This week's top 20 Swedish album chart:
01. The Ark - Prayer for the weekend
02. Sonja Aldén - Till dig
03. Sahara Hotnights - What if leaving is a loving thing
04. Cornelis Vreeswijk - CV - Det bästa med Cornelis Vreeswijk
05. Sofia Karlsson - Visor från vinden
06. Lillasyster - Hjärndöd musik för en hjärndöd generation
07. Eldkvarn - Svart blogg
08. Vikingarna - Bästa kramgoa låtarna 2
09. Nanne - Jag måste kyssa dig
10. Marie Lindberg - Trying to recall
11. Markoolio - Värsta Plattan
12. The Boppers - 30
14. Shout Out Louds - Our ill wills
15. Salem Al Fakir - This is who I am
16. Timbuktu - Oberoendeframkallande
17. Mr Jones Machine - Återvändsgränd
18. Jerry Williams - I can jive - Det bästa med Jerry Williams
19. Laleh - Prinsessor
20. Emilia - Små ord av kärlek
Montt Mardié, aka David Pagmar, has got high aspirations. Normally, I'm not one to go for his style of kitschy soul-pop, but I respect the man for trying and I actually think he's finally managed to acheive the sound he's been reaching for with the new double album "Clocks/Pretender". That's kind of been my thing about a lot of the bands on Hybris - I might not be totally into what they're doing, but I still have deep respect for the lot of 'em. Hybris stands for more than music and that's why they are one of Sweden's best indie labels.
The latest addition to Montt Mardié's "Drama" series "Birthday boy" is especially pleasing, partially because it's already familiar, but also because it ups the ante on the original formula with strings and a full horn section. This is the kind of record that David's been hoping to make from the beginning. Or maybe he'll achieve that with the upcoming live record he just did the other day? Regardless, it's great to see an artist be allowed to indulge themselves so freely. I might not love every song, but it's growing on me.
Montt Mardié - Birthday boy (drama)
6
This third album by Billie the Vision & The Dancers is quite interesting. Whilst the music is easily the strongest in their catalog to date (thus leaving the record with no moments that drag on), lyrically, the album is very inaccessible, which is somewhat strange considering their last two efforts. It feels as though they've recorded the album for their friends, with the numerous inside-jokes and descriptions of specific events ("Absolutely, salutely" and "A beautiful night in Oslo") and perhaps the most pop-culture references ever put to tape ("Overdosing with you" and "I've been having some strange dreams"). On top of that, the amount of characters has tripled, adding to the detachment of the listener. It's a tad discerning because I do consider this to be their most solid album, but I can't help but feel left on the outide of their very (very) bizarre world, looking on as Billie the Vision dances with tranvestites, Argentines and The Pipettes in the dimly lit parking lots of Oslo.
- Matt Giordano
9
The Chrysler are a difficult band to describe; slow, layered pop songs that evoke decades past, with this feeling augmented in the warm, lo-fi production of their records. The band's strength lays in its members' consistently powerful craftsmanship, not so much in clever hooks, memorable choruses, or radio single potential. A few people who I've shared this band with have felt nostalgic for "The Moon and the Antarctic"-era Modest Mouse, though this comparison has its pitfalls and flaws.
The tone of "The Benelux years" is set early on by "I keep my eyes on you sparrow", followed quickly by the complicated and affectionate "Seven wonders" – both songs setting the tone for the warmth that permeates the rest of the record, even in the slower, more reflective pieces found as the record progresses. The final sections of this effort conclude with all the strength and skill that its openers employed to bring it to our attentions, and the midway pieces developed to focus it in our conscious moments. Preceded by the Dire Straits-esque "250 hours in 238 days", the closing tracks are melancholy, though deceptively vibrant, and a fitting conclusion to the record as a whole. While my stereo will undoubtedly fall prey to the bright songs that the coming summer will inspire, there are moments that are enjoyed better with slower tempos and in lower keys, and in those moments I shall be found listening to this wonderful album.
- Lars Garvey Laing-Peterson
8
This is the latest release on über-cool vinyl-only label Risky Dazzle. "Cat scratch" brings to mind the glory days of acid-house, notably Josh Wink's "Higher state of consciousness" and more recently, the jittery groove of Benny Benassi. It is as much suited to the hipsters as it is to the purists, who will no doubt be gurning like it's 1991 all over again. Top one, nice one, get sorted!
