IT'S A TRAP! Scandinavian Music Journal

REVIEW: Millencolin - Machine 15 (Burning Heart Records)

Wed, 07 May 2008 00:00:00 -0400

Millencolin have been going now for 15-16 years, hence the name of their seventh album (it sounds a bit cynical and bitter to call your band a "machine", doesn't it?). Lou Giordano who produced Millencolin's fifth album "Home from home" has again been called in, I suspect, to give the album that polished Foo-Fighters-feel, and he's succeeded. It is a very slick album, with Millencolin nurturing their softer more melodic side. They've also gone a bit wacky and added strings on some of the tracks, a trick that works just fine despite it not being that obvious. I prefer Millencolin when they've got a sound that's dirtier and more rock'n'roll and with less arena rock ambitions, so I'm not that keen on this album. Another thing that bugs me is that Nikola Sarcevic's lyrics are really terrible. I mean, they're among the worse I've ever heard; even though he's pretty good at writing choruses, some of the verses just make me cringe. Millencolin's lyrics have always been bad and full of horrible rhymes, but listening to "Machine 15" I can't help getting outright annoyed by them. Despite all this, it's a solid album with a handful of skatepunk hits that should appeal to the Kerrang/Alternative Press demographic.

REVIEW: Zeigeist - The Jade Motel (Spegel/Imperial Recordings)

Tue, 06 May 2008 00:00:00 -0400

Listen to them once and you'd be forgiven for mistaking Zeigeist for fellow Swedish art poppers The Knife. The first few tracks certainly support this theory. But listen again and you'll start to notice the (admittedly minor) differences. For one, Zeigeist trade off vocal duties between Princess and Per (no surnames needed, apparently), giving their sound a little bit more variety. Secondly, though they wear their "artsy" label proudly on their sleeves, Zeigeist's music is almost always more direct and more pop. This would be an amazing thing if the songs on their debut had the kind of hooks needed to match their fantastic electro dance beats. The album improves as it goes on, but even with repeated listens, there isn't much to sink your teeth into. "Black milk" and "Cuffs" have some interesting ideas, while "Wrecked metal" is probably the most immediately catchy of all the tracks. The frustrating thing is that it's clear that the band has enough creativity to come up with something really jaw-dropping. I'm sure every song works better as a part of their reportedly theatric live shows, but on record it's a little less than inspiring.

REVIEW: Teitur - Live @ Health Sunday, Prospect Park, Brooklyn, NY, 05/04/08

Mon, 05 May 2008 00:00:00 -0400

Seeing as how this was Health Sunday, the rating is obvious. However, for those whom are unaware, Health Sunday consists mainly of playing soccer, and that is just what we did. We were graced this past weekend by the Faroese band Teitur, who, amidst their US tour, could not turn down an opportunity to partake in a match. A lovely day it was, sunny and around 70�F, the the lads did not disappoint. Singer Teitur Lassen had quite the success at the forward position, both assisting and scoring; and bassist Mikael Blak was a stalwart in the midfield slot. WIth a majority of the tour to go in support of their new album "The singer" (out soon), perhaps you can coax the band into playing a match -- I don't think it would be too difficult.

REVIEW: The Grand Opening - Beyond the brightness (Tapete Records)

Fri, 02 May 2008 00:00:00 -0400

After having first found The Grand Opening through the netlabel here a couple of years ago, I thought I had an idea of what they sounded like. Suffice to say, I was a bit na�ve in that outlook. With "Beyond the brightness", the music has become slightly more minimal, the lyrics dimmer, and the overall package something quite good. At times, it recalls "Northern blues"�era Kristofer �str�m, which is not something to look lightly on. That same, bleak yet beautiful feeling is evident here, and best conveyed on tracks such as "On the losing end" and "Lonely hearts night out". "Anxious looks" starts the album off strong and does not let up much at all. As introspective as it is, it's fragility is so accessible, I can see new fans being won over as a result.

REVIEW: Vapnet - D�da fallet (Hybris)

Thu, 01 May 2008 00:00:00 -0400

"D�da fallet" received mixed reviews in Sweden upon its release. Expressen (one of Sweden's biggest newspapers) gave it the rating two out of five and called it "unimaginative" and "colourless". Most of the reviewers seem to have liked Vapnet's previous album "Jag vet hur man v�ntar", but then failed to be impressed by "D�da fallet". This was my initial reaction too, I just couldn't get into the album and it kind of bummed me out since their previous releases are like children to me. But then after I've listened to it for a week, I came to realise that I really loved it (it was like slow and repetitive hypnotism). When I told a friend in Sweden about how great I think the album is, he turned up his nose and told me that "in Sweden only fourteen year old girls listen to Vapnet" (ouch!). I don't know what the general consensus is, but it's a shame that Vapnet aren't bigger than what they actually are in their native Sweden, since they're one of the best bands to surface in the last few years. "D�da fallet" contains a bunch of slower songs and quite a few poppy ones, and they're all brilliant with ace melodies. After I'd decided to give the album the above rating I made myself listen through it once more, just to see if there were any crap songs on it that I'd miss, but there weren't any. They're all top notch! I'm very relieved and glad to be able to say that Vapnet with "D�da fallet" are even better than before (and I feel sorry for above mentioned friend and all the other people who fail to see their greatness).

REVIEW: Juvelen - 1 (Hybris)

Wed, 30 Apr 2008 00:00:00 -0400

More than a year after issuing his debut EP, the mighty (and yes he's mighty already) Jonas Pettersson has finally released his debut full-length under the Juvelen moniker. Entitled "1", it is so, as his debut album, and also, one of the best flat-out pop albums I have heard in years. The strange thing about this album though, is that each of it's ten songs could be a hit single, yet it retains a cohesive feel that a singles collection does not. Every track is a stand-out, however, for the skeptic I'd recommend "Money don't talk", "Don't mess" and "Everytime" to win you over. His seductive, synthesizer heavy pop/r&b hybrid could�and should�elevate Juvelen to being a global household name.

It's pure pop perfection will make you smile, and dance, and smile and dance.

