Tomorrow! Debaser Malmö! It's time once again for It's a Trap! Clubnights and this time out we've got singer/songwriter Per Egland plus Umeå punkrockers Industri Royal! You're going, right? Further enticement is provided below...
Per Egland - Lust och hägring
To borrow the lexicon of the financial pages: I am downgrading Cold Cave to a Sell¹ while upgrading my rating on Agent Side Grinder to Strong Buy. I believe that Cold Cave's market has reached saturation and become overvalued while Agent Side Grinder has nowhere to go but up, especially considering the upcoming Q4 release of both "Irish recording tape" and "The transatlantic tape project" (via Enfant Terrible, vinyl-only). The former is of primarily interest to me, as it shows tremendous growth over last year's self-titled release and I must also commend them for the recruitment Alexander Blomqvist (on live bass) as he appears to have brought many new strengths with him to the executive team. The fine qualities that first caught my attention when I rated them a Buy (ie, the driving, dirty industrial beats) are still very much in place, only now far more refined and developed. I expect 2010 to be a very good year for Agent Side Grinder and don't expect them to face much serious competition for market share.
Now as for other companies in this sector, I'm downgrading Cut City from Buy to Hold as their stock appears to have stagnated recently, but am bullish on both Kite and Tamaryn.
¹ I really am selling Cold Cave. If you want a mint first-press copy of "Where trees grew and emotions died", give me a shout.
Agent Side Grinder - The screams
All hail the new indie rock'n'roll! I'm fine with their excursions into glitchy electronica, I really am, but Mixtapes & Cellmates sure sound best when they crank up their instruments and play as a band, complete with live drums and all the trimmings. "Soon" isn't exactly 90s Swindie revival, but it's got that spirit and takes me to that same place, the same same way bands like Starmarket and KVLR used to. Man, do I love those raucous drum fills and squeals of feedback! Haven't heard the full album yet (preview here), but if it's all like this, it's gonna be brilliant.
Mixtapes & Cellmates - Soon
It's a fact: the Great Northern Recordings compilation series does an amazing job of exploring new and exciting sounds coming out of the Swedish underground and the latest edition (#4) is no exception. Even better, more established names (such as Tape or Erik Enocksson, here performing as Lakes of Grass and Gold) are paired with up-and-comers like The Magic State and my friend (and IAT.MP3 artist) Johan Gustavsson aka Tsukimono. Artists at the top of their game test their mettle with ones who have a lot more to prove -- it's a great concept and one that's executed flawlessly, especially with the sublime black-on-black packaging that adorns this new volume. It's also a perfect door-opener for anyone new to the scene because a lot of these artists are extremely prolific, yet here anyone can dive in confidently knowing that the material will be Class A across the board. I love Johan dearly, I really do, but I think that even he would admit that some of his output is inconsistent, so let me demonstrate a sample of him at his best by offering one of his two (both excellent) contributions. I do this for two reasons; first, because I really do love this piece and second, it's just as worthy of listening as the other, "bigger" names. Tsukimono has played around with many audio sources over the years, from the found-sound clatter of "Van Venue Hotel" to the stretched-out strings of "Time canvas", but I have always been drawn to his guitar works as far back as when I first heard "Née". Of course, the instrument only serves as a base starting point here on "Mimilalanono"; much of the canvas is composed of shrapnel derived from the original source, reflected back onto itself until it becomes something new, shimmery and more bell-like than string. It's not just repetitious minimalism though, there is subtle dramatic structure as the piece slowly evolves and then returns back towards where it came. Johan told me he is not so fond of the title, but he should be proud of how it came out.
Flattery will get you everywhere: seeing my name (or even just It's a Trap!) in an album's thank-you list is a surefire way to put a smile on my face. So thank you to NEI for making my day a little brighter. However, it's not as if I'd be tempted otherwise; I've been looking forward to their album for a long, long time and can confidently say that they deliver as-expected. As said before, these guys make the sort of quality angular rock'n'roll that dudes like me in their 30s and above still recall with extreme fondness. Still, I have a friend complain that he thought NEI were a bit lazy sounding, especially when you consider that these dudes formerly played with monster acts such as Brick, Breach and Fireside. While I understand his point, let me counter with "40 rabbits": a rager of a track that recalls those bands' finer moments. Patrik Instedt's vocals are especially maniacal here as he recalls a story that's as confusing to his own (fictional) experience, as it is for the listening. Blood, rabbits, an empty room, the woods, an abandoned car...? It's a distressing portrait. I like it.
NEI - 40 rabbits
I picked up a No Balls 7" on a total whim, not knowing anything about the band except that it was being peddled by the same folks who sold me the latest Brainbombs LP. I figured with that kind of association, it'd at least hold its resale value if I wasn't into it and if I was, it's all bonus. Anyhow, I have since learned that No Balls is Drajan Bryngelsson and Dan Råberg from Brainbombs 'cept that this particular 7" I have is all Drajan. Musically speaking, it sounds like an instrumental Brainbombs: nothing but repetitive, caustic, atonal riffs set with the intention to batter and antagonize. In other words, No Balls is perfect for those of who would like to get into Brainbombs, but can't get past the heavy violent, misanthropic and misogynistic vocals. I think copies of this ultra-limited record might still be out there (only 187 copies pressed), but here's a rip of the a-side for those of you who aren't apt to bother. PS, the b-side is called "Balls".
