Tag: Mp3s
There's a lot of new bands exploring the sound of classic Gbg indierock -- Samtidigt Som and Kusowsky are two I've covered -- but Samuraj Cities are really the only band I've heard in that vein that are taking the classic blueprints and pushing them in new directions. It's the same familiar melodies and epic melancholia, the same chest-thumping anthems, but the sound is something completely different. Samuraj Cities have always been aurally distinct from the very beginning, but when I listen to the single "Spoonful of talk" and hear them break into the massive chorus, I know they're on to some next-level shit. They go far beyond the typical guitar-bass-drums-vocals instrumentation, continually adding layers and layers of sound without ever losing focus. The guitars swarm like bees and scream like sirens. I didn't even notice the lack of bass on first listen until it dropped in and made my jaw drop. I declare: They've always been a good band; now they're heading towards greatness. Pay attention!
Samuraj Cities - Spoonful of talk
Hard to believe this came out 10 years ago already. Sahara Hotnights have come a long way as a band, but they'll never recapture the vibe that made their debut so special. There's a freshness and an energy to it that's impossible to fake, impossible to resurrect. In many ways they're a better band nowadays - better musicians, better pop craftsmen and so on -- but here, at their rawest, more premature stage, you knew they had something and that's why they blew up almost immediately. Of course, being a band of attractive females didn't hurt either though I'd argue it was hardly crucial to their success. They're a great band; always have been and still are.
Sahara Hotnights - Quite a feeling
More talk about shows It's a Trap is involved with but I won't be attending: this Saturday at Debaser Malmö is the It's a Trap! Clubnight featuring The Fine Arts Showcase. I'm not sure if we can truly bill this gig is as a record release party, but it's oh so close -- "Dolophine smile" will finally be out on April 8 and that's just around the corner. As I mentioned on my return from Sweden last summer, I got to hear a few rough mixes while I was over there and I am really really looking forward to finally getting the finished product in my hands. Until then, here's the latest single "London, my town", a classic TFAS tune by all accounts. One of mainman Gustaf Kjellvander's strongest qualities as a songwriter is his candidness and that's something that's sorely lacking in a lot of music. Inspired in part by Amy Winehouse, he tells you in no uncertain terms how the drugs and desires of London screwed up his life and relationship and sent him packing back to Malmö. Fuck mincing words, he names names! That's some serious harsh reality to be sure, but I think everyone is the better for it -- both Gustaf and Hanna and us, the listeners. If there's one thing Gustaf does for sure, it's live straight from the heart. No pretense, no bullshit, scars and carnage on display for all to see. This is where pop music becomes art.
The Fine Arts Showcase - London, my town
Okay, one last promo mp3 before Friday's Danish Dynamite showcase. The River Phoenix are a band that manages to transcend their abominable name to deliver solid emopop on this particular track, "5 wheel drive". Nothing groundbreaking to be sure, but if you like soaring octave chords, heavy half-time choruses and earnest, keening vocals then these guys will surely satisfy. Sand off the dark edges from either Mew or Lapko and you get the picture. Not quite as sugary as Jimmy Eat World's best material, but awfully close, so let's play it safe and file 'em under guilty pleasures for the time being.
As for the rest of the Danish Dynamite lineup, since there's no way I'll cover 'em all (even if I wanted to) I'll just pass along this zip file so you can familiarize yourself on your own time: [click here]
The River Phoenix - 5 wheel drive
The Rollstons walk the fine line of droll, edging a bit towards slacker powerpop, but never quite falling off that cliff. There's a bit of starkness to them as well, though that could just be the ineffable Finnish-ness shining though the wah-wah guitar licks. However, the overriding constant has got to be quirk; influenced equally by modern indie and the funkiest of 80s post-punk junk. There's a straightforward pop song (or two) hidden beneath the surface here, but they're waving it above your head like a bully or an older sibling, keeping it just out of arm's reach. Even still: I think I like it, though I can't quite understand why.
The Rollstons - Defender of the frown
The name "Danish Dynamite" actually originates from the Efterklang + Slaraffenland US tour that took play last May, a collaboration that resulted in Slaraffenklang -- a twelve-man mutant hybrid that made their live debut at the Sono Festival in Rødovre, Denmark on November 8, 2008. They'll be doing it again at SXSW, except unfortunately not at the March 20th gig I'm involved with, but instead at the Hometapes Friend Island Party the following day. I'd tell you the full details, but hey- not my party, not my deal so you do your own homework. But what I will do for you is provide an mp3 from that debut performance so you can hear the band, whether you are heading to Austin or not. Either way: "You win" (That is, assuming you can appreciate a band that sounds like a postrock I'm From Barcelona on steroids and hallucinogens)
Download the entire 4-song recording here: https://efterklang.net/home/2008/12/18/free-slaraffenklang-ep-merry-christmas/
Slaraffenklang - You win
As a media partner for that "Danish Dynamite" SXSW showcase on Friday, March 20 (see the banner on the right), it is my duty to tell you at least a little bit about some of the bands playing, so I'll do my best to touch on a few highlights throughout the week. Picking a favorite however, is easy. Powersolo's weirdo hillbilly twang has kept me entertained for many years now and this must be their 2nd or 3rd trip to SXSW, but they've yet to truly break and I'm thinking it's gotta happen eventually. Perhaps this might be the year? They're certainly stepping off on the right foot because "Pirates of the oblivion" is quite possibly their best single ever aside from maybe "Juanito" and that one only ranks so high because of the brilliant video. (Seriously! Go watch it! Now!) But yeah, "Pirates..." is a better song - a bit more driving and way more hand-clappy and perhaps a little less goofy, though the lyrics are still completely nonsensical. It doesn't matter though, it's all about the delivery and I'm sure it's even better in-person. How could it not be? Browse a few live clips and you'll understand.
