic surprise set which is great fun, though I have to admit it's already faded into a hazy memory.

The Lionheart Brothers are next. They've got a lot of buzz amongst the Norwegians, who seem quite proud of their perceived UK success and great reviews. Their sound is much harder live than I'd expect and never manages to gel. At points their harmonies are so off-key, it makes me wince.

Tingsek follow doing their pretty whiteboy soul/reggae thing. He is a pretty boy, and he works it, and I have to admit that they play quite well even if it seems a bit too designed to make girls swoon. I didn't.

Last band I catch that night is Familjen, who doesn't disappoint with a super-energetic performance including a shirt that says "Det snurrar i min skalle" in dayglo letters that shine in the light. I'm told by someone who'd seen him a month ago that he's much better tonight, and I leave a little frustrated by the brevity of the half-hour set all acts are limited to, but feeling my faith in him is well-invested.

Thursday

There wasn't anyone I was eager to see this night. I start at the main tent, which seems to be the congregation area. Metal band Harpiks open and are truly awful (even some of the metal fans I talk with think so), though I will give them credit for being the first band I've ever seen use chainsaws on fire as instruments.

Then I wind up following others' recommendations. I see Je Suis Animal, who have pretty good buzz, but whom I find so bad, I walk out and go next door to the church where the tranquil acoustic people are performing. Liev Reed is in the middle of his set. He's got a lovely voice and is a terrific guitar player, but he's kind of boring and I'm getting sleepy.

I head back to DagA where Lukestar side project Truls & The Trees are on stage. You'd think that with 9 people on stage, they could make some noise, but they've got almost no energy and I am seriously unimpressed. I leave again for the church next door where I catch Oslo's Therese Aune who blows me away completely. She's a tiny and incredibly sweet humble looking little girl who pounds the piano and sings like a banshee - beautiful, powerful, moving, and completely original.

Then back to DagA where Benni Hemm Hemm offer up a performance that's very well received, even if I find them boring. Again, you'd think that many people could make more noise and offer more energy, but it's a highly competent if slightly cold and languid orchestral set. The final act of the night is Ungdomskulen who are very nice men, but whose "punk prog" music is definitely not for me and who are so loud that the vibrations make my stomach cramp, sending me home to bed.

Friday

By this point I'm a little concerned, 11 bands and only 2 that really impressed me. But fear not, from here out, it's one slice of heaven after another.

First up is The Fine Arts Showcase at Park Teatret. They're my favorite Swedish band and despite the bad sound quality, they don't disappoint, playing a set that includes a lot of "Radiola", the singles from "Sings Rough Bunnies", and a couple of new songs to boot. Gustaf dedicates my favorite of his songs "Brother in black" to me, and I'm thinking I could head back to Kansas content at that point.

Then I catch a couple of Looptroop Rockers songs at Sentrum Scene, but Swedish whiteboy hip-hop is just not for me and I leave in hopes of catching Katzenjammer, but they've just finished their set, so I head back to Sentrum Scene where I see Salem Al Fakir. He's got a happy energetic performance style, and though it's not my genre, it's well worth seeing and the crowd loves him.

Then it's off to the small club John Dee where Bergen girlband Miss Motor put on a very fun show of 3 minute pop-punk numbers. I'm beginning to suspect that the women are going to rule this conference, a sense that's confirmed when I see Miss Li next. She's amazing - so radiantly joyous that my friend's headache disappears along with my own fatigue, and we leave happy to our very cores.

I tried to see Lykke Li next since she's got so much buzz, even if I'm far less than sold on her, but the line is long so I pop back to Sentrum Scene and catch The Violent Years' last 2 songs which leaves me regretting that I didn't see it all. What I heard sounded a bit like they might be thinking "what worked for Madrugada might work for us," but hey, that's fine with me. I'll be investigating them further.

The night ends with a power performance by what might be the most-buzzed artist, Ida Maria, who is all energy and has the crowd eating out of her hand. She's very fun, but not really very original and most of her songs seem to be one lyric repeated over and over. She's really good but I'm unconvinced.

Oh yeah, during the day I gave my keynote which was very well received. I talked about online fan community - how the internet has transformed fandom and what that means for artists and labels.

Saturday

Now it's the last day and I'm starting to get really sad realizing this is going to end so soon. In the afternoon I'm invited for "a surprise adventure" for international delegates. A dozen of us are taken to Oslo's well-kept secret, Emmanuel Vigeland's mausoleum. He's the little brother of the guy who did the sculpture park and his life's work was to paint the entire inside of this brick inverted-U shaped building with paintings so similar to his brothers' sculptures, I wonder what happened in their childhood to give them such common issues. The building has the unusual acoustic quality that all sounds reverberate for 12 seconds. There are no windows, and by the light of 2 candles, folk singer Unni Løvlid gives us a gorgeous voice-only performance of traditional Norsk folk that gives new meaning to the term "drowned in sound," which is kind of ironic since moments later I find myself talking to the fellow Drowned In Sound has sent to cover by:Larm.

I'm on a panel about digital music later that afternoon that again goes well and I meet several great people and learn several cool things I didn't know before. Fellow panelist, Jone Nuutinen, from super-cool about-to-be-Europe's-biggest street team site Urbanited, easily takes the award for person-who-looks-most-like-a-rock-star even if he's not one.

Madrugada fan that I am, the first act I catch that night, at John Dee, is Charlotte and the Co-Stars, who Madrugada's Frode Jacobson is producing. I can see the connection and am favorably impressed and look forward to hearing the record that results.

Then I race a few blocks to catch I Was A King who I just missed the night before. They're really good and make me feel good about having bought their record on eMusic before coming.

Floored as I was, I then take my friend Marika to see Miss Li, who's now at a much bigger club with a much bigger but equally adoring audience. Once again, she lights up the room with her smile and I leave bouncing and completely enamored.