No Balls - No
On October 14 the mighty C.Aarmé return with their third full-length album "World music" via the label Spegel. But they won't be issuing said album on a plain old boring CD... oh no, it will come in 10 different limited edition formats of 50 copies each starting with a disc mounted on a mirror and now, something that looks like a wooden cube. What is it? What does it mean? Will it ship flat Ikea-style? Inquiring minds want to know...
What exactly is "World music"?
World Music is the name of our new album. It's music from us to the world.
I understand you had some difficulty finding a label for the new album... why do you think that is? And then, after searching all over, why exactly did you end up with Spegel?
The difficulty wasn't so much finding a label as finding the right one. We didn't want to end up in the constrains and rigidness of a typical "big label" contract. And we certantly didn't want to be number 50 on someones priority list. So we set out finding people who understod and shared our ideas and views. Someone to work with, rather than against. Once we struck up a conversation with Spegel, the choice was easy.
How exactly does C.Aarmé fit in with Sweden's current music scene, if at all? Feel free to play up any/all connections to the hyped West Coast sounds of Studio/TTA/Air France/etc.
C.Aarmé is a force of nature. We are elegant and yet brutal. The bands you mention above are great, some of them friends of ours, but I couldn't tell you how we fit in to the scene. Fitting in is nothing we're concerned about.
Whose idea was the limited edition formats? Are all 10 planned and ready to go?
That was Spegel's idea. "World music" will be released in 10 different editions, limited to 50 copies each. Edition #2 is up on www.drella.com right now so I guess edition #1 sold out. Once one has sold out a new one comes online. I don't think all ten editions are ready to go, but you should really ask Spegel about that.
The last time I ordered something from Spegel, it was intercepted and destroyed. What do you think will happen this time if/when I order your new album?
"World music" is a bomb. Stay alarmed!
I'm a bit bummed that the tracks from Sonic Ritual's debut 7" are also included on their new split 12" with Sanctuary in Blasphemy, especially since I shelled out big import money for both, but really, what can I do? The woes of the collector are more pathetic than sad and you gotta know it's all part of the game. At least the a-side kicks more than enough ass to warrant revisiting... in fact, I wouldn't be surprised if it shows up again if/when the band does a full-length. "Take the edge off" has all the makings of an anthem: it's catchy, high-energy and easy to remember; it's got gang vocals on the chorus for singing along and it's got a ripping solo section. As I feel my love for regressive, dirtball punk/metal increasing, I could use a lot songs like this. Or more of this song I guess. That works, too.
Tutankamon is comprised of Stockholm all-stars Adam Olénius (Shout Out Louds), Peter Morén (Peter Bjorn and John), Daniel Värjö (The Concretes) and Niklas Korssell (The Plan) and, unsurprisingly, it sounds like a muddled mix of all four dudes' other bands: a bit of PB&J's mod and Beatles-influenced powerpop plus a dash of Shout Out Louds + The Plan's contemporary indie/MOR and topped off with a touch of The Concretes' lazy twee. As much as I'm sure there guys are having a great time playing together, I'm sorry to say that the sum of their parts adds up to less than they started with. That is, except for the lead single "Have you ever been in love?" which is a Grade A fantastic pop tune. I wasn't exactly wowed the first time I heard it, but it's quite easy on the ears and grows tremendously on repeated listens, something I imagine will be inescapable in weeks (months?) to come. It might not have the potential to reach "Young folks"-level ubiquity (few songs do), but I wouldn't mind if it did. There's nothing overtly clever or quirky to grow tired of; just four guys in a room making music together with the help of a few extra hand-claps.
Tutankamon - Have you ever been in love?
In America an artist like Sofia Karlsson would be playing nightly to 10s of fans at cafés and coffeehouses around the country, probably living out of her VW Van and ekeing out a (very) modest living. In Sweden, her albums go gold and she plays to packed theaters. As I've long stated, one of the best aspects of Scandinavian music is the deep appreciation of folk tradition; Sofia Karlsson is living proof, as are deserving upstarts such as Detektivbyrån. "Visa från Kåkbrinken" is Sofia's latest single off her album "Söder om kärleken" and of course it is pure excellence. It reminds me a bit of Dolly Parton's semi-recent bluegrass jaunts ("Little sparrow", "The grass is blue", etc.), 'cept a bit more pared down and intimate. Similar 'grass vibe though f'sure, but without the dense vocal harmonies. You can't have it all I guess, and hey, sometimes that more personal feel is better anyway.
I post a lot of music on this site that I'm fully aware has no broad appeal. Not so with this! If you can't hang with a little Sofia Karlsson, you're dead to me.
