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To see a great band from Norway once when you live in the USA is a treat, but tto see them twice (and on consecutive nights) is just lucky (but moreso the benefit of living in a big city). The first night at Sin-E, Real Ones put on a very energetic set, which pleased the crowd a great deal. Although the sound was a bit muddy at times, I believe this was more a result of the venue's acoustics than the band. After playing their set which included such songs as the opener "Oh my", "Orlando", and the purely brilliant "Ballad of an old man", the band found themselves in the midst of accolading fans, with many lining up to buy their newest album "Home with the girls in the morning". Since I was going to review the Real Ones live set and had the chance to see them a second time, I surely took it. I had thought it would help me write a better review, to see the band in a different setting, to just get a better feel of their sound and was I glad to have done so. At the Living Room the next night, the band sounded even better. Each instrument was much more pronounced (and I must say I was expecting it, as the venue is better suited for more "acoustic" based bands). The band played the same songs mentioned above, plus "She's got me good" and my since-then-live-favourite "Bratislava". If I had to gauge how their stay in New York went, I'd say "very well."
- Matt Giordano
"Facts and figures" sees Johan Angergård return to form after last year's disappointingly slow "Public radio". Whilst that record was fine in its own right, the loss of tempo from the band's debut caught me offguard. Luckily, the tempo is back. Always exploring various textures and aesthetics in his music, Angergård relies very heavily on synthesizers this time around and the result is great pop album that sounds as if it is from 1976 or 1986 as opposed to this year. Coupled with his trademark smooth vocals (and heavy effects), this is the soundtrack to a postmodern dance club in some old warehouse in the nefarious part of town. Top on that the aura of seediness and you have yourself one of the best dark pop records since The Bear Quartet's "Ny våg".
- Matt Giordano
After quickly warming up to the debut Johnossi album which V2 re-released earlier this year, I was interested in how they would be live. They came to the USA in June and I honestly just spaced out on it, but when I saw that they were scheduled to return in the autumn, I knew I had to go. maybe it was the premonition I had that the band would rock in concert. It's a little presumptuous to be, but it was true. These two lads rock hard, and considering that John is using an acoustic guitar, it's amazing that he can get such heavy tones from it. They blasted through the set rather quickly, playing the favourites "Execution song," "man must dance," "There's a lot of things to do before you die," "Rescue team" and "Santa monica Bay," complete with it's powerful, balls-out ending.
- Matt Giordano
I've been listening a lot to mediocre albums these days, and unfortunately Fattaru's latest album "mina drömmars stad" adheres to this pattern. Their first album "Fatta eld" (released 2001) was an exercise in banging beats and hit-making, and one of my favourite hiphop albums ever (seriously). After that, Fattaru "matured" and released the jazzy and horrible "Jordnära" (2003) - an album that's best forgotten. For their third album they've gone back a bit to the more direct approach of making songs, but they've also kept a lot of their more "mature" influences, and taken some new ones on board (electro, grime, etc). All in all, it's a very diverse album that contains one fantastic song ("100 spänn"), some ok ones (e.g. "Ung snubbe", "Den där skiten"), and some other quite bad ones (e.g. "Sthlmsnatt"). If Fattaru had released another "Jordnära", I totally would have given up on them, but thanks to the better parts of "mina drömmars stad", I'm interested to see what they've got to offer in the, hopefully not too far away, future.
- Simon Tagestam
This sounds like bad karaoke over lost Pet Shop Boys b-sides. The songs aren't that great and the vocals are positively atrocious. While their shtick might be mildly entertaining at times, their music is not. maybe someday we can all look back at The Embassy and have a good laugh, but for now I ain't having it.
- Avi Roig
The general consensus seems to be that marit Bergman's third album is good, but a bit disappointing and I'm going to have to agree with this. After a promising start in punk band Candysuck, followed by a rough but super charming debut album, and then a magnificent second album, my hopes and expectations for Bergman are sky high every time she releases anything new. That the first single ("No party") from this album is a party anthem (despite the title and lyrics) almost as good as "Adios amigos" only got me to think that "I think it's a rainbow" would inevitable be the album of 2006. It's not a bad album, it's just too mOR and at places it feels a bit too lackluster despite Bergman "experimenting" with flutes, strings etc. "I think..." doesn't have half of the charm of "3.00 am Serenades" nor the fantastic songs of "Baby dry your eye". It's a well-produced album, a bit above the average with a handful of excellent tracks on it (e.g. "You can't help me now", "Green light"), but being something done by marit Bergman, it doesn't measure up. Still, even such a legend as Ingmar Bergman (no relation, I think) made some duff films, hopefully marit's next album will see her back on track.
- Simon Tagestam
I've got Beezewax's three previous albums and I've seen them live a couple of times, so my expectations for this album were somewhat high. Even though they've always been heavily influenced by power-pop, they've always stayed with one foot firm in the indie rock swamp, which in my opinion makes for a great sound. Not so anymore, with "Who to salute" they've gone into crazy power-pop mode (hell, they even got Ken Stringfellow from The Posies singing on the record). But unfortunately Beezewax haven't got those killer melodies to back up all this power-popping, which is a darn shame. "Who to salute" just doesn't cut the mustard! There are some nice breezy songs here (e.g. "Shinjuko Park"), but overall the songs sound way too similar, and it feels like they're missing that little but so necessary spark that can make an average album a good one. This album could perhaps make a cool EP if you got rid of a handful of songs, but as an album - it bores me, and that is something, ladies and gentlemen, I deeply regret to write.
- Simon Tagestam
Play/Rec has announced that The Unit's new album "Gunpoint" will be released November 13. Listen to the song "Seen it coming": https://www.playrec.dk/theunit
The Scrags will do a pair of NYC gigs in November:
11/11 - Hell Gate Social, NYC
11/13 - Trash Bar, Brooklyn
Danish act The Fashion has posted a rough mix of the new track "Solo Impala" on myspace: myspace.com/thefashiondk" target=_blank>https://www.myspace.com/thefashiondk
Snowy Shaw (ex-Notre Dame, mercyful Fate, etc.) is the new singer of Therion (alongside mats Leven and two female singers)! The long-running Swedish doom act will release their new album "Gothic Kabbalah" in January.
Speaking of Snowy, he recently did session drum work and helped produce the new demo from Swedish glam-rockers Loud'n'Nasty. Listen to their new single "Nasty girls": m/media/NastygirlsRadioquality.mp3" target=_blank>https://www.loudnnasty.com/media/NastygirlsRadioquality.mp3
Updated Frida Hyvönen tourdates:
11/05 - Tonic, NYC
11/07 - m-Room, Philadelphia, PA
11/08 - Rock and Roll Hotel, Washington DC
11/11 - Casa Burrito, murfreesboro, TN
11/17 - Emos, Austin, TX
11/19 - Beat Kitchen, Chicago, IL
12/06 - 93 feet east, London (UK)
12/06 - 93 feet east, London (UK)
12/12 - Le Divan Du monde, Paris (FRA)