There's no one really exciting in the next time slot, so we take a chance on the horribly-named All That And A Bag of Chips. Despite the funny name and humorous t-shirts that say things like "The Bass" and "The Guitar" and "The Vocals" their sound has no humor at all, and they're ok, but not that good, so we leave and head to Mono.

There we catch Miss Motor again, who are equally fun the second time. They're followed by another badly-named band, Harry's Gym, which is fronted by the woman who plays guitar for I Was A King. She's a very compelling character with more pedals for guitar effects than I've ever seen except for the Wrens' Charles Bissell, and they're really good, but their songs are very similar to one another and I'm glad the set is only half an hour.

Then we head back to Sentrum Scene for Superfamily who turn out to be expat Americans (who knew?). The place is so crowded and I'm so short that I can't see for the first half. When I finally find a spot where I can see, I realize seeing them without SEEING them is missing the point entirely. They're a fun live act, that's for sure, but the songs are nothing special and I start thinking that it would have been better if the two dancing backup guys could actually dance as well as the people they're spoofing.

Now, alas, it's 1 in the morning and the festival is way too close to being over. I head up to the delegate-only club Stratos which is located on the top floor of the old opera house with a walk-around terrace. Someone offers me a glass of champagne, and I sip it, shivering, looking at the view and thinking that this is just about as good as it gets. Slagsmålsklubben give the final show and, just as Stacey promised when she told me I HAD to see them, they are extremely entertaining and danceable. It's a perfect end to a fantastic weekend.

Final analysis: Well planned, well organized, well run, and wonderful festival. If the best band is to be judged by who leaves you happily humming their songs and ready to buy their complete collection, the festival belongs to Miss Li, someone I'd never given a second thought beforehand and could easily have missed entirely (thank goodness my friend who'd seen her told me otherwise!). Oslo's a great city. 23 bands in 3 nights and only a few of them disappointing. It's one of the best weekends of my life.
- Nancy Baym

Bad Dreams Always
SOUNDS LIKE: Classic Swedish rå-punk/d-beat with a killer thrash/crossover edge. Fast and furious!
HIGHLIGHTS: Snutgris, The vengeance
LINK: http://www.myspace.com/bdahate

Dead Vows
SOUNDS LIKE: Gbg all-stars getting down and dirty. Far less convoluted than Repoman, but just as pissed.
HIGHLIGHTS: Both posted tracks are 100% awesome
LINK: http://www.myspace.com/deadvows

Faster Katt
SOUNDS LIKE: A bass/drums duo that actually kinda reminds me of local Olympia, WA acts of yore (GodHeadSilo anyone?), but far more harsh and evil. Or as they put it themselves, "demented". That's definitely an apt descriptor.
HIGHLIGHTS: Spade, Chillumbite
LINK: http://www.myspace.com/fasterkatt

Kloak
SOUNDS LIKE: Probably the most melodic act in this update, but also possibly the least coherent. Pure Danish noiserock weirdness!
HIGHLIGHTS: Each track is so different, it's worth checking 'em all out
LINK: http://www.myspace.com/aboygettingpregnant

Lögnhalsmottagningen
SOUNDS LIKE: This one's a bit different: old-school Swedish punk as played by the international duo of Stewart from Boyracer of Flagstaff, AZ and Martin from Swedish act The Faintest Ideas. It shouldn't work at all, but somehow it does!
HIGHLIGHTS: Svenssonliv, Va e poagen
LINK: http://www.myspace.com/lognhalsmottagningen

Ny Regim
SOUNDS LIKE: More old dudes teaching the kids how it oughta be done. Er, old enough to know better, I guess you could say. Anyhow, I feel a strong kinship here.
HIGHLIGHTS: Fondspara idiotklara, Ditt javla svin
LINK: http://www.myspace.com/nyregim

From the very first downbeat of the single "Winter rose", you'll realize that the Firefox AK you knew from "Madame, madame!" has transformed herself into something new. Eschewing guitars in favor of heavy electro beats, Andrea Kellerman has evolved, sounding stronger and more self-assured than ever before. As to what "If I were a melody" will bring when it's finally released later this month, we'll have to wait and see. For now, let us check in with Andrea to see where she's at.
- Avi Roig

So, I understand that the new album was mostly written while in Berlin. Did you move there specifically to work on it or was it more a coincidence of timing? Do you think the city influenced your sound?

I moved there 'cause I wanted a change of scenery and always liked Berlin a lot. But it also worked out perfectly writing-wise 'cause we were isolated from family, friends, jobs and everyday duties which created a world where the only thing that mattered was to write new songs. I'm not sure if Berlin influenced the sound, I think it has more to do with a change in life rather then the city itself. At least I try to convince myself that the album would have sounded the same even if it was created in Budapest, but then again its hard to tell how much one absorb from one's surrounding.

As far as songwriting goes, "Winter rose" has barely any guitar. Can we expect a similar electro/techno vibe for the rest of the album? Also, what's your songwriting process now- do you still find yourself writing melodies on guitar? Or are you working primarily in the digital realm?

I work both ways, the first album was entirely written on a guitar, whereas "If I were a melody" was not, I started to learn Logic and ended up doing songs more based on beats and loops. A difference between the two is also that I now recorded demo versions of all the songs by myself before me and Viktor Ginner started working on them, that gave me time to play around more and try out different things before recording them properly. The sound on the new album is definitely more electro and the melodies harder to grasp.

I don't know how much of a gearhead you are, but would you care to describe your setup? Any particular toys that you're excited about?

I'm not really a gearhead, I always just have the minimum of what I need to get by, but I love my new toy. It is a flanger pedal, I want to use it on every song! Other than that I use an Apple iBook, Logic 8 and Viktor's pre amps and some other of his stuff while we are recording. On stage I use a Fender Blues Jr, some Danelectro pedals, an old vintage Fender Mustang from '65 and a Micro Korg.