Sofia Karlsson - Visa från Kåkbrinken
Indie/hardcore dudes attempting to play metal is a dicey proposition, hence me approaching Danish act Rising with extreme caution, especially considering the "true fucking metal" banner they fly on myspace. However, in their favor I will concede they have a legit metal brother in guitarist Jacob Krogholt (ex-Withering Surface), but is he enough to offset the potential poseurtude of drummer Martin Niemann (Marvins Revolt) and bassist/vocalist Henrik Hald (Trust)? Or maybe those dudes are just slumming it with their other bands, finally able to let loose their inner-hessian with Rising? It's not an unreasonable question because I must concede that yes, they do successfully bring the heavy. Rising leans a bit towards the angular sludge of Unsane or Årabrot more than, say, the true metal glory of Manowar, but that's not such an awful digression IMO. If you're still in doubt, just wait for the solo section on this track and your opinion might be swayed. And really, I'd much rather hear a band like this than any 4th-rate thrash revival, even if it isn't exactly denim-vest and bullet-belt material or the truest of true. It's heavy and I like it, that's enough.
Rising - Dead kings
Hard to believe, but It's a Trap! turns seven years old today, an age that could be considered near-ancient in the context of this whole interweb doo-hickey. Yep, I've been slogging away at this thing all those years, slowly improving my foreign language skills, refining my tastes, fighting burnout and maybe even becoming a better writer along the way (not really). I've sent out over 300 weekly newsletters, posted nearly 32,000 news items, visited Sweden three times (with a short sidetrip to CPH once), listened to countless albums and have also had the great pleasure of meeting a ton of lovely people along the way. So a huge thanks to you, my readers and also to all of the great artists who inspire me to keep this thing going -- without you, I am nothing.
Breach's final album "Kollapse" came out in 2001 towards the end of a period when I was intensely seeking out Norrland indie/hardcore. I don't remember my first connection, but that's how I got into KVLR, Fireside, Him Kerosene, Starmarket, Carpet People, Isolation Years and many other neighboring acts. Many of those bands remain favorites today and Breach is definitely near the top of the list, with their swansong record being an absolute classic. Nothing sounds like it, not even any of the band's other records. As for posting it today, it's mere luck they happen to have a song with a title fit for the occasion.
Breach - Seven
I'd like to think that all of my regular readers have investigated Håkon Kornstad by now considering how often I talk him up, but just in case, here's yet another chance. "Oslo" is what I'd guess you call the single off his new solo album "Dwell time" (out now on Jazzland Records), that is, if jazz albums had singles anymore. Thematically, it's very much in line with his acclaimed Ingebrigt Håker Flaten collaboration "Elise": organic and spiritual, calm and focused. Unlike his previous (also excellent) solo outing "Single engine", the material here is purely performed solo, though helped along with loop pedals and such. On this piece Håkon effortlessly layers phrases on top of one another in a way that never calls too much attention to itself; it ebbs and flows naturally rather than with a clever wink. He also wisely holds back, maintaining a consistent mood throughout even at the peak and through to the end when he lets it taper off into silence. Also, no matter how many times I hear it, this is a piece that always seems to end far too soon despite its near five-minutes runtime. Easy to listen to, easy to enjoy. Hope you'll agree.
Kornstad - Oslo
I'm about to head out for a three-day jaunt into eastern Oregon to watch some of the world's smartest dogs compete, but before I go, let me cover a few things:
1. Tomorrow night It's a Trap! Clubnights at Debaser Malmö celebrates it's 2-year anniversary (!!!) with a show featuring the excellent acts Pixie Carnation and Rolf Fabian & the Industry of Cool. Download a sample from the former here. I'm sure it's going to be a great time, so head on down! DJs will be playing tunes and hanging out 'till 3.
2. The new CD from "Reader's companion" alums The First Miles is here and ready for purchase. I've also posted the opening number for download below to further entice you.
3. There's a bunch of new feature content worth reading -- new reviews (finally!) of Hello Saferide (live) and Golden Kanine plus an interview with Múm.
4. And don't forget to check out our new netrelease from Hearts No Static! Five tracks of quality ambient rock for free download!
See you next week!
The First Miles - In town
Along with The Amazing's self-titled debut (discussed briefly here), my pick for September's album(s) of the month would have to go to Moloken's "Our astral circle". Yes, [ingenting]'s new record is also brilliant and well-deserving of praise and Abandon's "The dead end" is likewise incredibly powerful, but I've listened to Moloken a heckuva lot more often that anything else. Now if you remember, I wasn't that impressed with the band's epic debut EP, but it did show promise and on this new effort they have delivered in full. Once again, the band sound is rooted in heavy, dark hardcore ala "Souls at zero"-era Neurosis, especially considering the prominent bass presence, but they're also not afraid to go full-on metal when necessary. They're also unafraid to show off their chops either, as you'll hear on the song I've posted today. Some of their flair is subtle, but any musician should recognize that this rhythm section is a monster and that those long instrumental passages kick serious ass. Kinda like Tool minus the pretentious restraint, I'd say. And with better songs too, though that's not saying much considering Tool has always been way more about craft and mood than catchy riffs. Anyhow, this is a great release with broad appeal to all fans of heavy music, whether it be crust, doom or whatever. I hope other metal fans take note.
Moloken - Die fear will