Tag: Mp3s
Anna Leong is a band, not a person. Well, it's probably the name of an actual person somewhere out there, but it's the band I'm talking about today. Some of you might remember these guys from the "Fever" single that they released on Chalksounds way back when and now they're back with their self-released debut album. Lots more bands are making the decision to go DIY these days and I salute them - it's never easy, but it's often the path that makes the most sense. If you're serious about your music, why not put your own money behind it? That's what drives me. I'm definitely not expecting much in return - I've got a dayjob to pay the bills.
But that's enough biz talk, the music is what matters after all. Anna Leong flirts with both country/folk and indiepop, more often coupling up with the latter, but never fully turning their back on their other love. The songs are all built around a simple strumming guitar and vocal line - everything else is purely icing on the cake. They could've just as easily taken it the other way and layered some steel guitar and changed up the rhythm section a bit to make it full-on country. With such pure, straightforward songwriting, anything is possible.
The new album "After the forest fire" comes out January 31 and I should hopefully have a few copies in-stock by then.
Anna Leong - They will know us
Paris frontwoman Emma Nylén has been working on solo music and DJing under the name Emmon for awhile now, but it was only recently that she signed with Wonderland Records and released her proper debut single "Wake up time". If you're familiar with Paris (maybe you heard their track on "Reader's companion volume two"?), Emmon's music won't be a big surprise. The only real difference is that instead of it being synth-heavy, new-wavey pop, it's all synth/all the time now. It's just as catchy, too. I was kind of hoping that "Wake up time" would be a bit more of a barn-burner, especially considering the title and lead single status, but alas it was not meant to be. It's good, but more in a nice and pleasant sort of way. I wanted set-your-feet-on-fire. Still, there's always hope that someone will crank out a banging remix as I imagine that adding a little oomph to the kick along with pushing up the BPMs could do a lot of good. The Thermostatic remix on the single comes mighty damn close, but it's not quite there. On the other hand, the Helm downbeat remix takes things in the complete opposite direction, stretching it out and transforming it into a languid power-ballad. That's kinda hot too, but for entirely different reasons. Some days I find I actually prefer the latter, but it's not the sort of thing I'd put out as the first single. Second single, maybe.
Emmon - Wake up time
This week's Bear Quartet post comes to us from the other Penny Century, now known as Little Big Adventure:
"Guess every fall has its storm / but it's not knocking on my door / as you used to"
I would like to favouritize the latest album "Eternity now" and it's outstanding track "The lost kid office".
At first I thought I should say something about "Suits on for Sandi". Something about how beautiful the lyrics, with its suppressed darkness and sadness, is. With its romantic nostalgia. And the light, but heavy guitar-structures. Ugly but beautiful. Like always with this band. Just in the middle of the best record The Bear Quartet has released. The best song in the trilogy about Sandi.
But then I listen to "The lost kid office". The sound is strange at first. You don't know if it's your speakers that are broken or your ears. Maybe it's supposed to sound like this? Like something coming out of a can. Wet and smeary. It sounds like the song is about to explode, but something is holding it back.
The vocals is so light. So high and wobbly.
You expect Matti's voice to crack at any time. Everything will fall apart.
Soon.
But then something happens. The song explodes. Everything is everywhere. And at that moment I realize that no other song before or after this will ever be so beautiful. So heartbreaking and intelligent. At that moment, this is the best song, the best sound, ever that has come out of a pair of speakers. Everything else falls apart.
I would like to favouritize "The lost kid office".
I would like to.
But I can't.
For more on Little Big Adventure, including free mp3 downloads, go here: www.littlebigadventure.se
The Bear Quartet - The lost kid office
This will be my last Friday post looking back at 2006 artists/tracks I missed the first time 'round. Next week: back to trudging through history for older songs worth highlighting. Moving on...