Powersolo - Pirates of the oblivion
27 was a big year for me too. That was the year in my life that I, for all intents and purposes, walked off a cliff into a new life. My wife and I quit our jobs, packed up and moved north into the unknown (Olympia). It wasn't just a new location, but a new era of responsibility. Sometimes I wish I could go back, but those moments are fleeting. No regrets!
As for Kristofer's take- it's a bit more obscure, but I wouldn't be surprised by a similar story. Common wisdom seems to say that we're supposed to get our shit together by our late twenties, so those years on the cusp could be a big turning point. I miss the option of being frivolous or spontaneous, even though I never really was. As for the song? Fantastic, of course. The run-on sentences provide the drive and the subtle vocal doubling adds intrigue. It takes a little while to get where it's going, but it's well worth it. You'll know when you arrive.
Kristofer Åström - Twentyseven
I barely keep up with industrial/EBM at all anymore, but I did go through a period in my teens when I was all about it, so I think I'll always have a soft spot for the stuff, especially early Wax Trax such as pre-guitar/"Alain" Jourgenson/electropop era Ministry. Taken into consideration, it's fitting that I find myself really enjoying the new Emmon album since it's so reminiscent of that era -- well-crafted, melodic-yet-dark electronic pop. And not dark like faux-vampire/mesh shirt dark, just minor key and beautiful. I still enjoy the minimalist and intentionally primitive music of acts such as Agent Side Grinder or Adolf Filter, but quality pop songs always win in the end and "Secrets & lies" is a great one, especially with the long buildup to the point that the heavier beats come in. I also appreciate the moderate tempo; yet another hallmark of earlier times, not to mention maturity and craftsmanship. I'm sure people will still find ways to dance ridiculously, should it comes on at your local goth nite, but it doesn't have to be that way.
PS, buy the disc here.
Emmon - Secrets & lies
Here's another one I pulled from the stacks recently. Has it really been four years since this Menfolk album came out? Shit ain't right I tell you. A new album is well passed due. Someone was telling me recently that the time is right for this sort of pummel-heavy indierock to make a comeback and I couldn't agree more, though I doubt it'll ever really happen. The new shambly noiserockers lack the Puritan work ethic required to create this racket. As I often say: prove me wrong! I challenge you. And don't tell me a Jesus Lizard reunion is proof positive; that's pure nostalgia, albeit very welcome as far as I'm concerned. As for this track, Hell really is in Texas and it starts next week. You know where I won't be.
Menfolk - Hell is in Texas
Does this mean Gbg-style indierock is back in full effect? There's so many bands embracing it now and a lot of them are actually doing it quite well. For Kusowsky, they lose me a bit when go all self-indulgent/Håkan Hellström on the ballads, but the upbeat numbers such as "Dansa" pull off that whole Bad Cash Quartet revival just fine. Give me a steady four-on-the-floor beat and a cheery wordless refrain and I'll take it with a smile. In summation: short, sweet and mindless in the best possible way. Summer will be here soon, right?
Kusowsky - Dansa
Dug this one out of the stacks not too long ago and surprised myself with how good it is. Hard to believe it dates back to 2007, but it does and the band's been working it hard in the meantime as they should. Still mathy as all get out, but hear those lovely harmonies! It's like the Futureheads gone extra spazzy. A mad display of skills, but always with a smiley disposition. In other words: serious fun. So what if a few of the changes are a bit abrupt, they use it to their advantage. Think of it as a pleasant surprise.
Marvins Revolt - Multiple fractures
"Grand letdown". Before the music even starts I hear the sound of hacks worldwide sharpening their pencils, rising to the challenge of who can scribe the punniest headline. Take the time to actually, truly listen and you'll hear a band growing and expanding on their already expansive sound. More vocals, more dynamics, more beauty, more... songs? Still too postrock to ever be pop, but they sure toe the line. As for the letdown? Verse one implies self-doubt, but the track moves to external anguish as it proceeds. Or is it just changing to a third-person view? Regardless, I just like the way the two guitarlines intertwine and dance. You can't hear it quite so much on this title track, but there are also strong echoes of classic Fireside in the new Scraps of Tape. And classic Swedish indie in general; witness their cover of "Eric" by cult favorites Carpet People for example. Proving once and for all that we must learn from the past in order to move ahead.
Scraps of Tape - Grand letdown
I actually dig the new Trummor & Orgel disc "Thunderball sessions" quite a bit, shame that the single is the weakest moment. I'm not sure if it's the wrong key or what, but Magnus Carlson's velvet croon comes across as strangely sterile here. I'm surprised, especially considering the way he's able to make even the most rote Weeping Willows material sound Important, but anyhow, let's emphasize the positive, shall we? Concentrate on the instruments, not the vocals. The self-explanatory duo is in full-on Esquivel meets James Bond territory here, creating a soundtrack for a spy movie that doesn't exist, so I suppose they need at least one pop number. "Secret mission", "Under cover", "Spy Island"... song titles that mirror the instrumentation as being very, very obvious, but also very well done. Of course it's cheesy, it's supposed to be, but they jam it out hard.
Trummor & Orgel - Somebody stole my thunder (ft. Magnus Carlson)
Spring can't come soon and although I can't be sure that the "spring" in title of the new Florence Valentin single refers to the season, the sound is spring-like enough for me. C'mon! It's March already. Enough with the snow! I want to get started on my garden, I want to get outside and enjoy the sunshine. This can be my soundtrack -- I've been looking forward to hearing this ever since I saw them at Way Out West two years ago. Hard to believe it's been that long already, but here we are and here you go! I'm more than happy to share the love.
Also be sure to peep the video for said track: https://www.youtube.com/watch?v=nq3CAs06C1U
Florence Valentin - Spring Ricco