REVIEW: Marybell Katastrophy - You are the two (Merger)

Tue, 29 Apr 2008 00:00:00 -0400

Building off the demented amalgamation of space-rock, Bj�rk, and industrial-tinged electronica that was present on "This is the one", Danish oddity Marybell Katastrophy has crafted another challenging, yet abundantly rewarding EP. "You are the two" is as difficult to portray with language as its predecessor, if not more so, lavishly borrowing vehicles of expression from almost every popular contemporary genre: electronic arrangements that amble along like Four Tet and other times prowl despondently, evoking early the Cooper Temple Clause; songwriting that at times feels akin to the masterfully bizarre work that Astrid Swan accomplished on "Spartan picnic" - see: "Nightwalk" - only later to feel more like a dangerously unhinged, "Amnesiac"-era experiment - see: "Silence"; even the stand-out track "Hidden agenda" seems indebted not only to the strength of Marybell Katastrophy's songwriting, but Czech electronic artists Khoiba and British prodigy Patrick Wolf's ability to congregate darkness with pop sensibility. Out of all of these myriad approaches and sounds, Marybell Katastrophy brings a powerful sense of coherence and lucidity, similar to the way the Notwist and Slaraffenland are able to explore numerous avenues without making their albums feel like a series of detours. If "This is the one" put Marybell Katastrophy on my radar, "You are the two" finds me pleading for a full-length effort to place high up within my Best of 2008 list.

REVIEW: Peter Mor�n + Tobias Fr�berg - Live @ Mercury Lounge, NYC, 4/21/08

Mon, 28 Apr 2008 00:00:00 -0400

Having arrived with Mr. Fr�berg's set about half over (and being unfamiliar with his music), I had to summate what he was all about from an approximate 15-window. I found his (what I saw) of his set to be enjoyable, most notably the song "She is becoming her mother again" off his new album. However, Peter Mor�n was soon onstage opening the set with "The last tycoon"'s centerpiece "This is what I came for". From there we were treated to a set comprised of songs from said album ("Le petit coeur", "Social competence") as well as songs from his day-job ("Goodbye, again or", "Paris 2004"). The energy was very high considering his debut's more mellow outlook, and the songs really took a new life that should cast any doubters in his favor. The real highlight though, after giving a back story about how he began his music career, was a barn-burning rendition of the Buddy Holly masterpiece "Oh boy" -- and I left with that sentiment.

REVIEW: Hiawata! - Blacks on blondes EP (SellOut! Music)

Sat, 26 Apr 2008 00:00:00 -0400

This light, energetic release from Hiawata! is nothing if not fun and to the point. Layered harmonies and a love of percussion are noticeable throughout, and the whole thing is over sooner than expected. The premature ending is a shame too, as the songs sparkle with personality and humor. Kicking off with the gentle and energetic "Love you like an animal", the "Blacks on blondes" EP plays darker lyrical themes with dismissive, upbeat sounds. With convincing vocals and a bluesy rock feel, it could form the basis of a soundtrack to a coming-of-age surf movie set in the 80s. "Shake it off" is the final and stand-out track of this entirely too-short EP, leaving you wondering what else these boys could do if they were only given the chance.

REVIEW: Keith Canisius - Ferris wheel makeout (Quince Records)

Fri, 25 Apr 2008 00:00:00 -0400

There's no escaping the My Bloody Valentine comparisons with "The sea me, feel me", the opener of Rumskib composer Keith Canisius' debut solo effort. But with other examples such as "Na�ve struggle" also available to the listener, it seems somewhat unfair to solely refer to Canisius as yet another Kevin Shields' disciple. It's undeniable that "Ferris wheel makeout" is strongly influenced by Shields' songwriting and production, but there are numerous departures from the crashing waves of delay-saturated guitars and soft vocals. The electronic drum arrangements allow Canisius' songs to feel focused in their quicker tempos, funneling the dreampop, shoegazer instrumentalism into digestible avenues -- especially apparent on the song "Watching old films with new eyes". No matter how overwhelming the keyboards or guitars become, Canisius never lets his compositions slip out of control. While the songs do meander at time, the fact that a listener is left with some sense of coherence at the end of any given track is a testament to Canisius' ability as a composer.

REVIEW: Moto Boy - s/t (Songs I Wish I Had Written)

Thu, 24 Apr 2008 00:00:00 -0400

By his own admission, Moto Boy sets out to redefine your perception of what one man can do with a guitar. With an impressive and androgynous vocal range, he does indeed push the envelope, embarking on some surprising twists and turns as he navigates the length of the album. Dreamy at times, defiant at others, the songs sometimes fall into a self-indulgent experimental style that are testing for both the artist and the listener. For the most part though, the songs are curious, well crafted and caressing. "I miss you baby" and "Blue motorbike" are both rhythmically strong, pop focused and radio worthy. The oddly named "U" is a striking and beautiful addition. For an artist reported to take the stage dressed in drag with a nasty black metal guitar, this album is unexpectedly gimmick-free, demonstrating the full force of talent behind the act.

REVIEW: Borko - Celebrating life (Morr Music)

Wed, 23 Apr 2008 00:00:00 -0400

The album cover and track titles would lead you to believe that "Celebrating life" is a lighthearted affair, but the actual material present on the record is much less jocular than one might expect. Borko are very much an Icelandic affair, sharing some aesthetic traits with M�m and, at times, Sigur R�s � especially on "Shoo ba ba" which oddly parallels features of the "Music for split sides" EP Sigur R�s released in 2004, sometimes referred to by its track names: "Ba ba / Ti ki / Di do". This said, Borko are less sprawling than Sigur R�s and, at times, more organically composed than M�m. These similarities and disparities, paired with the overly-apparent blitheness, allow Borko quite a bit of freedom. "Summer logic", one of the more demure tracks on "Celebrating life", flows into the playful, shifting "Doo doo doo" with little difficulties. "Spoonstabber" feels much more akin to an experimental Seabear composition than any of other the aforementioned Icelandic groups, yet not divorced from the rest of the material. As quirky as serious music can be, "Celebrating life" feels lost somewhere between an indirect, ambient Broken Social Scene and a more instrumentally-anchored M�m, and definitely worth a listen. m

REVIEW: Sophie Rimheden - Traveller (NONS/SRP)

Tue, 22 Apr 2008 00:00:00 -0400

This latest offering from Sophie Rimheden wades deeper into experimental fields with reasonable success. Her sweet melodic voice is backed up with support from dark and unlikely places, most notably by Swedish hip-hop artist Aaron Phiri on the first track to be released from this album, "Go away". This pairing of soft and sweet with hard-edged hip-hop is surprising and played out to nice effect, without overdoing it. Other stand-out tracks include "Stay the night" and title track "Travel". The whole album reaches a tricky balance of sticking closely to a theme without ever becoming repetitive.

