Tag: Mp3s
If you've peeped in on the msgboard and seen this thread, you'll note that I've been listening to a lot of Swedish postpunk these past few months, slowly learning about more and mire bands. I'm still very much a novice in navigating the scene, but I've managed to accumulate a ton of great music so expect me to be posting about it regularly for many Fridays to come. Today's featured act is TT Reuter, a Lund-based act formed in 1978 following the breakup of New Bondage. They only lasted until '81, but released two albums and a few singles, one of which is today's featured track "2000 år". It's worth noting that guitarist Peter Puders went on to play with Commando M Pigg as this song features a similar "Waiting room"-esque riff as this song here. Coincidence? I dunno, but it's not as if those intervals (minor-third riffing on a IV-I progression) are anything extraordinary. Anyhow, the thing I like most about this one is the weird schizophrenic quality it has, switching between clean funk strumming and heavier, distorted parts. It's the kind of thing that shouldn't really work, but somehow they pull it off. And then there's the wacky rocked-out solo section with dual whammy-bar action. Again, it shouldn't work, but it does. I chalk it up to their great live energy - just listen to how the bassist starts hammering out chords near the end to hear what I mean. I can't say this is one of my favorite postpunk picks, but it's worth hearing because it takes risks and embraces the element of surprise. That's reason enough for me!
TT Reuter - 2000 år
Elias and the Wizzkids' folsky indiepop isn't the sort of thing I'd expect to hear from the label Hybris, but then again, as one of Sweden's most forward-thinking labels, they revel in defying expectations. "I wish" is an incredibly charming upbeat number with fun, self-depreciating lyrics and a driving country feel. The beauty is in its simplicity - a few quick verses with an easy setup ("I wish I had...") followed by a smirky, self-satisfied chorus. The third verse breakdown leads to self-discovery and then we get a big double-chorus finale to wrap things up. Pop perfection? It's mighty close. Sometimes the classic formulas are all you need.
Elias & the Wizzkids - I wish
Idiot Kid is best taken in measured doses as its far too easy to overdose on their dreary melancholia. There's no exaltation, no revelation; only darkness, loneliness and death. "I'm glad I didn't die before I met you" is as joyful as it gets. The rest of the dialog isn't so straightforward. It's most certainly a conversation, but it's hard to tell whether it's external or internal. For all I know, it could be all in his head. It's start out trying to be reassuring, but slowly gets angrier. The pushing away, the simmering resentments. Could it be a suicide note or is it an abject threat? Regardless, it sure is miserable, though in the best, most artful way possible.
Idiot Kid - Go to sleep
Elin Ruth Sigvardsson desperately wants to be the next Sophie Zelmani. Trouble is, she lacks the gravitas to pull it off. She's got the trapping of the genre down with that haunted guitar and vocal and those despondent lyrics, but I don't buy it. Elin is far too nice sounding to be convincing. I don't want to be completely disparaging though - Elin does fine as a pop artist and I really do like the new single "Antidote", but the further she reaches, the more she falls short. What makes "Antidote" work is the unexpected irony of such a sweet girl singing about revenge and murder. The music gets darker to match and my attention wanes. Know your strengths!
Elin Ruth Sigvardsson - The war
It's been awhile since we've heard anything new from Norway's Don Juan Dracula. I was super excited that they agreed to contribute a track to my "Reader's companion volume two" and subsequently a bit disappointed that they went on hiatus immediately after, but it's all good in the end because they're back together now, working on fresh material (three tracks 100% complete, more on the way plus a single sometime around February/March). As for today's mp3, this is a nice little treat that showed up in my inbox this past weekend. It's not as exciting as a brand new single, but why look a gift horse in the mouth? A Johan Agebjørn/Sally Shapiro remix is still plenty nice, especially considering the way they've revamped the track. Sally's breathy vocals and softer synth tones give the song an even better end-of-the-night vibe. Removing the guitars was a good idea too, not that they were very loud in the original, mind you. DJD has always skated on the edge of 80s synthrock cheesiness (the right side IMO), but once you get rid of the guitars, that feeling is gone. Well done.
Look for an international release of Don Juan Dracula's full-length "Young debutantes II" this coming spring with a proper new album expected closer to summer.
