Tag: Mp3s
Kaneel is a prime example of Finnish weirdness ala Magyar Posse, the Fonal label, et al. At least on this track -- the rest of the material doesn't come close. Anyhow, it's got all the proper ingredients such as folk melodies, an other-worldly voice, odd instrumentation, an unsettling vibe and so on. If I heard this out of context, I'm sure I'd correctly guess the country of origin. I especially love the Eastern Bloc-style backing vocals on this one; that's what gives it that extra ooph. I could actually do without the squeaky androgynous vox, but they work fine, it's just that I'm feeling like the technique is overused. I much prefer the deadpan droll of the chorus, that's a far better match for the mood of the song. Regardless, it's a great piece of music from a virtually unknown act and I'm happy to make their music available for others to hear.
Kaneel - Born again
Here's another one that probably should've been included in last week's "best music of 2008 thus far" series of posts (here, here and here), but I ran out of days so what can ya do? As I stated before with regards to The Goner, the music he creates is willfully obscure psych/pop/drone par excellence and this particular track is the perfect culmination of everything he stands for. "Halartrallar", the first EP of his planned H-Trilogy, leaned more towards the pop side of things with a few tracks that approximated a standard verse/chorus/verse format, but "Hind Hand", the second installation of the series, is all dronedronedronedronedrone. And I'm not talking about ambient electronic noodling either, this is heavily influenced by Indian raga, so it's very rhythmic, not to mention incredibly melodic. As for esoteric? Hardly. There is no challenge to appreciating blissed-out jams like this. It also passes the toughest test of my household in that even my hard-to-please wife loves it. Undertand: that's high praise from a fickle source.
Only 33 copies were made, so you better grab one before they're gone: [click here]
The Goner - Spirit roundup
This track is all about the wordless refrain. It sucks you in on the first listen, at least that's the way it worked on me when I heard it live. The persistence of the melody burrows it deep inside my skull, though none of the transmutations every match the quiet beauty of the solo voice. On the other hand, the majesty of the full band carrying the line at the song's peak is quite powerful as well. Finally, David Lehnberg has achieved the epic sound he's been searching for! Ariel Kill Him came close, but was bogged down by trying too hard, trying to do too much. The Deer Tracks hold more back and thus are able to go further. Still, as much as I enjoy "Aurora", the record doesn't match the band's live performance. They blew me away at Hultsfred, but they aren't nearly as dynamic or powerful here. I remain a fan, but my enthusiasm has waned ever so slightly.
Hear more/pre-order the album: https://www.myspace.com/thedeertracks
The Deer Tracks - Slow collision
One of the perks of running this site that I enjoy most is developing relationships with artists I admire. It's not just interacting via email interviews, but moreso the conversations that go on off the record. Stuff like talking Broder Daniel with Gustaf Kjellvander or even shooting the shit with the dudes from The Swedish Model, discussing the future of physical products. Of course, it's always about the music in the end and so when I get a chance to peep in on the creative process, that's always the best. I'm not much a collector of b-sides and alternate mixes for the most part, but sometimes that really is the best way to get inside an artist's head to see how they work. Moonbabies are a great example -- their songs go through so many variations before arriving at the finished product and it's amazing to hear how many different ways a single piece of music can be expressed. Another great example is Jacob Holm-Lupo and his current project The Opium Cartel. Like Moonbabies' Ola Frick, I get the impression that Jacob labors endlessly in the studio, adding endless layers of instrumentation until he can finally realize the symphony in his head. Ah, the double-edged sword of modern technology! So naturally, when presented the opportunity to share a work-in-progress from him, I gotta jump on it.
If you remember the previous Opium Cartel track I posted last September, this one mines similar territory, though is a bit quieter/folksier. I still hear a bit of the same dark, atmospheric vibe that's in all of Jacob's work dating back to White Willow, however the guest vocals from Rachel Haden (currently on tour with Todd Rundgren, believe it or not) push it closer to Kate Bush avant-pop territory. It starts off twinkly, but slowly progresses into, well, progressive territory. This mix isn't even close to refined so I'm sure the finished version will be even bigger (Jabob: "None of the TOC tracks have actually been mixed yet, and this one suffers a bit from that, as it has like a million tracks"), but it's pretty damn good as-is, so listen up and let your mind fill in the blanks for its as-yet untapped potential. The song and the main melody are in place and that is what's most important.
Errata: the lineup for this recording is Jacob and Rachel plus frequent collaborator Mattias Olsson (Pineforest Crunch, Molesome, etc.) and flautist Ketil Einarsen (Jaga Jazzist). Expect a late 2008/early 2009 release.
The Opium Cartel - Flicker girl (ft. Rachel Haden)
If you mistake this track for The Jesus Lizard, I don't blame you. That main riff is awfully similar to "Lady shoes". The thing is though, KTMK (short for Kansanturvamusiikkikomissio, try saying that one five times fast) predates 'em by five full years, having recorded "Kalinka" in 1985 for the "666" album. "Goat", on the other hand, was recorded in 1990 and it's no secret that at least engineer Steve Albini was a big fan of weird Finnish hardcore. The more I dig into the stuff, the more obvious the influence is, regardless of whether it's out in the open or not. So are Chicago and Finland kindred spirits? Maybe? I've never been to either, but I gotta say that I certainly love the music.