How old is your dog Bess now? How much has she changed your life? Also, does she seem to favor either you or Rasmus?

[ed: husband Rasmus Kellerman, aka Tiger Lou]

She's eight months, she's equally divided between me and Rasmus, she definitely stirred some things up and made some quite dramatic changes for both of us. Before, everything was very spontaneous, whereas now life has to be planned perfectly so Bess doesn't have to be by herself, even though she should be able to by now. But I think its good for us, to have someone else to take care of. It makes one grow as a person.

You worked with Matt Didemus of Junior Boys on this album - how was that? Was he your first choice or did you have other people in mind as well?

He was my first choice. I really like Junior Boys and listened to their album a lot during 2006, so when I had the chance to play support for them in England, I was thrilled. During that week we became friends, as Matt is very easygoing and a really nice person – so I just asked if he wanted to mix the album. I flew down to Berlin in late October and we worked almost every day for two weeks. Some of the songs sounded really good from the start and some of them needed some more work. Matt also produced two of the songs.

Besides the familiar names of Assid, Tellevika and Jimmy O, you had Özgur Can do a remix of the new single - how did that come about?

Özgur Can and Rasmus found each other last year and fell in love with each others music, so when Özgur came to Berlin to DJ at the Panorama Bar we met up with him and danced all night long to his set. I think his music is awesome, it's quite hard techno but still very melodious and playful.

Are there any other remixers you are interested in sending tracks to? Anyone else already lined up for future singles?

I've asked some of my favorite artists, but some of them unfortunately haven't replied yet. There are a few that have and are interested, but nothing is definite yet. I had an idea for the second or third single; to only feature remixes done by girls, but we'll see how it turns out, I guess the ones I've asked are really busy. I would be amazed if the likes of The Field and Ellen Allien did a remix.

So what's next then? What's the plan for the next month? 6 months? year?

The album will be released on the 27th of February and the tour starts in March, so there will be some touring for the next few moths and hopefully we'll play some festivals during the summer and I'm longing to move back to Berlin, that will hopefully happen in the next year or so...

LINK: http://www.firefoxak.com/
LINK: http://www.myspace.com/firefoxak

The band entered the stage later than scheduled in front of a packed venue. The simple explanation to why the show was a bit put off was the large amount of people waiting in line outside Debaser Malmö anxious to see Niccokick perform. After all, it's been a while since last time. Especially since frontman Andreas Söderlund has been so busy producing and touring with Hello Saferide as well as releasing an album with Sounds like Violence. Rumor has it that the band was about to split up a year ago, nothing of that was obvious this night. The opening tune from the new album was also the opener to the gig, the beautiful "15 broken bones". Backed up with a horn section consisting of a trombone and a trumpet, the band seemed to love every second of it. As did the crowd - considering that they only had the streaming versions of the new songs on the band's myspace to refer to. Something Andreas perhaps didn't think of when he requested the audience to be more on their toes. But hey, that's a marginal note. However, when they kick started "The poet", a minor indie pop anthem if you ask me, the venue became a melting pot. And the gig went on in that way, with the cute "Teenage love" with its "ba-ba-baa"-choirs. All in all, they did 6 songs from the new album, a short and concise gig. But the real climax was reached when they entered the stage for an encore set featuring old favorites "Run run run" and "I drink to get thrilled"! Sing-a-longs are always the perfect way to end a gig, especially if they're this great!

Text by Jonas Appelqvist
Pics by Sofia Qvarnström

I have a hard time to describe the sound of Britta Persson, as found on your last album, "Top quality bones and a little terrorist", with this new album, "Kill Hollywood me", being no different. How would you describe it yourself?

Well, I've been trying to describe the record quite a few times by now. I think it sounds kind of straight forward and a little tricky, but it's hard to tell. The new record sounds both petite when it at the same time sounds very large. We've been working alot with the production on this one, and this time around I knew that I was going to work with lots of different people, including Per Nordmark (Fireside, Hets) who plays the drums. This affected my way of writing music, where I used to write songs which I knew I was going to perform by myself, guitar and voice only, I could now write songs and leave parts where the drums could take over for instance.

"Top quality bones and a little terrorist" and "Kill Hollywood me" differ quite a lot from your earlier releases, why is that and what kind of reactions have you received so far?

I think people like this new sound, I like it for sure. You gradually get better and better on what you do, of course, and I'm really proud of the production on this record and the fact that I've written these songs. So, for me it only feels natural to move on, and hopefully people will like it. From what I've heard, they do so far.

You made one of your first public appearances to a wider audience on Kristofer Åström's "Loupita" (2004), where the two of you sang "The wild" together. A start of a very successful companionship one might say. How did you get to meet Kristofer in the first place?

It feels like a really long time ago now, but it all started when I asked him to sing together with me on one of my songs, and he agreed. As a return of favour he asked me to sing together with him on one of his songs, and I agreed.

A lot has happened since then; the Britta Persson singing and playing on "Kill Hollywood me" sounds like a person with not only great songs, but also lots of courage and self-confidence. Yet when I've gone to one of your concerts, you tend to seem a little... timid.

I've been playing live for so long now, I've been playing so many shows, one might think that I would've gotten used to it by now... Some people are made to be on a stage and some just ain't. Let me put it this way; the stage is not an idealistic place for me to be, even though I like playing live. But this time around I will be bringing a whole band with me, things tend to become a lot easier when you're not all alone up on the stage.

The title, "Kill Hollywood me", what do you mean? What is a "Hollywood Me"?

First of all, there is a song on the record called "Kill Hollywood me". That song is just really a song among many others on the record, when I wrote it I felt like the title, Kill Hollywood Me, was a way of saying that I should stop taking myself so seriously all the time. The grass is not always greener on the other side. One shouldn't be so dramatic all the time, one should be happy!