It's not clear to me exactly how Finland's Ghost Brigade slipped through the cracks. I'm pretty sure I downloaded their demo the first time that Teemu from Lupatarkastaja recommended it, but I guess I must've not listened very hard because they never stuck. Eventually I decided to revisit the band after hearing about their signing to Season of Mist and - holy shit - I knew immediately that I blew it. I've had the song I'm posting today, "Based on you", on regular repeat in my mp3 player for at least a month now. I just love the way the rhythm section pulses steadily like a machine; in this case, a bulldozer that you just know is ready to flatten you. There's tons of tiny little flourishes in the way the band locks together on fills, the mark of true professionals and a high attention to detail. Not a single note is wasted or out of place. The way the verse gradually reintroduces the main riff flows perfectly, too. They get a little 'metal-by-numbers' ("This is the gay part / with melody!") with the choruses at times, but it's forgivable. If that's their only shortcoming, it's certainly no deal-breaker. It's just that I find that frontman Manne Ikonen lacks the pipes to truly pull off 'clean' singing. His gruff-styled vocals are far more powerful.
Since I know that the metal genre is imposing to a lot of people, consider the following: Ghost Brigade might be extremely heavy, but they are also very melodic and very much rooted in pop song construction. If you can get into stuff like Queens of the Stone Age or even Alice in Chains, there's no reason you shouldn't also be able to appreciate this. It's all just rock'n'roll, y'know?
Ghost Brigade - Based on you
Full disclosure: Blinders On singer/guitarist Jonas Appelqvist is a frequent It's a trap! contributor. We have similar taste in music, so it's no surprise that I also like his band. There is no clandestine financial relationship between us.
As Jonas himself pointed out in his recent review of The Sound O.E, the noisy-indierock/post-hardcore scene in Sweden is still very much alive and well, despite a few quiet years. All those bands Jonas lists? Blinders On fits right in. Like all the best examples of the genre, the songs are built on layers of jagged guitars and a heavy, driving rhythm section, but at the same time, always strongly informed by pop conventions. The textures may tend towards the dissonant, but there's always a melody lurking beneath the surface and a huge chorus around the corner. Great stuff and y'know what's even nicer? If you like the song I've posted today, you can head to the Blinders On website and download the band's entire new record "Obsolete music" for free. It doesn't get much better than that.
Blinders On - You had me at hello
My Swedish language skills are fairly minimal so most of Emil Jensen's appeal is lost on me. The award-winning slam-poet turned singer/songwriter is a fine musician, but it's obvious that he's a wordsmith first. Now, I like foreign-language music just fine as many years of death-metal has taught me to passively ignore most lyrical content (it's not what you say as much as how you say it), but it can still be a big stumbling block to not understand the words. Example: Håkan Hellström I got immediately, Emil Jensen I did not. However, I make sure to keep an open mind so when Jensen's latest EP "Maj förra året" came my way, I gave it an honest listen. I may not love everything that Adrian Recordings puts out, but I respect them enough to ensure that every new release gets a fair chance for frontpage posting. It's a good thing too, because the Familjen remix track I've posted today is making me reconsider Emil Jensen's previously cast-aside back catalogue. The jaunty electronic beeps compliment him nicely, elevating the material beyond his usual folk-rockness. I still may never fall in love with the rest of Emil Jensen's music, but this I like.
Emil Jensen - Där stigarna tar slut (Tommy-remix av Familjen)
The two musical genres I find myself listening to the most are generally considered to be two of the most reviled: country and metal. I'm sure some of that is due to my steadfast, contrarian nature, but I make no apologies. I am what I am. If having Slayer loaded on my mp3 player and Strayfolk in the car stereo seems at odds, that's too bad. Good music is good music.
I've been covering a few things from the heavier end of the spectrum recently, so let's switch sides and talk country. Strayfolk is the kind of band you are amazed to discover is from Scandinavia - they're the kind of band I expect to run into at the local dive, playing an extended set for a group of indifferent drunks. There's a touch of The Pogues in their sound, but their roots are most definitely in classic Americana. Let me put it this way: if you enjoyed Bruce Springsteen's recent Pete Seeger tribute, you'll love this. It's rough and tumble at times but, as you'll hear on today's mp3, also capable of being laidback and gentle. It's those latter qualities that appeal to me most as I find them to be the most elusive. Anyone can play tough and act like a drunk, but tapping into the other, softer side of country proves to be far more difficult and is harder to fake. You can hear it in the way the performers lay behind the beat, in the coo of the steel guitar. Very well done.
