Sudd will be presenting a special mp3-download Advent calendar starting tomorrow: https://www.sudd.org/
Artists confirmed and revealed so far include Firefox AK, Laakso, Sophie Rimheden, Björn Kleinhenz, GOTO80 - one each day until Christmas.

Pitchfork reviews the collaboration between Norwegian electronic duo Fe-mail and American artist Carlos Giffoni: media.com/article/record_review/39699/Femail_and_Carlos_Giffoni_Northern_Stains" target=_blank>https://www.pitchforkmedia.com/article/record_review/39699/Femail_and_Carlos_Giffoni_Northern_Stains

MP3: Once We Were - Carnival

For most folk, all you need to know about the new Once We Were is contained in these four little word: post-rock double album. Chances are high that'll either get you super stoked or make you run screaming. For you rare wish-washy types, let me attempt to earn your approval. As for you brave, skeptical people who are courageous enough to still be with me, you can come along too. First, it should be noted that the album "Contra" is not the sort of sprawling epic (read: boring) you might expect. Yes, it's two CDs, but it's only a tad over an hour long in total. Each half works well as its own self-contained work and splitting the record in two was a great idea to make it more palatable for the masses. I can think of quite a few other recent post-rock releases that would've benefitted greatly from the same sort of self-editing. It's also worth noting that Once We Were's music goes beyond the usual loud-quiet-loud noodly riffs one might normally associate with the genre. There are certainly elements of that, but they are employed with skill and restraint. Listen to the track I've posted today for a solid piece of proof. If you're even a casual fan of instrumental rock, you're sure to find something to admire here. Very recommended.
Buy "Contra": m/store.php?item=281">[click here]

Once We Were - Carnival

MP3: Dead Letters Spell Out Dead Words - In perfect and imperfect circles

The drone of Dead Letters Spell Out Dead Words is a lofi rumble compared to the earth-shaking throb of The Idealist (as discussed m/index.php?story_id=1108">here). I don't say that to disparage DLSODW, rather to distinguish them. Also, whereas I remarked that The Idealist is well-suited for loud listening, DLSODW is quieter and more creepy, more dungeon-like if you will. Employing minimal synths buried with twisted field recordings and other found-sounds, the sound of Dead Letters is dismay and dreary - perfectly suited for dark winter evenings. The particular piece I've posted today from the new album "Old ghosts, new ghosts, all ghosts" swells and reels along with a distinct slow melody before finally collapsing into total static at the very end. Considering the miserable weather we've been having 'round these parts recently, this hits the spot.

Dead Letters Spell Out Dead Words - In perfect and imperfect circles

Cartridge
Enfant terrible
Glorious Records/A:larm Music

If anyone at NmE is reading, here is you next favourite band. Cartridge sound draws very heavily from the sound of modern British rock (Kasabian, The Rakes, Arctic monkeys), and whilst I'm not too into that whole scene, I believe they could easily handle their own on a bill with any of those groups. On "Enfant terrible", Cartridge is overflowing with energy and it shows on every track. The band keeps a rather quick pace throughout each track that, when preformed live, one can only assume it is the same, if not faster. "Coma state" and "Rooms painted green" are two noteworthy tracks on here, however in my estimation, "Tree crowns" is the best on the record.
- Matt Giordano

Consequences
s/t
BOW Music/Groover Recordings

Wow. What a tight bombastic burst of big glorious driving pop! When Jim Kelly at Parasol Records starts rearranging his top ten lists to squeeze in a last-minute contender, his band of choice is usually worth a listen, and indeed, this one's more than worth it. It's loaded with memorable melodies, powerful catchy riffs, gloriously full sound, poignant lead vocals, fun harmonies, and thoughtful lyrics. There are glimpses of references here and there, but they've really got their own thing going on. I'm with Jim: one of the year's best.
- Nancy Baym

El Perro Del Mar
Live @ Mercury Lounge, NYC 11/16/2006

With three sold out shows in four days prior to this, her last US dates of the year, anticipation was for a spectacular set by ms. Sarah Assbring; and it lived up to everyone's expectations. Backed by three musicians (guitar, guitar/bass, and hammond organ) the band brought out sonic elements not present on the record, emphasized by beautiful vocal harmonies and motown-esque backing vocals. The true highlight though was Sarah's voice. Whenever one goes to a show it is of interest to see how close the singer can replicate the best take that was included on the album and tonight everything was hit, and was hit well. Some of the titles she played included "Candy", "Dog", and "This Loneliness". However, the true gem of the lot was the performance of "I can't talk about it" with the toe-tapping tambourine; and on that rainy (and by that, I mean downpouring) Thursday in New York, it made everyone dance, smile and feel the love of the musician for the music.
- Matt Giordano

Friska Viljor
Bravo!
Crying Bob

maybe the originality of their sound would make more sense to a local, but from where I live, this debut sounds like what might happen if a bunch of indie rockers got really drunk and fell into a time machine that took them to a 19th century sailing ship where they drank until they burst into song. This is not necessarily a bad thing. Whether they push their raucous folkiness too far will depend on your own boundaries. To these ears, they usually stop just short of the limit - as soon as I think "if they don't stop this right now I might have to skip to the next song" they stop and I enjoy myself again. Still, sitting through the whole thing isn't always easy. But then, I'm sober and I suspect this is music for live shows where everyone can sing along rather for than quiet moments alone.
- Nancy Baym