But I wouldn't say that it sums up me as a person entirely, it's a title on one song and that title went on to name the whole record. It's just one thing of many things that I want to do.

When I've spoken with other artists living in Stockholm they sometimes describe something like a "Hollywood Me"-atmosphere around the clubs and music scene, say when it comes to which bands get to play on the popular venues, which people to talk to and such. Is this something you have experienced yourself?

That might be true, this town is like... sometimes I feel that it's very nice just to stay at home for instance, to write a song maybe, but you tend to forget such things when it's very hectic, as it tends to be most of the times.

You've got lots of guests on this record, Christian Kjellvander and Markus Krunegård from Laakso to name a few, but not Kristofer Åström. How come?

I wanted to make the best possible record that I could make, in order to do that I decided to get some help from all the necessary people I thought could help me with my mission. The reason for Kristofer not being on the album is purely coincidental. He lives in Göteborg these days, and he's away playing with his own band most of the time; there just wasn't an opportunity for him to swing by the studio. Which I'm sure he would have done, had he had the time. But we'll surely work together sometime in the future again; no worries.

In the video for "You are not my boyfriend" pink paint starts running from your nose, colourful paint being a theme for the video. What's your take on the visual part of your music?

I usually let the directors do their thing, even though I still get to have my say and the right to discard ideas I don't like or think will work. But I don't usually look upon myself as an artist in that way, I feel more like a songwriter and musician than an artist. I have somewhat of a phobia of motion picture and music; I think it's silly, but I still try my best.

Both "Top quality bones and a little terrorist" and "Kill Hollywood me", together with the videos for the singles, create something abstract that I directly connect with "Britta Persson". Is this image-making something you need to do in order to survive in the music business?

You need to create good music, but of course, you also need to have some kind of concept or big picture where everything fits as well. I only work with people whom I think do a really good job and whose results I really like. But in the end, it all comes down to the music, good music will always find ways to flourish.

LINK: http://www.brittapersson.com/
LINK: http://www.myspace.com/brittapersson

There is something infectiously youthful and honest about New Decade's music. As I wrote in the review I did for "Hush" last year, "New Decade have a near flawless delivery: their songs are timed and tempered almost perfectly, waters are muddied and built up before allowing the waves of distortion and delay to consume the compositions. Emil Lundblad's voice is as powerful an apparatus as the beautifully entangled guitar lines or the backline power of the drums and bass, never having to strain to exist alongside the augmenting storms of instrumentation." As a music journalist, I was curious about the 'stories behind the stories' of the band's efforts, especially a band who so impressed me with their early recordings.

Some of the happiest years of my life were spent on the peripheries of the Stockholm music scene. I remember playing shows at Kafé 44 and the upstairs section of Mondo, seeing Tiger Lou for the first time at Debaser, being taken to a Damien Rice show at the China Theater near to Berns, sliding about in the mud and rain at my last Popaganda Festival, religiously attending every Mono show in Stockholm for the four plus years I resided in Stockholm. New Decade remind me of those years lost to memory or trapped in blurry, fading photographs. While it was bands like The Clash and Joy Division that made me fall in love with music as a teenager, I find myself returning more and more to my time and experiences in Stockholm when I reflect about my near fanatical relationship with music. It's bands like New Decade that make being a music journalist worthwhile; that remind you of an early affiliation with music, and of the time when a piqued interest became an obsession.
- Lars Garvey Laing-Peterson

How did New Decade come about? Did you guys meet in school? Through friends? Did some of you (or all of you) live near each other? What attracted you guys to each other?

Ludvig: My oldest friend and neighbor started 7th grade in the same class as Emil and the three of us started the band. And there was a fourth member as well. It was [this fourth member] that Henning replaced nearly a year later.

Henning: And Matilda started 10th grade while Emil and I were a year above. Me and Emil have been friends since kindergarten and are almost neighbors.

Ludvig: When we started the band, we all lived quite near each other. As Henning said, Emil and he are still kind of neighbors, and like I said, I lived next door to the guy who was in the band from the start. When it comes to attraction, I don't think that we have thought about how one another looks or something like that. We are not like a pretty band [laughter]. The thing we care about is how we work together, that's why some people had to leave the band. It all comes down to cooperation and supporting each other.

Where do you guys rehearse? Where have you rehearsed in the past?

Matilda: We rehearse in Henning's parents basement and we've been doing that for a couple of years. Before that we rehearsed at different youth centers.

What inspirations are present on "Hush"?

Ludvig: Unrequited love and requited hate; [a] longing to exist in ways we don't.

How much would you say living in Stockholm impacts you all as individuals and collectively as a band? Does Stockholm feel like home?

Ludvig: I think Stockholm is home. I can't see myself living anywhere else. Not now anyway. But it hasn't been an inspiration to our music. The best thing and the worst thing is how cold people in Stockholm are. Everyone minds their own business.

What bars, coffee shops, dance nights, 'must see places', osv. would you recommend to a foreigner visiting Stockholm for a week or so?

Henning: Their are no things as coffee shops in Sweden. But we really like "Söder".

Where do you guys typically hang out?

Ludvig: We don't go out that much. We usually hang out at each other's places. But when we go out we end up at different places. But we really like a club called "Vänner och bekanta", it's like "Friends and Familiars". It's held at Kolingsborg at Slussen.

On a Friday night, would you guys rather go out to bars/clubs, or to a house party? Why?

Matilda: We really like house parties the most! Because then you get to hang out with all your friends and you can choose the music you like.

Ludvig: It's cheaper, too.

What clubs have you played at in Stockholm? Which were your favorites and why?

Ludvig: We have played everywhere. But our favourite so far is a place called "Landet" ("The country"). The crowd was fantastic.

Where have you played outside of Stockholm? Do you have any good/tragic tour stories?