Listen to more tracks from the band's website: www.strayfolk.com
Strayfolk - I thought I had it down
One of the big things that got me deeper into Swedish/Scandinavian rock way back when was explosive, guitar-heavy indierock. Fireside, Starmarket, Him Kerosene, KVLR - these are the bands that caught my interest and had me pouring through liner notes looking for more names to track down. Sadly, that scene is nowhere near as strong these days though there are a few who keep the fire burning: The End Will Be Kicks, Seven Feet Four, Aerial Convoj plus young upstarts like Traktor and today's post subjects The Sound O.E. The band has been lurking in the shadows for a couple years now, but it wasn't until very recently that they seemed to rise above and the new three-song EP "Me and Laureline" proves it. The screechy sprechstimme delivery of the verses might be a bit much for some, but remember that what they're doing is essentially sloganeering - the words are meant to be heard loud and clear. It's call & response; a call to action. When the harmonies of the chorus come in, the intentions are indisputable. The Sound O.E know exactly what they're doing. I think the arrangement could still be tightened up a bit, but I like what they're doing and definitely look forward to hearing more.
The Sound O.E - New bankruptcy
Week #2 and we're going strong! Our latest Bear Quartet tribute post comes from Parasol's Jim Kelly, probably one of the biggest BQ fans I know. His pick? Well, read for yourself:
"World War III" is taken from the "Load it" EP, recorded in 2000 and released in very early 2001, one of The Bear Quartet's truly wondrous b-sides. A sweet, sad little song of truly epic proportions, with lyrics detailing a helicopter rescue and a childhood game of hide-n-seek gone wrong. It touches on fatalism and fealty (or a lack thereof) and finding yourself all sorts of lost for all sorts of reasons. And when it couldn't get any more melancholy, when the girl with the head-injury is happy to be in a helicopter, when the kid with the great hiding place realizes the game ended a long time ago and he's alone, what do they throw in instead of a guitar solo? That's right. Bagpipes. Or something suitably bagpipe-like, a mournful and keening wail, but it's probably just my favorite guitarist on the planet, Jari Haapalainen, playing mandolin through his Fender Twin, or something. So here I am with a lump in my throat and the solemn promise of further heartache (because you know it's not over)... Like when frontman Mattias Alkberg sings bassist Peter Nuottaniemi's wrenching lyrics in the closing stanza: "I was hiding from you who had gone home without telling me, and I swear that sometimes it's like I'm still out there." Hand me a hanky. "World War III" is Scandinavian Melancholy as a musical sub-genre, as a guilty pleasure, as an itch you enjoy scratching, as an incurable affliction, encapsulated in 4 minutes and 4 seconds.
The Bear Quartet - World War III
I figure that since I've already spent the last few Fridays going back to revisit a few earlier 2006 releases that I didn't cover as much as I should've, I might as well continue the trend. In that spirit, here's an mp3 from Billie the Vision & the Dancers and some words from frequent contributor Matt Giordano:
It's really hard to describe this because it is just a remarkable piece of songwriting: subdued and beautiful; aching and tragic. This is just one of the reasons Billie the Vision & the Dancers have ascended high up the Swedish indie scene. I'm looking forward to hearing what they do next and, for those of that have never heard of them, you can download their albums for free from their website. I'd just like to give a huge "Thank You" to the band for giving away their beautiful music.
And thank you Matt for sharing the love. This is a band that a lot of people, myself included, expect big things from in 2007. Keep an eye on 'em!