- Nick Levine
8
Monto Water Rats is pretty packed tonight. There are four bands on the bill, but I only watched the last two. First out is Maia Hirasawa who started out as (and still is, I think) a member of Hello Saferide's touring band, but who has now started conquering the Swedish airwaves by herself with her sunshine pop. It's melodic and pleasant. Hello Saferide are equally melodic, but somewhat less pleasant. Annika Norlin (aka Hello Saferide) is not feeling very well, and she tells us that she's kept quiet all day just so she can sing for us. God bless her! She has also been drinking olive oil throughout the day, and even does so onstage (this is the cause of the the unpleasantness). Sometimes the rock'n'roll life can be truly odd, and tough. I'd rather bite the head of a bat than drink olive oil. Oily drinks or vocal problems doesn't stop Annika from putting on a great show though, and she's got the audience transfixed from the start. As an encore she plays "The quiz" which I haven't heard live before - it was a thoroughly enjoyable first experience. Expect to hear more from Hello Saferide and Maia Hirasawa in the future, they're both charming and write very infectious songs.
- Simon Tagestam
5
Girlish vocals, youthful enthusiasm and straightforward indie-pop arrangements: that's what you find on this 3-song EP. Although this is largely a demo (and it sounds like it), these girls show promise, especially in the second song, "Cravings". I like the energetic drumming and background "la la la's." Elsewhere, the sound is missing an edge and starts to sound meandering. With a producer, I think this young Swedish band could do something pretty decent. They do sing in key, generally altogether, and I like the idea of a band named after one of the world's smallest countries. But think bigger, ladies. Think bigger.
- Kevin Renick
4
It's a great thing that these days everyone can make a record, but it doesn't mean that everyone should. Löfström writes sweet poppy minimalist songs with pleasant melodies, and there are plenty of moments where it almost gets close to being something special, but it never rises above sounding like a record a guy threw together in his house with his friends.
- Nancy Baym
9
One always hopes that the sophomore album is an improvement, a realisation, and when it is just that, the results can be glorious. Such is the case with the second proper full-length effort from Montt Mardié (and it's a double-disc nonetheless). With the two CDs clocking in at a hour combined, there is no filler attached, yet one can choose just thirty minutes of listening enjoyment at once should they desire. The first disc, "Clocks", is where David Pagmar's vision of everything swinging is pulled off properly, with the instrumentation and vocals working so well. Take note of the pitch-perfect harmonies on "Birthday Boy (drama)", the sad spoken word of "Set sail tomorrow (strings)", and the stellar minimal instrumentation of "Travellers". Disc two, conversely, is comprised of collaborations, and harkens more to the 80s in its sound. Montt Mardié not only delivers ballads ("Surprised" with Andreas Mattsson and "Pretenders" with Hello Saferide), dance numbers ("Metropolis" with Fredrik Hellström of Le Sport and "My girlfriend is in the Grand Prix finals" with Mr. Suitcase) and even one in his native Swedish with the always-stellar Vapnet ("När ni gett dom våld ska vi ge er kärlek"). "Clocks/Pretender" is the sound of a matured Montt Mardié, and this album floored me with how much every single thing has been improved. Lastly, I'd recommend picking up a physical copy of this, as the packaging amazing.
- Matt Giordano
8
My Midnight Creeps are fronted by the dynamic duo of Robert Burås from Madrugada (here going by the name Bobby Cagehill) and Alex Kloster-Jensen from the Ricochets. That's a great deal of guitar power, and they put it to good use on their second record, which is a considerable improvement on their strong debut. They make no pretenses to originality. To the contrary, they offer a familiar take on swampy, bluesy, dark and heavy rock'n'roll. The old blues singers of the Deep South meet the British 60s, wind their way through 1970s Detroit and 1980s LA, and land in Norway, bringing some touches of Scandi guitar psychedelia with them. They swagger through songs about women, having the blues, and being wronged. It's big, it's bombastic, it's meant to be played loud, and it covers no new territory. But it's so very well done. The musicianship is stellar, and the band seems to be having such fun playing that it's hard not to feel good listening. Then there are passages in these songs - mostly instrumental - where they achieve that rare wall of surging atmosphere that transcends everything else and makes you stop whatever you're doing just to revel in it. Big bombastic rock'n'roll fun interspersed with moments of rock'n'roll perfection? Play it loud.