Emil: We have only played in Uppsala once. And that was a quite harmless trip. But our goal right now is to get some gigs in other cities and other countries.

Which bands inspired you guys? Are there any Stockholm-based bands that inspired you?

Ludvig: There aren't any Stockholm-based bands. In the early days Placebo was a big inspiration, but nowadays [there's] so much inspiration from a lot of bands so we can't really write all of them, sorry.

What does the future hold for New Decade?

All: We have NO idea. We'll all see!

LINK: http://www.newdecade.se/
LINK: http://www.myspace.com/newdecademusic

Markis Sage
SOUNDS LIKE: The latest skweee act to appear on the scene. Demands you to move.
HIGHLIGHTS: Cop fight, Directors muscles
LINK: http://www.myspace.com/markissage

Nighttime
SOUNDS LIKE: Anthemic melodic rock with a strong melancholic streak. Not too far off from Front's other band Front and the Factory Lies Beneath (see here) 'cept a bit more intimate.
HIGHLIGHTS: Nighttime (Part 1), The best of the worst
LINK: http://www.myspace.com/nighttimedk

Nitad
SOUNDS LIKE: Raging street-punk made even better by their superb sense of design.
HIGHLIGHTS: Ge oss mer, Ge mig ge mig
LINK: http://www.myspace.com/nitadstockholm

Red Moon
SOUNDS LIKE: I mentioned this sister duo awhile ago, but it's worth reminding you because they are still unsigned and totally deserving of your attention.
HIGHLIGHTS: Every track is worth hearing.
LINK: http://www.myspace.com/redmoongbg

White Plimsoles
SOUNDS LIKE: Norrland's answer to Those Dancing Days? The next Sahara Hotnights? Regardless of how you sell it, this band of 16 year-old girls has a wide-open future ahead of them.
HIGHLIGHTS: Only one track up right now, but it's great.
LINK: http://www.myspace.com/musicfordummieslikeyou

]]> Thu, 10 Jan 2008 00:00:00 -0500 Markis Sage Nighttime Nitad Red Moon White Plimsoles http://www.itsatrap.com/articles.php?a=367 http://www.itsatrap.com/articles.php?a=367 http://www.itsatrap.com/articles.php?a=367#comments

Frequent readers of It's A Trap! already know that Johndoe are favourites of both Avi and me. The album "Dødvinkel" was one of the best albums released in 2006 and the band delivered on stage as well. Singer Jonas Skybakmoen won't let any language barrier stand in the way of his songs. Their take of singing in Norwegian lifts the songs to higher dimensions, and that's being said from me as a Swede. I have a hard time embracing non-Swedish or non-English speaking music. I envy those who can. In this case however, I absolutely adore the music combined with their lyrics that reek of self-inflicted pain and reflections of an every day situation, it's like poetry really. The indie-/punk rock of this Trondheim-based quartet is similar to The Clash and MABD and even though the focus is on the melodies and not so much on the guitar riffs anymore, it's hard to not mention Randy on the list of influences. The dub sound of "Pyromantikk" and the punk rock in "Konflikt" gave the show the diversity that live shows need. But nonetheless, it's the songs from the latest release that blow me away, especially "Kjøtere". The ferocity of Johndoe live is breathtaking. We who attended are blessed.

Well, even with the risk of being slightly challenged here, Randy was top notch! It is no secret that I rank them as one of the best bands in Sweden and even when they're quite unfocused in their performance, they still kick most bands asses any day. Fredrik, Johan B, Stefan and Johan G are a tight combo and it shows. Seeing that this was a gig outside of any current tour, they still managed to put on an awesome show. Not only are they flawless performers, the songs in the setlist are of such high quality that they would make Jello Biafra or Glenn Danzig (Misfits era) envious. 'Cause one of the trademarks of this band is that they have always stolen with class and, making the music into something their own, something Randy-ish. Focusing on the four most recent records of their back catalogue, they know how to play their cards to the crowd and the crowd swallowed every bit. Hook, line and sinker. The only song not featured on those records was the Lita Ford cover "Kiss me deadly" (from the "The rest is silence" album) with which they closed the gig. And that right there is what makes this band so great; crowd-pleasing, uncompromising AND with great taste in music, all at the same time. The next time I see them (for the 22nd time) I hope they will play "Humanalogism" or "You are what you fight for". I know it's a utopia, but it would be awesome.

Text by Jonas Appelqvist
Pics by Sofia Qvarnström

02. Foo Fighters - Echoes, Silence, Patience & Grace

03. The Bump (Tonite Only Remix)

04. Helena Josefsson - Dynamo

05. Gregor Tresher - A Thousand Nights

06. Tony Senghore - Nausea

07. Ass - s/t

08. Beardfish - Sleeping In Traffic: Part One

09. Trentemöller - The Trentemöller Chronicles

10. Kylie Minogue - X

---------------------------
Stefan Aronsson runs Stockholm-based label Stupid Dream Records. Their new self-explanatory compilation "Elektronisk kompilation" is out now and can be previewed in full at their website.
www.stupiddreamrecords.com/a>
www.myspace.com/stupiddreamrecords

01. To the Sky – Maps

02. Fledermaus Can't Get It – Von Südenfed

03. Back in the Game – Jamie T

04. Valentine – Richard Hawley

05. Daddy's Gone – Glasvegas

06. Delivery – Baby Shambles

07. Smokers Outside the Hospital Doors – The Editors

08. Bookshop Casanova – The Clientele

09. Tak Attack – Black Affair

10. Candylion – Gruff Rhys

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Mathias Strömberg is the voice behind The Bell. Their debut album "Make some quiet" will be released in the US on February 12 via Badman Recording Co.
www.thebelltheband.com
www.myspace.com/thebelltheband

Logh – North
After the disappointment that "A sunset panorama" left me with, I met this album with quite lot pessimism. Downloaded it during Music in Mind festival in Brugge, Belgium in February and it really blew me away, and saved me from dying of boredom during the long drives the rest of the ef tour.