Billie the Vision & the Dancers - Ghost
The thing I like most about Pluxus is their playfulness. The video for "Kinotin" captures that joy in a perfect visual accompaniment - too bad I'm not really feeling the track. Too many starts and stops interrupt the flow and my attention is lost. "Bootstrap" however sticks with a solid 4/4 stomp that will keep your head bobbing. Those squeaky synth hits sound like something you'd get from squeezing a tube of toothpaste rather that pressing down a key. The rest of "Solid state" is just as hot too. I love my introspective drone, but sometimes you gotta change it up and, with all the crap weather keeping me housebound recently, this is exactly what I need.
Pluxus - Bootstrap
I'm waiting for my copy of Madrugada frontman Sivert Høyem's new album to show up in my mailbox, so I'm not yet ready to weigh in on his new solo album "Exiles". Lucky for you, contributor Nancy Baym is ahead of the game and wants to share the title track with you:
Sivert Høyem has never been one to shy away from long songs. "Sister" on Madrugada's second record "The nightly disease" was just over 9 minutes, and now, on his second solo record, he offers up this 8+ minute title-song "Exiles", which he says is about "the tragedy of prostitution and trafficking that I witness every day in my hometown streets of downtown Oslo." Miraculously, it never feels long, even on repeated listens, just rich and powerful. And, as ever, his singing is a marvel to behold.
Listen for yourself and you'll find it hard not to agree. In a word: Epic.
Sivert Høyem - Exiles
Almost every review of Death Breath that I've read so far seems entirely too preoccupied with how they compare to some other classic death-metal throwback. Who cares? All that matters is that "Stinking up the night" rips! It's by no means a life-changing classic, but that was never the point. The story: Nicke Andersson (The Hellacopters, ex-Entombed) was inspired by Decibel magazine editor Albert Mudrian's book "Choosing death: The improbable history of death metal and grindcore" and decided to explore his roots. It harkens back to a time when death-metal meant bands like Autopsy or Possessed, before Entombed made their mark on the scene. The horror of the lyrics is kitchsy, like an old b-movie. It's meant to be fun, not scary. Death Breath is pure nostalgia, but it's also more than a few old, tired dudes trying to relive their youth. They recapture the energy and vitality of those early days and I love it.
Death Breath - Morbid mind
"I could say I'm sorry but I'm not / Whatever I promised I forgot" That's got to be one of the most cold-hearted lines ever and it's made even colder on this Jens Lodén remix. He drags down the tempo and strips away the lead synth melody, letting the vocals carry the song all by their lonesome. They're also the loudest thing on the track and left raw so they stick out even more. I like the original a lot, but this makes the lyric more brutal and impossible to ignore. I love the way the churning bassline segues into distortion for the chorus, too. The video proves the band doesn't always take themselves 100% seriously, a virtue I always appreciate, but you'd never know it from hearing this alone.
Universal Poplab - I could say I'm sorry (Jens Lodén remix)
It's a trap! loves The Bear Quartet. It's no secret. A couple weeks ago I wondered aloud about instituting a regular BQ-tribute post and, after a bit of back n' forth with some potential guest writers, it was settled. Every Saturday throughout the year of 2007, IAT will honor Sweden's greatest indierock band. However, the term 'greatest' can mean a lot of things, especially when referring to a band like BQ. They are one of my most favorite bands. The can be beautiful, inspiring, even profound, but they can also be infuriating, confusing and just plain weird. We may disagree on when each of those moments occur and that's part of what makes them so special.
For this first edition of the new series, I've asked the band Penny Century to contribute:
Ok, we picked "Mom and dad" as our favorite. A bit of a boring choice we suppose, but if you don't want your band to break up after fighting over different songs, you better pick the classic.. There's so many great tracks, but never the less, this is probably the one BQ-song that has been quoted, sung and played most by the members of Penny Century through the years. With wonderful melodies, a harmonica to kill for and incredibly well-written lyrics, this little childhood recollection never fails to move us. "I'm still stuck somewhere between who I was and who I wanted to be." That line alone is reason enough to name your band after a Bear Quartet album.
The Bear Quartet - Mom and dad