Don Juan Dracula - Take me home (Johan Agebjørn remix feat. Sally Shapiro)
Saturdays in 2007 were dedicated to the music of The Bear Quartet and now, in 2008, we're opening things up beyond a single band to explore the music of Göteborg, Sweden. Past, present and future, we'll do our best to examine it all and make some sense of it over these next 52 weeks. First up, we start nice and easy with my good friend Björn Kleinhenz:
How long have you lived in GBG?
6 years
Where did you move from and why?
Sölvesborg. It's way down south. You'd understand the move had you been there. It's just a small small town.
Favorite part about the city?
Having being able to make it mine. My friends and the few little spots I like to think of as my own. Small things you do that have a meaning to you.
Least favorite?
I guess any city gets a bit too small for you no matter what the size. Sometimes you just wanna flee 'cos it seems as if everyone knows everyone and it's quite stressful at times. It's like a Dallas episode.
Do you think that there's a particular GBG sound?
No I don't.
Lastly, how has the city inspired you?
I've written the songs for my new album here. I don't think they could have been written anywhere else. For good and bad.
Unfortunately, Björn's new record is not quite ready for primetime just yet, so here's a track from 2004's "Trans pony". Enjoy!
Björn Kleinhenz - Better company
Closing out the week and following up on my last two posts, here's a track from the man himself, Cornelis Vreeswijk. I can't speak for his entire vast discography, but from what I've heard, there's definitely a barrier for entry for non-Swedish speaking listeners such as myself. He can be quite verbose too, though it's tempered with a very well-developed melodic sense, not to mention a fine selection of well-respected collaborators such as Jan Johannson (as discussed yesterday), Georg Riedel and Björn J:son Lindh. Fortunately, there are English language tracks such as "Ballad in the dust" for dummies like myself, along with a body of work in his native Dutch should you be curious for more. It's hard to hear this without thinking of John Prine since the delivery and dark, wry humor is so similar, but I think Vreeswijk has a better voice. The words are definitely the focal point though, and on that point he delivers exceedingly well - no small feat for an artist who primarily composed in an adopted tongue (Swedish) before extending himself even further.
As for other Cornelis Vreeswijk stuff to check out, anyone have any suggestions? I'm still a novice, so all advice is appreciated. So far I've only had the opportunity to peruse some "greatest hits" type collections, not individual albums.
Cornelis Vreeswijk - Ballad in the dust
The remake of "Poems, ballader och lite blues" (as discussed yesterday) isn't the only new release paying tribute to Cornelis Vreeswijk; Mats Öberg's new record "Improvisational two" is comprised entirely of solo improvisations based on Vreeswijk songs. Listening to this track that I've posted may remind you of Jan Johansson which of course is quite fitting, seeing as how Johansson played on the original version from the album "Grimascher och telegram" (1966). Mats' take on the piece is, naturally, a bit more free given the solo/improv setting, but the melody carries through and that's the most important part. And what a lovely melody it is! If the language barrier is too much for you to take, try this instead.
Mats Öberg - En visa om ett rosenblad
I don't know much about Cornelis Vreeswijk beyond what can be gleaned from his bio at wikipedia, but I am definitely aware of his reputation and eminent stature which is why I was immediately interested in the new all-star recreation of "Poem, ballader och lite blues" curated by Göran Petersson and Nina Ramsby. Wordy music such as this doesn't always maintain its appeal for listeners who won't immediately understand the lyrics, but I find that the melodies are strong enough to carry it. The strong lineup helps too- Martin Hederos and Fredrik Sandsten from The Soundtrack of Our Lives play on almost every track along with respected jazz musicians such as Jonas Kullhammar and Johan Berthling. And that's just scratching the surface. As for the track I've decided to feature today, what's not to like about Britta Persson? I love the waltz-like lilt of the tune and Britta's delivery is fantastic, especially with the way she practically spits out some of the more aggressive lines. Great stuff.
Britta Persson - Hajar'u de då Jack?