Digitalism – Digitalism
2007 was the year I discovered how fun it was to dance the nights away with this kind of techno/electroklash/trash/whatever. "Pogo" might be the song of the summer 2007.

Radiohead – In rainbows
No need for comments.

Aerial – The sentinel
The best indie/post rock album of 2007, and it's Swedish! I love those lyrical parts.

Sdnmt – The goal is to make the animals happy
The second best indie/post rock albums of 2007, and it's German! And yeah, the lyrical parts are lovely here as well ;)

Polarkreis 18 – s/t
Mix Sigur Rós, Radiohead and Coldplay and you kind of get it. Great songwriting, nice ideas, well produced, superb sound. And it's German! Who could believe that?

Siva. - The story is complete, but I think we've lost the book
What the... another German indie band that gets on my list?! Great alternative indie rock, heavily influed by Radiohead, but is still able to make something of their own.

Staffraen Hákon – Gummi
I rediscovered this Icelandic artist. Last time I listened to him was in 2004, and was more minimalistic and ambient electronica. Now its pure Icelandic beauty in the veins of Sigur Rós, all topped with vocals signed Efterklang.

Amiina – Kurr
More Icelandic beauty! Strings, toy instruments and electronics topped with tender vocals. Lovely piece of music that makes me relax.

Olafur Arnalds - Eulogy for Evolution
And the 3^rd Icelandic artist! I never thought strings and piano would attract me so much it did during 2007. Together with the soundtrack of The Fountain (signed Clint Mansell), Johann Johansson and Max Ricther – Olafur Arnalds really get me nailed to modern alternative classical music.

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Niklas Åström plays drums for the band Ef and also runs the label And the Sound. Ef's new album "I am responsible" will be released on January 19 via ATS.
www.andthesound.se
www.efmusic.nu
www.myspace.com/ef

]]> Wed, 26 Dec 2007 00:00:00 -0500 Niklas Åström Ef And the Sound http://www.itsatrap.com/articles.php?a=363 http://www.itsatrap.com/articles.php?a=363 http://www.itsatrap.com/articles.php?a=363#comments Thirteen things that kept TTA above the surface 2007:

Umbrella by Rihanna

Fanta

Baudrillard

Sydney

The Studio

Love

Rolling Down The Hills by Glass Candy

Milano

Swedish house mafia

The Honeydrips

Health

Apocalypto

High Grade by Cappuchino

---------------------------
The Tough Alliance's latest album "A new chance" is out now on Sincerely Yours/Summer Lovers Unlimited.
www.thetoughalliance.com
www.myspace.com/kokakolaveins

]]> Tue, 25 Dec 2007 00:00:00 -0500 The Tough Alliance http://www.itsatrap.com/articles.php?a=362 http://www.itsatrap.com/articles.php?a=362 http://www.itsatrap.com/articles.php?a=362#comments 01. My wife and 2 kids

02. A Sunny Day in Glasgow "Scribble Mural Comic Journal" (album)

03. Elvakaffe, Kärrtorp

04. Bagiskommuniteten, Bagarmossen

05. PJ Harvey "White Chalk" (album)

06. Compunctio festival at Bjärka Säby, Linköping, Sweden

07. My sisters wedding

08. Shane Claiborne "the irresistible revolution" (book)

09. My new Spanish guitar

10. "This is England" (movie)

---------------------------
Look for a new album from David Åhlén in the fall of 2008.
www.davidahlen.com
www.myspace.com/davidahlen

]]> Mon, 24 Dec 2007 00:00:00 -0500 David Åhlén Namur http://www.itsatrap.com/articles.php?a=361 http://www.itsatrap.com/articles.php?a=361 http://www.itsatrap.com/articles.php?a=361#comments In no particular order.

Touring Japan with Scraps Of Tape for two weeks in June. Probably the best trip I ever been on. Performing in front of 800 Japanese people at the O-East was mind-numbing. Meeting the guys from You.May.Die.In.The.Desert and touring with them. It was special... brothers separated since birth.

Moving together with my girlfriend in Gothenburg, actually realising what a sensible/working relationship is supposed to be like.

The European tour with Scraps Of Tape during spring. Standing at the Croatian border and having to bribe our way into the country with 6 t-shirts and a hoodie... they didn't want our music. Then 2 days later being busted by undercover cops outside of Münich, and Marcus saying "I'm a girl, I'm a girl" over and over to one of the policemen.

Playing live at the Release The Bats Headquarters, a rare occasion and a beautiful yet short evening.

Fritiof Nilsson Piraten and his amazing storytelling.

Jerker Kaj. Forever in your debt, thank you for saving our lives during the spring tour.

Harry Krook. A star is born.

Viktor Sjöberg. A gentleman at all occasions and a friend beyond mere friendship.

Actually, the evening both you and Björn mentioned. Randy and folköl after WoW. Made a good/weird evening into a perfect evening.

Once again beating angst and demons and not burning everything written down or painted or deleting everything recorded this year.

---------------------------
Johan Gustavsson is involved in many, many musical projects such as Tsukimono (see the recent IAT.MP3 netrelease), Scraps of Tape, Conduo Orchestra, Alina, The Colour Black and probably a whole bunch more.
yourson-shine.blogspot.com
www.scrapsoftape.com
www.myspace.com/scrapsoftape
www.myspace.com/tsukimonoswe

]]> Sun, 23 Dec 2007 00:00:00 -0500 Johan Gustavsson Tsukimono Scraps of Tape http://www.itsatrap.com/articles.php?a=360 http://www.itsatrap.com/articles.php?a=360 http://www.itsatrap.com/articles.php?a=360#comments Here's a "top-10" list from me. Feel free to use it if you like. In no particular order. Just 10 great releases which got my juices flowing ;-).