Funky Nashville
Hitch a ride
Iceberg Records

At its best, this Danish debut sounds like a slightly campy combination of the Pernice Brothers and Chris Isaak. Alas, the rest (most) of the time it sounds like the soundtrack to an imaginary American roadtrip that's taken a surreal, comedic, and not particularly pleasant wrong turn. They try for funky now and then, try for Nashville other times, but all in all, it's postmodernism gone awry - not all influences are meant to be combined. It's a shame since they've got a fine singer, some good melodic instincts, and some splendid twangy guitar. It might make you laugh, but I don't think that's what they were going for.
- Nancy Baym

Insurgent Kid
Paranoia
Wasted Sounds

Yet another band from Umeå that delivers! Hell, if you didn't know better, you'd think that the songs featured on "Paranoia" were recorded in the mid-80's, following the likes of minor Threat and Black Flag. To be honest, this is 25 minutes right up my alley! The Insurgent Kid-members are in no way strangers to the hardcore scene, coming from various successful bands in the past (Abhinanda, D.S. 13 to name a few) and it shows. The performance is flawless with singalongs, raging (and unbelievably tight) drums and guitar-riffs that carry every tune home. The fact that these guys recognize that a song doesn't have to be longer than, say, 2 minutes is admireable as well! This release proves Wasted Sounds to be one of the most interesting labels in Sweden at the moment. Can't wait for the premiere of "American hardcore" in Scandinavia? Get ahold of a copy of "Paranoia" and it'll be worth the wait!
- Jonas Appelqvist

Mando Diao
Ode to ochrasy
EMI

On this, their third full-length, the cocky youngsters have grown up. And bear with me here, that's not necessarily a bad thing. mando Diao still put out dirty rock n' roll with great hooks from the 60's, something they've been doing since the "motown blood EP". The difference between "Ode to ochrasy" and the previous ones is that this one contains songs. Songs that proves a maturity required in the music scene of today. The record kickstarts with the killer "Welcome home, Luc Robitaille" and you can actually feel their ambition to make it a Classic. And I'm the first to admit that I have been wrong when doubting in these guys. Up until now. 'Cause really, every song featured is a damn fine song. From the mellow, soulful "Josephine", to the euphoric "Song for Aberdeen", through to "TV and me", the single that's a fairly big radio hit in Sweden as we speak. I imagine that the decision of having Calle Olsson (Union Carbide Productions, The Soundtrack Of Our Lives) producing was a healthy thing to do. But - and there is a but - the only thing I object against is that, while the production is a craftmanship as good as any, it's not as in-your-face as I want this type of rock n' roll to be. But that's a secondary comment. The primary thing is that mando Diao have made a record that, if there's any justice in the world, should be remembered for a long time. Time will tell.
- Jonas Appelqvist

Taken By Trees
Demo
self-released

The thing about Taken By Trees is, if you liked The Concretes, you'll like this; and if you didn't, then you won't. ms. Bergsman hasn't been taking voice lessons at all (which is obvious from "In colour" and now these demos), and she's not treading new ground at all; a new audience won't be gained other than devout fans. "Lost and found" could have easily been an extra from "In colour," which is evident by its unfinished feel. I guess she just wanted to take back the twee and all of these tracks are quite sparse - which is good, and brief - which is better. All in all, demos are just ideas, but with someone who's been writing songs for a better part of the past decade, you'd expect something to awe you, something to make you believe she quit her previous band because she was being held back creatively, but this just doesn't come close to any of that.
- Matt Giordano

Not a big suprise: Razzia has officially signed maia Hirasawa, a name you might recognize from her work as part of Hello Saferide's band. Look for her debut album in march 2007. Read my profile piece on her right here: m/index.php?article=187">[click here]

Umeå-based indie rockers Anna Leong have announced that their debut album "After the forest fire" will finally released on January 31 on the band's own White Weekend label. Recorded in the fall of '05 with Daniel Berglund (Isolation Years) engineering and co-producing, the album has been in limbo a long time since the group was left label-less after Chalksounds closed shop. Listen to the first single "They will know us" at myspace: myspace.com/annaleong" target=_blank>https://www.myspace.com/annaleong

This week's m/group/itsatrap" target=_blank>It's a trap! Last.fm/Audioscrobbler listening group top 10 albums of the week:

01. The Postal Service – Give Up
02. The Arcade Fire – Funeral
02. Death Cab for Cutie – Plans
04. The Shins – Chutes Too Narrow
04. Wolf Parade – Apologies to the Queen mary
06. The Radio Dept. – Pet Grief
07. I'm from Barcelona – Let me Introduce my Friends
08. Sufjan Stevens – Illinois
09. Tiger Lou – The Loyal
10. The Knife – Deep Cuts

And the top 10 artists of the week:

01. The Shins
02. Sufjan Stevens
03. Bloc Party
04. Belle and Sebastian
05. Death Cab for Cutie
06. The Beatles
07. Radiohead
08. The Radio Dept.
09. Hello Saferide
10. The Decemberists

Does this list seem as ho-hum ing to you as it does me? Help fight the tedium by becoming a member of our group! Go here to learn more: m/help/" target=_blank>https://www.last.fm/help/