- Nancy Baym
9
The Cocteau Twins are back! And now they're called... Rumskib! I don't mean for that to sound condescending; actually this luminous Danish duo recreates the sound of the ultimate shoegazer band better than anyone I've heard (even more than the previous nominee, Autumn's Grey Solace). There's no denying that multi-talented guitarist/songwriter Keith Canisius has Robin Guthrie's churning, atmospheric guitar sound down pat, and vocalist Tine Louise Kortermand has a sweet, pure tone that evokes Elizabeth Fraser without being an obvious imitation. "Where are the flowers" and "Crucial love games" are just two of the stunningly beautiful songs here, showcasing everything good about the dreampop genre in concise sonic settings. There's a couple of alluring instrumentals, too - the best of which is the bracingly moody "Ferris wheel blackout". This record is consistent and well-produced (Canisius and programmer/synthmeister Jonas Munk shared the honors in that department), and the spirit of the genre positively gleams throughout. So weep no more for the premature cessation of Cocteaus-style transcendence... this is easily the next best thing.
- Kevin Renick
8
Before every gig on Thåström's latest tour, he and his band listened to Italian dark-wave legends Kirilian Camera to get into the right claustrophobic, dark mindset. With that in mind, it's no surprise that his new band Sällskapet (with Pelle Ossler's amazing guitarwork and old PLP-cohort Niklas Hellberg) conjures dark atmospheres, pulsing hypnotic beats and images of worn-down streets in concrete jungles. While it's easy to draw comparisons to both Kirilian Camera and later-day Einstürzende Neubauten, Sällskapet mostly resembles the third album of Thåström's 90s industrial outfit Peace Love and Pitbulls; only slowed down, stripped of metal-riffs and explosions, and turned into infernal electro-blues. The worn down approach makes the songs stronger, setting atmosphere in the front room with half the album being an instrumental soundtrack to feverish city-nightmares. But the best songs are the ones where Thåström (or in one instance, Nina Ramsby) sings, cutting right to the bone of the listener. When the accompanying DVD sets their songs to images of worn down subway trains, cranes in harbours, dark tunnels and rainfilled streets, it almost makes Sällskapet border on parody. But the rusted beauty of the music makes sure they land on the right side of greatness, both on disc and video.
- Hanzan
8
What is there to say about Shout Out Louds that hasn't already been said? Most of you people already know that their career skyrocketed shortly after the release of the "Howl howl gaff gaff" album in 2003. The record did well in Sweden and parts of Europe, but it was in the States that things started to happen. A record deal with Capitol opened a lot of doors (followed by appearances on both Letterman and Jay Leno). But that was then and this is now. Armed with new popish material, Shout Out Louds are once again back on the quest to rule the world. A quest they just might succeed with, Herrgårn in Linköping is totally packed this evening. People really want to see one of Sweden's hottest bands at this moment, that's for sure. If anyone in the band feels nervous or any kind of pressure of once again playing in front of a Swedish audience, they certainly don't show it. Shout Out Louds perform with all the experience and professionalism they could ever muster. Every song is delivered with such confidence and honesty that I lose all defences. This is the band to see this year. The songs on the new album, "Our ill wills" differ quite a lot from the previous album, but in a good way. Call it development if you want. Where "Howl howl gaff gaff" was all about simplicity, the songs from "Our ill wills" show off a band with a fascination the late 80's, especially the British new wave music (The Cure, Joy Division, etc.). "Impossible" will be the song that brings back sunshine into your heart.
- Christian Stenbacke
6
One thing I cannot fault They Live By Night with is that the production value here is superb, with the right amounts of distortion and reverb added into the mix to create a dynamic sound. However, they play the blend of dance-indie-pop mix that's been done so much before (especially in the past few years) that I'm just not really intersted in hearing anymore; even when they mix in the post-rock elements. I can think of bands that are doing it better at this time. "Coast to coast", my favourite on the album, is a nice, somewhat meandering organ-heavy track. "Ode to band" is another song that really stuck out to me, and again, it's a slower one. I feel that's where the band's strength lies, as the vocals inflections tend to relate better than on the energetic numbers, where everything feels too rushed.
- Matt Giordano
The Chrysler
Montt Mardié
They Live By Night