Tap Tap - Lanzafame
A truly superb album. I hear Bowie, Velvet Underground, Talking Heads in here and I love it.
http://www.myspace.com/taptapmusic

Wolf People - EP
A psych-rock treat
http://www.myspace.com/wolfpeople

Pascal - Galgberget (upcoming album)
Heavier and more noisy then ever. Don't miss this one.
http://www.myspace.com/raukenroll

The Wolfgang Press - Bird wood cage
An oldie from 1988 which I rediscovered and listened to a lot this year. It was great back then and I see now why I loved it so much, and still do.
http://www.4ad.com/thewolfgangpress/releases/birdwoodcage-0/

Pet Politics - When I get old (track)
A great artist and I really have to do something with him now.
http://www.myspace.com/petpoliticstheband

Norma - 1 (EP)
A perfect mixture of ambient, kraut, noise, electronica, indie
http://www.myspace.com/theamazingnorma

Dieter Schöön - Lablaza
A very original and cool album.
http://www.myspace.com/dieterschoon

Black Belt - Two minutes to midnight
A hard rocking epos. Just listen to the closing song "Midnight".
http://www.myspace.com/blackbeltspace

Hot Silk Pockets (band)
A recommended listen.
http://www.myspace.com/hotsilkpockets

Love Is A Burning Thing - Dancer on a chair (track)
A song that make me just want to jump around.
http://www.myspace.com/liabt

"Can't wait for"
Antennas', Paper's and Norma's upcoming albums. All due to be released this spring and from what I have heard all equally great in their own ways.

---------------------------

Daggan is the head of Novoton Records and also runs the mp3 download service Klicktrack.
www.novoton.se
www.klicktrack.com

]]> Sat, 22 Dec 2007 00:00:00 -0500 http://www.itsatrap.com/articles.php?a=359 http://www.itsatrap.com/articles.php?a=359 http://www.itsatrap.com/articles.php?a=359#comments Ok, so I looked through the lists that have already been published, and it's clear to me that I should not write a list with some half-assed concept, nor should I write a list of all the fantastic things that happened to me this year -- seeing that I did not even get to point four on any of those egocentric lists that people submitted. Sometimes laziness is a good thing, because I was about to write one of those myself.

Here is my list:

Best Scandinavian albums of 2007 (although I probably missed out on a lot of good stuff), in no particular order:

Hans Appelqvist "Sifantin och Mörkret"

Bergraven "Dödsvisioner"

Manes "How the world came to an end"

Ulver "Shadows of the sun"

Shining "Grindstone"

Hild Sofie Tafjord "Kama"

Mayhem "Ordo ad chao"

Sten Ove Toft "Lit de parade"

Momrakattakk "Masters of Momrak"

Jens Lekman "Night falls over Kortedala"

I guess there are too many Norwegians on that list. I'll check out more music from other Scandinavian countries next year. Let that be my new year's resolution..

---------------------------
Svein Egil Hatlevik performs under the alias Zweizz and is also involved in many other music projects such as Pronounced "Sex", Umoral, Fleurety and probably a whole lot of other names I'm forgetting. Oh yeah, he's also a respected Norwegian journalist.
www.myspace.com/zweizzmusick
www.myspace.com/umoral
www.myspace.com/pronouncedsex
www.myspace.com/fleurety

]]> Fri, 21 Dec 2007 00:00:00 -0500 http://www.itsatrap.com/articles.php?a=358 http://www.itsatrap.com/articles.php?a=358 http://www.itsatrap.com/articles.php?a=358#comments 1. bonding with nature and the universe. or my precious guitar. it's a tie.

3. new people, new places, new ideas, new views, new questions.

6. the northern sky. dear nicky.

9. found my creativity. apperently i had lost it in the woods.

5. Van Morrison. the mystery and honesty and heart. folking brilliant.

10. into the wild. the book. the music. the motion picture.

8. emotional storm. avishai. met him on an island and fell in love.

2. magic. and love. and words. and magic... and love.

4. writing letters.

7. learning acupressure.

---------------------------
Joachim Dahlberg was the vocalist for Closer, a promising Stockholm-based rock act that recently disbanded. Together with fellow ex-members Alx Reuterskiöld (guitar) and Jesper Örtegren (drums), they have a new band called The Goatboys.
www.myspace.com/closersounds
www.closersounds.com

]]> Thu, 20 Dec 2007 00:00:00 -0500 http://www.itsatrap.com/articles.php?a=357 http://www.itsatrap.com/articles.php?a=357 http://www.itsatrap.com/articles.php?a=357#comments The best 2007 records which did not exist in 2007

The first Du Pacque record
--> it will be released next year and will be a total killer. I heard plenty of their songs. Trust me: this is gonna be the best record in 2008!

A Bear Quartet album
--> An electro one, or a pop one, or a rock one : does not matter actually. Mattias Alkberg can even turn hip-hop, I will buy it.

A MABD album
--> More a punk one like their first two ones than a folk one like their latest.

A more black "White and black" album for The Hives
--> when they rock, they do rock. When they try to be too smart (see their song "T.H.E.H.I.V.E.S" for instance), they make me feel bored.

A great Kent record
--> ok, "Tillbaka till samtiden" is not that bad, but it is not that good either, right?

A Bad Cash Quartet record
--> 'cause Hästpojken + Jonas Game do not equal BCQ

A bad Mando Diao record
--> "Never seen the light of day" is actually not bad. I would even say it is quite good.

A Jens Lekman trash metal album
--> I liked it at first, but now I think "Night falls over Kortedala" is quite boring. I prefer his first record. This latest one is much too calm for me. Not surprising enough. It sounds like I am the only one to think so though.

A Convoj album
--> will those guys eventually release a proper record?