REVIEW: Markus Kruneg�rd - Markusevangeliet (V2/Universal)

Mon, 21 Apr 2008 00:00:00 -0400

Every issue I had with Laakso's "Mother, am I good looking?" is beautifully absent from frontman Markus Kruneg�rd's debut solo effort. The closest "Markusevangeliet" comes to disappointing is in its occasional similarity to Laakso, but, with Kruneg�rd'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, Kruneg�rd'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 Kruneg�rd'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 n�tter v�ntar alla" and "Ibland g�r man r�tt, ibland g�r man fel" are as fascinating in their songwriting and instrumentation as they are defined by Kruneg�rd's dour, lacerating lyrics, and one can hardly fail to notice his unique timbre and delivery as almost an instrument of its own. "Se p� mig nu, vad tycker du?" and "Den som d�r f�r se/Markus kyrkog�rd" are two of the best compositions that Kruneg�rd has ever done, especially when the latter enters into its final section with Kruneg�rd singing: "Om du �r r�dd sluta med det. Om du �r br�nd och r�dd l�gg 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 Kruneg�rd may very well have crafted the best album of 2008.

REVIEW: Jan Johansson - Piano (Heptagon)

Thu, 17 Apr 2008 00:00:00 -0400

This is a collection of piano works from the late, great Jan Johansson. Spanning 1960 to 1968 the works go from straight bop to post-bop while touching on the free jazz that began to emerge during the period. Johansson's melodic playing is particularly of note, as he goes from slow bop to free improvisation with almost the same melodic ease. While there are a few flow problems with the collection, which is understandable, it removes something from the overall enjoyment of the whole record. Being totally ignorant of Johansson before, I thought this was a great introduction to a mostly unknown jazz great on these shores and that it compels me to investigate more. Perhaps the most interesting songs on here are Johansson's exploration of Swedish folk songs in jazz contexts, which are simply awesome for the ignorants like me. Definitely a record to consider if you are Johansson fans as well as curious bebop, post-bop and hard-bop enthusiasts.

REVIEW: Niccokick - The good times we shared, were they so bad? (Startracks)

Wed, 16 Apr 2008 00:00:00 -0400

Niccokick don't seem to have changed much since I last saw them live with Snook four years ago (no, not in Uppsala). They still very much embody the typical sound of "Swedish" indie-rock with its anthemic melodies and carpets of distorted guitars. Singer Andreas S�derlund has been pretty active in the meantime (in sideproject Sounds like Violence and as producer of acts such as Hello Saferide and David and the Citizens) and it shows. Niccokick's sound is more diverse on their second LP than previously -- the additional synths and the odd cello have definitely helped. And while Andreas' voice comes across as desperate as ever, it's nice to hear him cover other emotions as well. The songwriting is similarly passionate and direct, yet never embarrassing, and generally very dancable and catchy. Actually, that's also the record's main problem: all that energy, passion, and directness can become a bit too much at times. It's still a very good indierock album though, great for the dancefloor and probably even better when performed live on stage.

REVIEW: As In RebekkaMaria - Queen of France (A:larm Music)

Tue, 15 Apr 2008 00:00:00 -0400

Icy, avant-garde electro pop has long been a fixture of Scandinavian music, ranging from the dense, arty compositions of The Knife to pop flavored chart toppers like Robyn. "Queen of France" (the debut solo album from Lampshade frontwoman RebekkaMaria Andersson) falls somewhere in the middle. The first half of the record was definitely crafted with a pop song structure in mind, while the latter half is much more experimental and less immediate. Tracks like "Yours truly" and "She lion" hit you over the head on the first listen with their confident melodies and infectious attitude, but from there, the album becomes decidedly less mainstream. The bizarre helium-induced "Army of foxy" initiates this change, but it's tame compared to head-scratchers like "The foam" and "Happy birthday". Fans of the genre will love it, and there's no denying the creativity that went into the record, but most listeners will probably wish that the entire album played to the strengths of the first four tracks.

REVIEW: Envelopes - Here comes the wind (Brille)

Mon, 14 Apr 2008 00:00:00 -0400

Despite them paraphrasing Bonnie Tyler, sometimes cramming one to many ideas into a song, and a some general "wackiness", Envelopes are utterly charming. I love their first album, so it's great to hear that they've managed to get even better for their second one. They've got magnificent melodies, alternating boy/girl vocals (something that all bands would be better off with, as far as I'm concerned), original lyrics and they sound a bit like a mix between Beat Happening, Violent Femmes and Velvet Underground, but without coming across as dated (they sound very 2008, in a good way). I've been listening to this album now constantly for many weeks, and my love for it just grows day by day. "Here comes the wind" is a super fresh and varied album that deserves to be heard by everyone, and it makes me hope for a long and productive career from Envelopes.

REVIEW: Various Artists - Elektronisk kompilation (Stupid Dream)

Sat, 12 Apr 2008 00:00:00 -0400

This compilation starts up with a very annoying house song by Cotton Crew that could have put me off right away. Fortunately, this is one of the most inconsistent compilations ever, thus, there are still a few enjoyable numbers. The whole thing is a bit unsettling to listen to from start to finish as it jumps from straight house to a more lo-fi approach and to hip-hop influenced beats from one song to another. There's quite a bit of house on here though, which is a bit weird to me as I really thought people didn't listen to that shit anymore, same goes for a few drum'n'bass numbers that just felt so 1999. That being said, there are a few psytrance, drill and bass and psy-minimal tracks that are OK, but perhaps the most disappointing aspect is the lack of truly stellar tracks that would make me want to purchase singles or albums from any of these artists except for maybe Discolor.

REVIEW: I Am Bones - The greater good (Morningside Records)

Fri, 11 Apr 2008 00:00:00 -0400

My only true criticism of this album is that it should have followed the delightfully dirty, (dare I say it?) grungy direction that opener "Home is the one corner of hell that didn't catch fire" suggested. There is absolutely no underestimating the depth of my nostalgic descent that occurred as "The greater good" bled alive. I missed that Nirvana shirt that I left carelessly behind at a friend's house in Sweden like I have only ever missed lost loves before... but anyways, sorry about all that. Don't get too caught up in those first few lines, for what follows on I Am Bones' album is quite fantastic, and, to be honest, probably much better than a redefinition of that 'Seattle Sound'. "Leave the city" is yet more evidence that Denmark is home to some of the best indie songsmiths in the world, ones that seamlessly tie the dark to the light, the softly serene to the guttural and distorted, and producing fantastic pieces through this synthesis. Oh, and if you do have a soft spot for Mudhoney, there's more grunginess on "The masterplan", continuing a little into the following track "The main thing is to keep the main thing the main thing", a song that feels as though it could have been on "Incesticide" or Dinosaur Jr.'s "Bug". The standout, in my opinion, is "Baby, together we can live with ourselves": the most complete amalgamation of the varied influences - grunge, retro-rock, and indie - and individual voice of I Am Bones. "The greater good" functions as a remembrance, a forwarding of these memories, and a strange marker by which to see the progression of the music of my lifetime. While I hope these words inspire you to investigate these Danes and their craft, they do pale service to the music itself. Find a song, any song, and you'll be sold.