KTMK - Kalinka
Okay, time for one last mid-year highlight. On thinking about who to cover, I knew I had to do something non-Swedish since a lot of the higher rated stuff from thereabouts is rightfully getting the attention it deserves (and no, I'm not talking about Kleerup). So Finland it is! I was inclined to do another Frivolvol post¹, but I figure that would be too much negativity for one week. They are, after all, one of the most nihilistic/misanthropic bands I've heard in quite some time. Instead I give you another track from indierock shoegazers On Volcano. I know I only just got their debut EP "My sleep was filled with dreams" quite recently², but it's been on steady rotation ever since it arrived. Further proof of my devotion: I purchased a number of copies for resale knowing full well that they are an obscure act with no profile whatsoever. It's worth it to me, they are that good. As I said last time, the band started out doing postrock and you can still hear that in their sound, but they've honed and refined the approach to be more pop-oriented, much thanks to frontwoman Minna's prominent vocals. "Out of sight" is a perfect example as it starts off in dreampop land before getting direct and to-the-point on the chorus. Wait for the breakdown too- that's the best part! Totally unexpected, but absolutely perfect.
On Volcano - Out of sight
When it comes time for me to reflect back on my favorite releases of the year thus far, my prime criteria is always which albums I've listened to the most and I have to say, I don't think there's been any other record that's come close to Siena Root's "Far from the sun". I think we (my wife + I) actually wore out the CDR promo we played it so much. No matter, I just figure that's a better excuse for me to grab a copy of the gatefold vinyl and seriously, is there a better format for music like this? As the Swedes say, this is "hårdrock", plain and simple. A bit of the heaviness of Black Sabbath, but more groove oriented ala Iron Butterfly or early Deep Purple. Sweet riffs galore! And dig that (faux?) sitar on this track -- anyone that can get down with The Soundtrack of Our Lives should be all about it. Sames goes for you Witchcraft and Graveyard fans, too!
Siena Root - Waiting for the sun
I'm bored with new music but since we oh-so-conveniently just passed 2008's halfway mark, I figure it's a perfect time to revisit some of my favorite releases of the year thus far. Hopefully I've harped on about Lukestar enough already for you to get the point (and the album, dammit!), so let's talk about Montys Loco. As I mentioned before, I love their pseudo-industrial pop sound, but even more, I love their attitude. I've spent a huge amount of time this year getting down with all sorts of bad-vibes hardcore and while I love that stuff, I can feel myself turning into a knuckle-dragger the deeper I get into it. It's a scene that's ripe with machismo, so it's incredibly refreshing to hear similar negative emotions from the fairer sex. Face it, women have every right to be just as pissed, if not moreso, it's just rarer that we get to hear it, especially outside of a hardcore/metal context. Loud guitars? Bah! Who needs em? I rather have off-kilter drum loops and clanging metal percussion for variety's sake. Anyone can recycle post-"Damaged" Black Flag riffs. This is something else entirely.
Montys Loco - Criminal
It's the quiet ones you gotta worry about. The louder, more blustery the threat, the less likely they'll follow through. At least that's my experience. Jesper Norda bristles with white-hot violence in this ballad and I don't doubt for a minute that he'll make good on it. In the same way that Tindersticks brings the darkness to their version of soul music, Norda does the same with his restrained piano ballads and I'm way into it. His deep voice seethes with darkness and brings danger to every line. Even the title track from his "Little ones" EP (free download here) is unnerving, despite the far tamer subject matter. Proof positive once again that less is more. Always. To quote Foetus: say what you mean and say it mean.
Jesper Norda - Tomorrow you'll be forgiven but tonight you will have your teeth knocked out
I had two very different Broder Daniel experiences while traveling in Sweden. The second is the one I will tell you about first because it was near-perfect: late night, at the party for Magnus Öberg's wedding, the song "Underground" came on the soundsystem and the crowd was instantly drawn to the dance floor. We had a similar moment earlier in the evening when The Pixies kicked things off, but it didn't compare. Maybe it was the booze or the joyous atmosphere, but it felt absolutely beautiful. "We are underground and we don't care, we don't care what you say about us" It's an anthem -- I couldn't help but sing along. For anyone who ever felt like the underdog, it's a revelation.
My other experience however, was far more downbeat, but just as moving. Gustaf Kjellvander (The Fine Arts Showcase) and I shared an afternoon when I was in Malmö discussing the importance of BD (among other things), especially the album "Broder Daniel Forever". It's the perfect soundtrack to the downtrodden and the fuckups/the fucked up -- the mood is far darker, but no less celebratory. It revels in the pain and ugliness of life in a way that no other band can do and Gustaf and I agreed that it's a beautiful thing. If your heart aches, if you've ever felt absolutely crushed by life, this is your soundtrack. It's more than teen angst, it's a struggle that continues every day for those who feel like they can't/don't/won't fit in. In other words, an album for everyone. Now just wait until you hear Gustaf's new record. Gbg's #1 antiheroes bow out one last time at Way Out West in August, but The Fine Arts Showcase carries the torch onward.