A compilation with all the great artists who are from the very little Swedish city Östersund
--> like Annika Norlin, Penny Century, Autisterna, The Way We Wear Our Head, Sibiria or Vapnet

---------------------------
Absolut Noise is a French blog on Swedish music.
absolutnoise.blogspot.com

]]> Wed, 19 Dec 2007 00:00:00 -0500 http://www.itsatrap.com/articles.php?a=356 http://www.itsatrap.com/articles.php?a=356 http://www.itsatrap.com/articles.php?a=356#comments Martina:

01. The Wire on TV.

02. La Piovra on DVD!

03. Delivery - Babyshambles

04. My discovery of Césaria Évora. Love her.

05. Bess (the coolest dog on earth)

06. The trips to Japan with Maia & Annika

07. My discovery of Elder Scrolls: Oblivion

08. Arcade Fire

09. XBox360

10. Upp till kamp! on TV

Daniel:

01. Dolly Parton live in Stockholm. What can I say, amazing.

02. Zlatan Ibrahimovic, Inter FC

03. Last King of Scotland, Forrest Whitaker

04. Säkert! Annika Norlin for president.

05. Way Out West Festival, Gothenburg August

06. Arcade Fire - Intervention

07. The Wire, strait out of Hamsterdam

08. Maia Hirasawa live at Allsång på Skansen.

09. Shout Out Louds – Impossible

10. UGK – Int. Players Anthem, R.I.P. Pimp C.

---------------------------
Daniel and Martina Ledinksky are the folks behind Razzia Records, home to artists such as Säkert!/Hello Saferide, Maia Hirasawa, Jonna Lee, Timo Räsisänen, Thunder Express and many more.
www.razziarecords.se
www.myspace.com/razziarecords

]]> Tue, 18 Dec 2007 00:00:00 -0500 http://www.itsatrap.com/articles.php?a=355 http://www.itsatrap.com/articles.php?a=355 http://www.itsatrap.com/articles.php?a=355#comments I have never visited so many concerts/festivals during one year as I have been doing during this year 2007.
So thats why my top 10 list of this year will have the headline:

CONCERTS THAT MADE ME FEEL GOOD in 2007.

01. MoHa! (Berlin, Norway) concert in Malmö at the recordstore Rundgång (best shop in Malmö), October? --> 2 man band playing fast drums/computer/synth/guitar. Check them out! Real good noise jazz rock!

02. Studio (Gbg) concert in Malmö at Inkonst, April? --> dance, African drums, psychedelic guitars & great vox.

03. Housewife Lovers (Malmö) concert in Malmö at Debaser, November --> I had to add my own band HWL, and the concert at Debaser @ the It's a Trap! Club Night. We did a very great show and we had so much fun. I was very happy.

04. 120 Days (Oslo) concert in Malmö at Debaser, November --> great dance, noise. this is good Norgemusik.

05. Primal Scream (UK) concert in Oslo at Öya Festival, August --> rock n roll and I was very pleased to see this boys playing very loud. Also a very great festival with nice hangout.

06. LCD Soundsystem (USA) concert at Roskilde Festival, July --> the best concert at Roskilde, good bassplayer, nice drummer. It was perfect

07. The Lionheart Brothers (Oslo) concert at by:Larm Trondheim, February --> they had some extra brass and cello people. Good 60s vibes and love.

08. Battles (USA) concert at Öya Festival, August --> the drummer was amazing.

09. The Flaming Lips (USA) concert at Roskilde Festival, July --> the best big-concert at Roskilde, Race For The Prize!

10. Anna Järvinen (Sthlm?) concert in Malmö at KB, November --> sweet voice, sweet but strange girl.

---------------------------
Housewife Lovers will release an vinyl record including the Tobias Lilja remix of the song "Dancing" in the beginning of 2008. Check out their myspace page for more falsetto-indie-post-punk music.
www.myspace.com/housewifelovers

]]> Mon, 17 Dec 2007 00:00:00 -0500 http://www.itsatrap.com/articles.php?a=354 http://www.itsatrap.com/articles.php?a=354 http://www.itsatrap.com/articles.php?a=354#comments Christmas thoughts running through a thick skull stuck at work.

01. Bending the needle on my turntable so that every record skips a million times per side.

02. Buying loads of vinyl still knowing they'll skip

03. Listening to mp3's sounding like tin can recordings, thinking "hey, this isn't that bad".

04. It's convenient thus good?

05. Ha, no, that's not true.

06. Finding the remaining The Sound records I haven't already got for a small amount of money.

07. They skip too of course.

08. I wish I had a cassette player.

09. And a Rap-and-dance

10. That would be pretty rad.

---------------------------
Max J Hansson is the singer and guitarist of Cut City. They're currently recording an EP called "Narcissus can wait" to be released in April in time for their European tour. In their spare time they enjoy stamp collecting and medieval jousting.
www.cut-city.com
www.myspace.com/cutcity

]]> Sun, 16 Dec 2007 00:00:00 -0500 http://www.itsatrap.com/articles.php?a=353 http://www.itsatrap.com/articles.php?a=353 http://www.itsatrap.com/articles.php?a=353#comments Top ten Christian commandments for the holidays;

01. Thou shalt have no other gods before me

02. Thou shalt not make for thyself an idol

03. Thou shalt not make wrongful use of the name of thy God

04. Remember the Sabbath and keep it holy

05. Honor thy Father and Mother

06. Thou shalt not murder

07. Thou shalt not commit adultery

08. Thou shalt not steal

09. Thou shalt not bear false witness against thy neighbor

10. Thou shalt not covet thy neighbor's house

---------------------------
Aerial's new EP The legion of dynamic dischord" will be out on January 31 via Nomethod.
www.aerial.se
www.myspace.com/aerialmusic

]]> Sat, 15 Dec 2007 00:00:00 -0500