REVIEW: Bobby & Blumm - Everybody loves (Morr Music)

Thu, 10 Apr 2008 00:00:00 -0400

Bobby Baby aka Ella Blixt has been on many folk's indiepop-radar for a few years now. Recently, she's put her solo-efforts on hold and joined forces with German multi-talent F.S.Blumm on their project Bobby & Blumm. From the start, this seemed to be an exciting match: Blumm is a classically-trained guitarist who has released a number of mostly instrumental records full of analogue warmth and experimental playfulness. Their debut together, which appears on Berlin's Morr Music label, manages to combine the best of both worlds. Juxtaposed by Blumm's virtuosic yet never intrusive or flashy guitar melodies, Bobby Baby's voice sounds more gripping than ever in these minimal arrangements. At the same time, the songwriting seems more focused than in some of her solo-work, while what remains of her trademark synths greatly adds to the album's otherwise refreshingly analogue sound. Despite all the obvious skills that went into making this record -- all the hisses, rustles and cracks that were carefully put into place -- it still emits a certain calm introspectiveness that makes you want to listen to it again and again.

REVIEW: In Flames - A sense of purpose (Nuclear Blast)

Wed, 09 Apr 2008 00:00:00 -0400

In Flames' ninth studio album is a big YES if you are a 13 year old emo kid who think life sucks. With lyrics like "I feel like shit, but at least I feel something," it is evident enough they are aiming for the teen audience. On the contrary, it's a big NO if you like me, started to like this band around "The jester race" and have followed their demise. Sure, this album offers a few songs that will assure radio play and MTV exposure. "The mirrors truth", "March to the shore" and "Move through me", are all pretty good songs, but the formula is so well known from the last two efforts, you could swear you've heard this before. Sadly, half of the songs are b-side material at best. It's funny how this band moves more towards Korn and Linkin Park, but I guess they are going for the easy money. And sadly they will make some good cash with this half-assed album.

REVIEW: Peter Mor�n - The last tycoon (Quarterstick Records/Wichita)

Tue, 08 Apr 2008 00:00:00 -0400

The huge success of Peter (Mor�n) Bjorn and John's "Young folks" did the disservice of casting them as potential one-hit wonders despite a back catalogue of some mighty impressive song crafting. Given this, it's interesting to hear what Peter Mor�n does on this first solo outing.

The short story is that he goes the singer-songwriter route, creating quiet, intimate, and earnest numbers built on his singing, a warm guitar very well-played, and additional instrumentation ranging from sparse to lush, percussive to orchestral. Some songs evoke the breezy French jazzy lounge sound that gentle Swedish bands do so well (one even finds him singing in French). Others are more straight-ahead pop numbers akin to his work with Peter Bjorn and John.

Mor�n's voice conveys an appealing honesty and vulnerability, and he's grown considerably as a singer, but in some passages, his songwriting talents stretch further than his voice. The resulting intermittent dopiness and a few too many slow or too-long songs keep "The last tycoon" from being uniformly great, but there are more than enough creative, touching and memorable melodies paired with thoughtful lyrics to affirm his status as one of Sweden's best exports.

REVIEW: H�kan Hellstr�m - F�r sent f�r edelweiss (Dolores)

Mon, 07 Apr 2008 00:00:00 -0400

There are few albums I have fallen for quite as hard as H�kan Hellstr�m's debut "K�nn ingen sorg f�r mig G�teborg". For many, this first album is Hellstr�m's high-water mark. In reviews of his subsequent records, "K�nn ingen sorg..." is cast as a specter that Hellstr�m is haunted by, an accomplishment he has not been able to match or surpass. That being said, "F�r sent f�r edelweiss" does not eclipse Hellstr�m's debut, but it matches this earlier triumph. "F�r sent f�r edelweiss" shows that Hellstr�m is a versatile artist and songwriter, creating a brilliant album that amalgamates the distinctly Swedish sound his first album reveled in with a Springsteen-esque quality -- capturing both Springsteen's talents with anthemic compositions (not that Hellstr�m himself is in anyway lacking when he sets his mind to the anthemic) and the Boss' remarkable ability to craft slower, more moving numbers, with Hellstr�m layering in his own distinct sound throughout. Opener "Tro och tvivel" feels like a track off of the seminal "Born to run", its final moments paying homage to Springsteen's "Backstreets". "Zigenarliv dreamin", the strangest addition to the album, though one that has grown on me, only strengthens the comparisons between Hellstr�m's newest and the records of the 1960s and 70s. In "K�rlek �r ett brev skickat tusen g�nger", I hear echoes of Van Morrison; the wonderfully lo-fi production enriches the opening of the title track, amplifying the Simon & Garfunkel quality of the song; "K�r i en angel" feels like the songs of the 60s and 70s that Jens Lekman emulates; and it's difficult not to sense a touch of Bruce Springsteen in "F�r en l�ng l�ng tid", my favorite from this album, and one of the best songs I've heard in the past few years.

Is "F�r sent f�r edelweiss" a flawless album? By no means. Though neither was "K�nn ingen sorg f�r mig G�teborg", if you get down to it. H�kan Hellstr�m's faults are part of his immense charm, and the artist succeeds so much more than he stumbles here. It's hard to even remember the faulty aspects of the album while listening to songs like "K�rlek �r ett brev..." and "L�nga v�gar", and it's even harder to stop listening to "F�r en l�ng l�ng tid". I'll be very surprised if this album is not high up on my best of 2008 list. If you're one who believes that H�kan Hellstr�m lost his way a bit after 2000, "F�r sent f�r edelweiss" is more than ample evidence that he's back.