It's the last Saturday of 2007, hence the last Bear Quartet post I'll do until their next album comes out. I asked Mattias Alkberg if he would contribute something this week, but he politely declined noting that it's a bit awkward to write about his own band like that, though quite flattering. Can't argue with that, so instead I've roped in Jim Kelly from Parasol once again. His pick: "Grammar" from 2003's "Angry brigade". He writes:
"Angry brigade" was The Bear Quartet's last true guitar-bass-n-drums rock/pop record, albeit sprinkled with inklings of the electro-tempest spawned on successive albums. Hot on the heels of the album's two singles, "Axe me don't ask me" and "All my life", the swaggering, cocksure, Clash-inspired "Grammar" is "Angry brigade"'s centerpiece, a bridge between the batch of luminous proto-popsongs in one hand and the sampledelic electro-punk squirming in the other. "Grammar" was a big tough rock song with big tough guitars, a song about righteous school-age badassess planning an assault on the neighborhood pedophile. But while the narrator and pals miss their chance, they hope that Hell awaits this person in some form. With sentiments like this, and mortality a common motif, "Angry brigade" ended up being the band's fiercest and most tightly-wound record since "Moby Dick", incorporating both the band's sublime pop sophistication and madcap punk/noise roots.
Download below, as always. As for next year's special Saturday post focus - wait and see!
The Bear Quartet - Grammar
This is the kind of track I can put on an endless loop and never get sick of it, that's how hot it is. It gets me moving. That slinky bassline is relentless once it gets going and those rare moments when it stutters for a second and misses the downbeat only add to the excitement. It gets even better once they start layering on the harmonies, pushing higher and higher, increasing the tension until the inevitable release. Adrian Recordings may have gotten their start with folksy indierock (David & the Citizens, Björns Vänner, etc.), but they've proven they can do techno just as well, if not better. Familjen, Printer and Boeoes Kaelstigen? That's the shit right there. If they don't do another guitar-based record again, I won't mind.
Boeoes Kaelstigen - Flir
Susanne Sundfør is the most AOR artist on my year-end top 10 list, but that shouldn't preclude her from appealing to most everyone. Plainly put, she's a remarkable talent - not just a fine songwriter and pianist, but one of the best voices I've ever heard. She is capable of amazing pyrotechnics, reaching dizzying highs and wailing with abandon. Somehow, and this is one of her greatest assets, it never comes across as gratuitous. It just fits. "Walls" was her first single, first released back in late 2006 to considerable acclaim from the Norwegian media and I'm posting it today as a reminder to her considerable abilities. Maybe it's just me getting old, but I'm constantly awed by the fact that she's only 21 years old, which means that was probably 18 or 19 when she wrote this, perhaps even younger. That certainly bodes well for the future.
Susanne Sundfør - Walls
Anyone out there? Being as we are now in the dead zone between Christmas and New Year's, I figure I should probably hold off on new music for another week so here's another selection from one of my favorite albums of the year, Dead Letters Spell Out Dead Words' "Fall, fall, falling". Actually, this is perfect music for a day like today, especially here where it's a crisp blue day and the world is coated with ice. The earth is still and time moves slowly. It's a tranquil sort of beauty, but vaguely threatening too - there's sunshine, but it's too low in the sky to provide much warmth. Rather, it's still cold and bracing outdoors, a tease. It's the beauty of winter, of retreating into your home, into yourself. Of hibernation. Not in silence or resignation, but rest and rejuvenation. To emerge stronger on the other side.
Dead Letters Spell Out Dead Words - I could have sworn I heard them SING
Springfactory surprised me. I guess I expected something more twee considering the involvement of Peter Gunnarson from Suburban Kids With Biblical Names, but that's not the case at all. Instead, what I got is smart, driven indiepop with strong female vocals (courtesy of Lina Cullemark). It makes me think of 1st-album era New Pornographers with Neko Case on vocals, 'cept that's not quite fair since I don't really like the New Pornographers (Carl Newman was far, far better in Superconductor). NP are boring and safe, Springfactory are far more rough and tumble and therefor, far more charming. Those sharper edges give them personality. "Stingy Friday afternoon" starts off kinda aimless, with a vamping bassline and skronky guitar, until we enter the first chorus and relief sets in. There's unresolved tension in that verse and it's really only apparent once you make it to the chorus. The bassline straightens out to steady eighthnotes and Lina gives us a vocal hook we can hang on to. The whoosh of guitar noise reminds us this is still indie territory, but when you get down to it, this is everything pop music should be. Nicely done.
Springfactory - Stingy Friday afternoon