This one's for you Gustaf, take care of yourself man. I hope we meet again soon.
Broder Daniel - Love doesn't last
As I've been saying, one of my main missions while in Sweden was to acquire old vinyl I wouldn't be able to find anywhere else, primarily Swedish postpunk from the 80s. The one act at the very top of my list: Cortex. For those already in the know, Cortex vinyl is rare and highly desirable, so I didn't have much luck, but I did score a copy of their final release, the "Animals (...looking at me)" 7" so I didn't have to come home completely empty handed. It's a killer record too, a claustrophobic, paranoid chant over stomping distorted drums and wailing guitar. Also note the particularly strong Freddie Krüger influence (he is credited for "useful inspiration"). As for the b-side "Tears in the rain", well, it's a ballad and it's pretty good, but it's definitely a b-side. It points more in the direction that Freddie Wadling was heading, not so much where he came from (goth/punk). Still though, without a doubt, one of Sweden's best artists. Well worth the money I paid for it, now I just need to score a copy of "Spinal injuries"...
Cortex - Animals (...looking at me)
I didn't just pick old 80s postpunk while traveling through Sweden, I also grabbed a few modern releases in that vein such as the latest 7"s from White Knives and Cut City as well the new album from Gbg's The Kid. I still need more time to wrap my head around it fully, but initial listens are promising and I already consider it to be an improvement over the debut "La société nouvelle". Oh, and isn't "Mayhem troopers" one of the year's best singles? It's an undeniable truth. However, since I've already posted that one, here's another track from the record - a modern take on that dark 80s sound, complete with gratuitous guitar solo. I love it!
The Kid - Bluebird 2
I got a lot of new music while traveling around Sweden, but the main thing I was on the prowl for was old Swedish postpunk vinyl. I only found one Cortex record (the "Animals" 7") as Nostalgipalatset in Stockholm (tack igen for the recommendation Joakim!), but I did manage to put together quite a stack of other albums from my list: Commando M. Pigg, Camouflage, Reeperbahn, Lolita Pop, Ståålfågel and so on, as well as the "För fulla segel" LP from Abcess Exil. They're not a band I know much about, but I know their tracks on the 4-way split with Cortex, Mystikens Vacuum and Bumsen Muss Mann are great, so I figured why not? It's not as if I'll ever stumble across it again here in the US. I'm glad I did too because it's pretty great classic dark Swedish postpunk/new-wave, though the record does veer a bit towards new romantic pop at times, sometimes even reminding me a bit of early INXS (not necessarily a bad thing). It's hard to pick a good song to represent the whole, but I like "Stormens öga", the first track on side two, because of that sinister synthbass pulse and the heavy percussion breakdown so that's the song you get today. However, should you be curious the hear more, I suggest you head over to Med Denna Verkliga Kniv because they just posted a quality rip of the full album a few days ago. Thanks for saving me some work!
Abcess Exil - Stormens öga
Roo, rest in peace little girl. I miss you like hell, but I'm glad you waited for me to come home.
It was not wholly unexpected, but there's only so much preparation you can really do. Back in the fall of 2006, Roo was diagnosed with the brain disease hydrocephalus and the prognosis was not good. By the time we got her MRI'd she had maybe 20% of her greymatter left, so it was amazing she was even alive, let alone a loving, breathing, charming little sweet-natured dog. Her mobility gradually decreased over our time with her, but she never ever lost her sunny disposition until Sunday night when she went into a grand mal seizure and never fully recovered. We said our last goodbyes yesterday afternoon.
I know this is kind of a corny song to post, but she was an angel to me and she far outlived all expectations. I treasure every moment we shared.
Ted Gärdestad - Jag skall fånga en ängel
Back home safe and (relatively) sound. Huge thanks to Kristofer Kebbon at STIM for making the trip a reality, Craig Bonnell of Swedesplease for being a great festival companion, Jonas and Sofia for putting me up in Malmö, Johan, Ludwig, Stina, Elin and Linda for being great hosts in Umeå, and of course, everyone else I met along the way for being kind and generous and tolerant of my awful Swedish skills. Also: huge congrats once again to Magnus and Karin (and Ossian)! We'll have to do it again sometime, okay?
This week's mp3 posts will cover a small selection of the various records I picked up on my trip, but no, I won't be posting anything from the new Division of Laura Lee yet. The time for that will come soon enough, so be patient! Instead first up I bring you I Am Droid, one of Razzia Records' most recent signing. Their take on the whole dark, urban rock thing ala Interpol isn't the most original thing in the world, but they do it really well, especially on a few songs such as "Blood & ether". I love the droning tap-tap-tap of the piano that persists throughout the entire track, that old rock'n'roll trick that never gets old. It's about creating a mood, something I realized when I heard it playing in a record store in Malmö -- I thought yes, this sounds good right now.
I Are Droid - Blood & ether