REVIEW: Kaka - s/t (Despotz Records)

Sat, 05 Apr 2008 00:00:00 -0400

I was a huge fan of The Mo, so listening to the solo debut of Richard Karlsson, the band's former keyboardist, was a real treat. It's always interesting hearing solo stuff from an ex-band member who wasn't the frontman. Sure, Karlsson's vocals were all over The Mo sound, from background to chorus, but would his own music be a carbon copy of his former band? It turns out that, while still retaining a lot of what made The Mo work so well as a pop band, Karlsson strikes out on its own, borrowing heavily from electronica and international rhythms including a surprising reggae influence. This is most clearly evidenced in songs like "It's a longshot" and "What a frame", which could be classified as reggaetronica, if such a thing even exists. Think The Tough Alliance with a brighter, more immediate pop sound. Though the album does get repetitive towards the end, the strength of the melodies coupled with the simplicity of the production makes this a very promising solo debut.

REVIEW: Meshuggah - obZen (Nuclear Blast)

Fri, 04 Apr 2008 00:00:00 -0400

Meshuggah hit their stride a few albums ago, for better or for worse. The album opener shows promise for me with probably the most thrash-like song since their debut, and has a relentlessness that hasn't been seen since "Chaosphere". Unfortunately, the promises end there. The simple fact is that they have taken their sound to pretty much everywhere it needed to go and they don't have anything left to add. Despite of all this, "obZen" is a very effective record, and even a more challenging one than the previous two, but it has nothing on the ferocity of "Chaosphere" or the genius of "I". Guitarist Frederik Thordendal's Allan Holdsworth boner has to stop though, album after album he re-hashes the same over-tired solos in the typical overly reverb-ed guitar sound. No more. I will probably still listen to this record plenty of times, which, I guess, is a testament to its quality.

REVIEW: Astrid Swan - Spartan picnic (Pyramid)

Thu, 03 Apr 2008 00:00:00 -0400

Like a dizzying, drunken sprawl across the deck of a flailing sea vessel, "Spartan picnic" gives you little time to get your bearings before bombarding you with a varied range of genre choices and idiosyncratic deliveries. Astrid Swan seems just as comfortable in the 4/4, straight-forward chorus of the title track of her album as she does with the stuttering, shifting landscape of the rest of the song - and this extends throughout the record. "For those who drown" is a Billy Joel-esque anthem that was directed drastically off course, slipping through the electronica of the 80s and the kitsch of 70s rock ballads, and somehow coming out a winner... don't ask me how. The waltzing "Kinda joke" plays up the burlesque feel of "Spartan picnic", allying these theatrics with an almost "Sgt. Pepper's..." circus of oddities and the current trend towards quirky indie-rock. "What does the pink mean" has slowly become one of my favorite songs released this year: at first masquerading as a calmer, more accessible singer-songwriter's composition, but building itself up through so many torn shrouds of layered instrumentation that it becomes hard to call this track, or any of Astrid Swan's songs, a normal expedition. This album, rather obviously, is not going to be everyone's cup of tea. It is however, in this reviewer's humble opinion, a bizarre vehicle that is well worth its blessed confusion.

REVIEW: Pacific! - Reveries (EMI)

Wed, 02 Apr 2008 00:00:00 -0400

Pacific has already built up quite a fan base on the strength of the singles they've released so far. Fans have come to expect two general styles from the duo. There's the Italo Disco flashback best represented by most recent single "Number one" and, in contrast, the beach-bum chill-out of tracks like "Sunset Blvd". The G�teborg duo shifts between these sounds effortlessly, delivering standouts in both genres on their full length debut "Reveries". Nothing here matches the strength of the previous singles and EP tracks, but those songs make up half of the record, so that's not really a big problem. There are times when the sleepy side of the duo's sound becomes a bit too sleepy ("Sunrise" and "Hold me"), but the album has a certified classic in "Hot lips", already a deserved success. There's a general airy charm to Pacific's music, even as they ratchet up the tempo for the more dance oriented tracks, and this definitely sets them apart from similar-minded synthpop groups. And, while the record as a whole may not be as consistent as the singles would lead you to believe, there is no doubt that "Reveries" will find a home on many a beachgoer's playlist this summer.

REVIEW: Frode Haltli - Passing images (ECM)

Tue, 01 Apr 2008 00:00:00 -0400

It is not often that you hear the accordion taking front and centre on an avant-garde, or any record for that matter, except if you are into traditional European folk music of some kind. Frode Haltli, a classically trained accordionist, takes the instrument out of its usual, to me at least, usage and brings the instrument to a place I can appreciate. The disc borders on New Age in several instances, which is bothersome, but also has a definite spacial quality that is very difficult to knock. While the accordion takes a lot of sonic space, the viola is the star, bringing melody and most of the high points of the album. The accordion definitely provides the glue, with its ability to play single notes and chords at the same time, that makes this record go forward and because the record is so musically sparse, it provides most of the substance too. This is a record that wouldn't be so out of place on Tzadik's composer series. Only if it could lose some of the New Age sonorities...

REVIEW: Paper - An object (Novoton)

Mon, 31 Mar 2008 00:00:00 -0400

Can Novoton Records do any wrong? Paper's "An object" and all its wondrous lo-fi post-punk magic is yet another indication that, in fact, Novoton may be the best record label in Sweden at the moment. A shadowy effort, Paper create a storm of string-thin guitars, bass riffs and analog synths, punctuated by the dark vocal delivery and the assured drum patterns - and its something to behold. Like the missing step between Joy Division and New Order, "An object" carefully captures both of these influences and then proceeds to twist them around the more raucous post-punk of the later 80s, all without sacrificing the individuality of the compositions themselves despite all of these reference points. "To her" should be the opening track to a late 80s cinematic effort, "Out of it into it" is a powerful thesis for the album to come, and closer "Ideal plane" is a strangely serene, beautiful ending to an album that seems most comfortable observing frantic destruction, but this peculiar ending works; an introspective close to one of the best new post-punk albums that I've heard in a long time.

REVIEW: Pestida - Surface parallel (Around Your Neck)

Sat, 29 Mar 2008 00:00:00 -0400

Another solid member of the Around Your Neck family, home also to Johnny Superhero, Pestida feel like an uncovered relic from that box of albums you bought in the 1990s. Like Johnny Superhero's "Choices", "Surface parallel" feels like a beginning, akin to their 90s influences instead of synthesizing them into a 'redefined' sound. This recalls the beginning of the 'emo' and post-hardcore scenes, wonderfully oblivious to the years and years of music that has been released since Pavement's "Brighten the corners" or the efforts of bands like Mineral and Knapsack. This album is not for everyone: the vocal delivery could easily catch some ears as too quirky or off key, the songwriting's solidarity with the bands of the mid- to late-90s might seem outdated to some, but if these obstacles can be overcome, "Surface parallel" has much to offer. If you need more evidence, find the track "Another circle" and listen for yourself. It will make you miss those flannel shirts you donated to the Salvation Army and long for the nights you spent as a teenager staring up at your ceiling, listening to Sunny Day Real Estate, missing someone.

REVIEW: Supersilent - 8 (Rune Grammofon)

Fri, 28 Mar 2008 00:00:00 -0400

Supersilent, on "8", introduces a spaciousness that wasn't there before. The improvisations on here are mostly drum and synthesizer-based and use dead air as much as possible and as little a traditional structure as possible. While it might resemble like a cacophonous pile of randomness, there is a research in there, a lot of research in fact. Nothing is out of place and everything moves toward a common particularly loud moment. The progressions are slow moving, but relentless. On the whole the record is quite enjoyable, and if it wasn't for the digital qualities of some of the synth sounds, I would have enjoyed this a lot more than I do. Definitely a record to consider for fans of Tuxedo Moon, Port Royal and other experimental outfits like them.

REVIEW: TIAC - Overstaying the welcome (Hybris)

Thu, 27 Mar 2008 00:00:00 -0400

Balancing itself somewhere between over-accessibility and kitschy electronica, "Overstaying the welcome" is an undeniably fun album, but it's hard to give a general impression of the record overall. "Catalogue of failures" is an overabundance of 80s clich�s and synths, wonderfully wound around solid songwriting, but the following track "Piss on you" is rather disappointing, especially the lyrics. Imagine New Order on a drug binge (probably uppers) in Berlin deciding to record an album in a weekend... and you're somewhere in the realm of TIAC's "Overstaying the welcome". It's a lot of fun, like I said, but there's an obvious expiration date to this enjoyment.

REVIEW: Lamont - The golden daze (self-released)

Wed, 26 Mar 2008 00:00:00 -0400

Distributed for (free) download on Swedish torrent site The Pirate Bay as well as the band's web site, "The golden daze" tries to be glam pop for the masses, crafted to capture the listener at first listen. Being Malm� based, the band emulates its more successful neighbors, namely The Ark and Melody Club. In this it is successful, but only as an emulation. Despite stabs at punk-laced electro and (oddly enough) swing on the title track, there's not enough originality here to distinguish the band from others. Forgettable as it may be, however, it can also be pretty fun. All tracks are very radio friendly, though none are likely to become radio hits. The production is the album's strongest suit. Aside from a great turn by The Ark's Ola Salo, who gives "Rather do it" (a minor hit in 2006) the kind of behemoth sound that we're used to from these sorts of bands, the rest of the album is produced by Oskar Humlebo (aka Moto Boy). He drenches the band in serpentine rhythms and new-wave synths, which helps to disguise the fact that you're not going to remember many of these songs in a few months. Still, for fans of the over-the-top Malm� based pop sound (like me), there's plenty to like here. Unfortunately, there's just not enough to love.

REVIEW: Sad Day For Puppets - Just like a ghost EP (HaHa Fonogram)

Tue, 25 Mar 2008 00:00:00 -0400

This is the debut release from the Stockholm-based band. It's released on Radio LXMBRG's Haha Fonogram Records, and produced by Alex Svenson-Met�s of the same band. Musically, this couldn't be further apart from Radio LXMBRG. "Annie says" is reminiscent is one of The Concretes' more tender moments, whilst the rest of the EP brings to mind eighties indie pop bands like The Cocteau Twins and the long-forgotten, but rather excellent, Voice Of The Beehive. The dreamy melodic sounds transport the listener back to a more innocent time when shonky anorak-clad bands genuinely believed they could change the world. With this release, Sad Day For Puppets are very well placed to capitalise on the micro indie-pop phenomenon currently doing the rounds on MySpace.

REVIEW: Firefox AK - If I were a melody (Razzia Records)

Mon, 24 Mar 2008 00:00:00 -0400

The recent hyper-popularity of bands like Justice and MGMT has proven that electronica is now a serious player in the music industry, not only with the indie crowd, but the major label industry as well. Firefox AK has been in the game a few years, garnering attention throughout Scandinavia, the British Isles, and Europe, obviously not to the extent of Swedish comrades such as The Knife, but making an impact nonetheless. The follow up to "Madame, madame", "If I were a melody" again proves that Andrea Kellerman has a unique knack for electronic music: bridging the gap between the dancefloor bound compositions and the more contemplative creations by acts such as The Radio Dept. and Junior Boys (whose Matt Didemus mixed "If I were a melody"). "The river" is one of the finest tracks Firefox AK has ever produced, and first single "Winter rose", with husband and consistent collaborator Rasmus Kellerman (better known as Tiger Lou), demonstrates the range of this album, focusing the synth-driven craftsmanship into a more popular vein. An extremely consistent artist, you probably didn't need too much reassurance that Firefox AK's newest effort was worth a small investment - but, in case you did: "If I were a melody" is a fine album.

REVIEW: Various Artists - Ny musik f�r landssorg (Container)

Thu, 20 Mar 2008 00:00:00 -0400

Public radio does have its virtues: It gives weekly airtime to people such as Andreas Tilliander (former Swedish Grammy-Winner, present Kent-support gig, ever-productive multi-aliased electronic musician) to talk about and play electronic music in his acclaimed show "Str�m" and, from time to time, it even lets said show hosts compile CDs. After a walk in the park with 2006's birdsong-remix CD "Pausf�geln remixad", the current topic, which translates to "New music for national grief", touches on more sombre grounds - its aim was to compile music that could be played on the radio in case of national grief, think tsunami or death in the royal family. Naturally, each of the record's 12 musician has their own personal concept of grief and expresses it through (more or less) crackling electronica in widely different ways. Ideally, such fragmentism could be enriching, as in the Pausf�gel-compilation, but here it revives a familiar problem of compilations: some tracks truly stand out (to me: the more cut-up, less vocal ones) but others are more of the skipping-kind. It's a matter of taste, as always, but I think I'll stick with the Pausf�gel-CD for now and wait for the next Str�m-sampler.

REVIEW: Madrugada - s/t (EMI)

Fri, 14 Mar 2008 00:00:00 -0400

Guitarist Robert Bur�s left this world much too soon. And he will be missed. Those of us that got to see Madrugada live can certify that he was a main character in this otherwise so well put together combo. Being the sixth and final album from Norway's finest, this is nothing but pure genius. The intensity is evident throughout, both musically and vocally. On this self-titled full-length, the band has taken the atmosphere of foreboding that is their trademark to a higher level, which leaves us, the listeners, in a state of darkness that's indefensible. Simply put, we're reeled right in and I wouldn't want anything else. Frontman Sivert H�yem sings with such authority and grace, it makes my eyes fill up with tears. And seeing that I'm into The Birthday Party and Nick Cave, it's difficult not to compare, but Sivert has a hypnotizing way of taking each song to perfection, something Mr. Cave is missing at times. "The hour of the wolf" is a straight-forward rock song with howling guitars, powerful drums and a showcase of one of the shapes that was Madrugada. It's rock'n'roll in its purest form. The more acoustic "Look away Lucifer" is a dark and eerie song that sort of sums up the album as a whole. The uncanny feeling of this swan song is charming in a way that you never want to end. But, all good things must come to an end and I can't think of a better way than this. Kudos. And R.I.P.

REVIEW: Tiger Lou - Live @ R Bar, NYC, 03/04/08

Thu, 06 Mar 2008 00:00:00 -0500

It's always great when one of your favorite Swedish acts comes over to play some shows, especially one whom you've never seen before, and such is the case with Tiger Lou. With their second album "The loyal" finally being released Stateside, it was a bit of a surprise that they'd be here a mere week or two afterward. The strange thing about the show was that the band was only allowed to play five songs. Just when they had started to get all warmed up in spectacular fashion with "Nixon" and "The wake/Hooray hooray", the set had to be disappointingly cut short. This was not the band's fault though, as they had the limit put on them. I just cannot wait for them to come back around and play a full, proper set.

REVIEW: Johnny Superhero - Choices (Around Your Neck)

Sat, 01 Mar 2008 00:00:00 -0500

Starting with Downstairs' "Oh father", I rounded off my week of new music with another Finnish act - Johnny Superhero - and successfully reverted back to the 19 year old I was in 2003. A strange, though very coherent mix of the early indie rock sounds of Failure, Mineral, Archers of Loaf, and, to a lesser extent, Pavement, "Choices" could easily have come out anytime between 1995 and the early 2000s, though this 'dated' element only adds to the album's charm. Instead of being enjoyed from a somewhat detached, archaeological standpoint, Johnny Superhero make their recreation of the early steps of indie engaging and unique. "Time" could almost pass as a Bear Quartet song, breaking at its midpoint in a distinctly similar way to how "Parking lot" ruptures in being at the end of Mineral's "The power of failing". "Schiphol" continues along in a similar vein, though also harkens back to Last Days of April's early, slower recordings. If you remember this transitional stage of music, the shift from grunge to art-rock and the avant-garde, from hardcore and punk rock towards music that is far more comparable to the efforts of today's scene, then "Choices" is worth more than just a few minutes' examination.

REVIEW: Downstairs - Oh father (Fullsteam Records)

Fri, 29 Feb 2008 00:00:00 -0500

This record released an outpouring of nostalgia from my experiences in the early 00s. Almost an extension of the sound At the Drive-In (minus Cedric Bixler-Zavala's trademark vocal range) were carving out with their last record "Relationship of command", Downstairs continue the experimental and embracive attitude numerous post-hardcore bands adopted to further a sound that was beginning to stagnate. One can hear a touch of an Arcade Fire influence at the end of "Shudder shudder", as well as the affect of hours of listening to punk and angular indie rock, especially bands like �Forward, Russia!, throughout the record. It is nearly impossible to pin "Oh father" down easily or successfully, a credit to the musicians behind its craftsmanship, nor is it fair to rely on comparisons alone to define the album.

"This is so five years ago," my roommate just commented as he walked by my open door. Indeed, Downstairs are much more aligned with the end of the hardcore and post-hardcore movement than they are with the contemporary Scandinavian scene, but they bring an awareness of the years that have passed since then to the table as well. Trips down memory lane aren't usually accompanied with a soundtrack as good as this.

REVIEW: Various Artists - Svenska punkklassiker vol. 2 (MNW)

Wed, 27 Feb 2008 00:00:00 -0500

It seems silly to call this "Volume 2" when disc one is essentially a reprise of the original "Svenska punkklassiker" comp with a slightly different tracklist and an extended timeframe. Sure, a few quality acts got culled in the process (or resigned to the excellent "Svensk postpunk klassiker" collection), but the heavy hitters (Ebba Gr�n, KSMB, etc.) remain. As for extending the date range to cover the entire 80s, well we can argue endlessly about who was unfairly left off and so on, but overall I think it allows for more variety, thus a better sampling of what early Swedish punk has to offer.

Disc two however, is where things become problematic. Swedish punk in the 90s was a mixed bag, to say the least, and I'm sure there's all sorts of folks out there who bristle at the inclusion of many bands here. C'mon, I love Fireside, but to call them classic Swedish punk is stretching things. Sure, they evolved from the right place, but to hear them followed by Skitsystem is quite a transition.

Anyhow, all issues of personal taste set aside, this collection does deliver a decent overview of the Swedish punk scene for novice listeners. The intro essay by Mikael S�rling gives the music historical context and the extra notes for each track (all p� Svenska 'natch) are a most welcome touch, especially considering that they are sorely lacking from other collections in the Klassiker series. Of course, in an ideal world, we'd have a double-disc collection for each decade, but it still succeeds well enough as-is to earn a reserved recommendation.

REVIEW: Personkrets 3:1 - Ruiner EP (Halvfabrikat)

Tue, 26 Feb 2008 00:00:00 -0500

This 3-track 7" serves as the band's swansong, but considering that I had never heard them until this record showed up, it hardly matters. A fitting epitaph? Eh, probably not. Anyhow, Personkrets 3:1 play(ed) crusty hardcore with a pronounced metal influence that creeps through in the various breakdowns and quick solo breaks that pepper each song. They put it off competently enough, but it's just not that interesting for the most part. The one exception however is "Krigss�ng", a track based on an old poem by Dan Andersson which is by far the most melodic and best composed tune on the record. It makes me feel like if they embraced their metal side a bit more, they'd be a better band, but I suppose that's a moot point considering their current inactive status. Perhaps the ex-members' new band Misanthropic will tip the scales further one way or another, wait and see.

REVIEW: Birds on Holiday - In foreign countries (Sandbox Tree Records)

Mon, 25 Feb 2008 00:00:00 -0500

Sweden's Birds on Holiday play sweet indie pop that sounds like Saturday Llooks Good to Me and they also make me think of a latter-day Popsicle (former Swedish indie stalwarts). They've got two lead singers - a man and woman - a combination that I am particularly fond of. It would be nicer with more duets though, instead of just letting them take turns singing songs. It's a neat little album, with some pretty melodies and the songs are surprisingly well-written and performed. The lyrics aren't that special though; in fact, that's where this album falls short. Some of the songs are also a tad repetitive and annoying. Yes, Birds on Holiday could do with more of the better songs, less of the dull ones, and a bit more finesse lyric-wise (there's nothing better than subversive twee, right?). I still think some of these songs are amazing though, so I'd recommend it to lovers of fluffy indie pop (like Belle & Sebastian et al).

REVIEW: Twig - Ciao ciao bomb b/w Wentworth 7" (Cloudberry Records)

Sat, 23 Feb 2008 00:00:00 -0500

This is indiepop music for indiepop people. Chances are high that if you're in the target audience for this record, you probably already know about it and have made up your mind about whether or not it will become part of your collection. For the rest of us, here's the scoop: this is the first vinyl 7" released by prolific singles-only label Cloudberry Records out of Florida. They've been putting out a small, but successful run of twee/C86-focused 3" CDRs (and other stuff) for awhile now, so it's only natural that they try their hand at something bigger. Does it succeed? Well sure, I guess so. That is, if you like the idea of Swedish boys crooning like Morrissey over shimmering guitars and drum machine beats. As for me, let me just say that I prefer "Wentworth" over the flipside and leave it at that.

REVIEW: Silent Highway - Hope from the borderland (Gateway Music)

Fri, 22 Feb 2008 00:00:00 -0500

On Silent Highway's myspace page, six sources of inspiration are illustrated: one of them is David Bazan and one is David's (former) project Pedro the Lion. And frankly, that wouldn't have been hard to guess when listening to the songs of Morten Storgaard's debut album as Silent Highway. Since I'm a big fan of everything Mr. Bazan does, it wasn't hard to gain my initial sympathies either. Lyrically, the songs presented here might not be on par with the "idol's", but musically speaking, the unusual harmonies and the careful arrangements provide a very nice background for Morten's expressive, yet positively unobtrusive singing. A promising first album that keeps me waiting to hear more from Silent Highway in the future.

REVIEW: Don't Be A Stranger - Frutti di Mare (ia!/V2)

Thu, 21 Feb 2008 00:00:00 -0500

Swedish bands break up and morph into others quicker than an atom, or at least so it seems. The collaborative effort is so high, it's as if the Social-Democracy permeates every level of society, and, within the music scene, usually proves to be a successful act. Here for example, we have Don't Be A Stranger, a band which features former members of Honey Is Cool. For comparative purposes, this is not too dissimilar stylistically from The Concretes and The Tiny, though I find them to be better than the former and more accessible than the latter. On the tracks "Lonely together", "Yellow moon" and "Too late", the band is at their peak, with the mellow, intertwining instruments creating the space needed for the listener's maximum enjoyment. Just because one has an instrument doesn't mean one has to fill every second with sound - and with a group such as Don't Be A Stranger, the notes not played allow the music to be most emphatic.

REVIEW: Jens Lekman - Live @ Lido, Berlin, 02/16/08

Wed, 20 Feb 2008 00:00:00 -0500

It was Jens Lekman's third time in Berlin and the venues keep getting bigger. When I saw him last, I was somewhat disappointed (which might have been influenced by having to dodge the trombone player's instrument half the evening) but this night clearly made up for it all. With a slightly reformed band including violin, cello, and Viktor Sj�berg (of Sonores and other projects) on "sounds and electronics", Jens quickly won over an audience that had previously had their enthusiasm dampened by a Placebo-soundalike opening band. Including the samples in the live-show not only widened the possibilities, but also allowed all musicians to take a dance across the stage during "A sweet summer night..." A truly memorable night was then rounded out with Jens thumb-pianoing charmingly through "A little lost" (see here) and then grinning happily while the audience came "running with their heart on fire." The best nights always end too soon, even if you can watch Erlend �ye dance by himself to Bob Marley's "Waiting in vain"...

REVIEW: Lack - Saturate every atom (PlayRec)

Tue, 19 Feb 2008 00:00:00 -0500

Lack is easily one of the more interesting indie rock acts out there right now. Going from clarity to clarity, I thought that "Be there pulse" (2005) was an excellent display of Fugazi-sounding hard-hitting rock, they now release a breathtaking album of furious and melodic punk-/indie rock. In fact, the Danes have found what I've been looking for in their previous albums; a delicate mix of hardcore and hooks. Not many bands accomplish that, At the Drive-In, Refused, Drive Like Jehu and Shellac did it, and here are the Danish heirs. Clocking in under an exemplary 30 minutes "Saturate every atom" offer its listeners a concise journey where Denmark's asylum policy, male domination, among others are matters of discussion and as an old hardcore dude, my eyes are filled with tears. It's been a long time since something this compassionate sounded this good. Produced by Per Cn�eldh (Menfolk), mixed by Lack in true DIY-style and mastered by none other than Bob Weston from Shellac, the simple, yet powerful sound gives the band justice. And speaking of justice, nothing would be more unfair if this doesn't lead to further recognition. It is that good. Try it, you'll like it!

REVIEW: Kent - Live @ Billingehov Sk�vd, 02/15/08

Mon, 18 Feb 2008 00:00:00 -0500

I finally did my Kent homework last year, meaning I dug out all the old records and listened to them all over again - everything to be fully prepeared when "Tillbaka till samtiden" hit the shelves. With the album being somewhat of a dissapointment, however just a minor one, and with the prevoius experiences (all bad) I've had with Kent live, I had no real expectations when I arrived at Sk�vde Hockey Arena just in time to catch opening act Familjen (nope, not the right place for Jonas T. Karlsson and his buddy for the night, Andreas Tilliander). Kent playing in a Hockey Arena, taste that one. All signs pointed towards the same thing - this was going to be a horrifying night to remember. And oh how I was right! On everything except for the horrifying part. Tonight Jocke Berg and co. totally blows my mind, Hockey Arena or no Hockey Arena. I've never witnessed the band so intense and concentrated - it's just brilliant! All the hit songs are included, both old ones and new ones, even though one might argue that just about all Kent songs are hit songs, and the visual part of the show is breathtaking. The pick of the night must be the upbeat disco version of "Dom andra", with the extended version of "Mannen i den Vita Hatten (16 �r senare)" coming in close behind. This was truly a pleasant surprise.