Tag: Mp3s
I'm terribly overburdened with dayjob-related work today, so thank goodness for frequent contributor Matt Giordano for providing today's guestpost:
A friend gave me what I believe to be the bands demo a couple of weeks ago, and it's pretty good pop/rock. The track here, "Seven digits" is what I believe to be the best of the lot. It also showcases the direct influences of Wilco (specfically "Kamera" and when you'll listen, you'll hear it too) and the Old 97s, albeit with synthesizers, and to an extent the second Lisa Miskovsky album (that was co-written with Joachim Berg). The Lips have a sound which could easily top the charts with the right backing and subsequent touring. They've got the catchiness down well and once they get their name out there more, good things could happen. I could see them fit on a major very easily.
Couldn't agree more - great song from a band with a lot of potential.
The Lips - Seven digits
Let's talk about Sweden's other 20+ member indie choir The Sweptaways. The group's standard repertoire is a capella group versions of pop hits and their debut album "Ooh ahh" is chock-full. It features indie-hits by fellow Swedes Vapnet, El Perro Del Mar, The Embassy and Jenny Wilson (today's featured track) as well as songs from the likes of Kiss, Black Sabbath, Pet Shop Boys and Kate Bush ("Wuthering heights", the first single). Sometimes the formula works, sometimes not. Their take on Sabbath's classic ballad "Changes" is disappointing and a few other song selections were never that good to begin with and are not improved by The Sweptaways vocal treatment. There are many highlights, but I can't help feeling that they are better appreciated as a live act with their fanciful costumes and choreography. A studio recording is a poor substitute. Still, they manage to narrowly avoid status, so that's got to mean something. Oh, and their version of "Silver bells" together with Magnus Carlson and the Gray Brigade (listen here) is fantastic.
The Sweptaways - Let my shoes lead me forward
Miss Li embodies the antithesis of what most people consider Swedish girls to be like. Vivacious, risqué and devilish - not to mention, as she says herself, "pathetic... vain and wicked, self-loving and ridiculously naive," not to mention endowed with "a big mouth and heart full of shit." Not exactly the kind of girl you bring home to mom, y'know? As to whether Miss Li's boasts are applicable to Linda Carlsson, her offstage alter-ego, I couldn't say.
As for the album "Late night heartbroken blues" as a whole, it has its moments, but is a little tiresome to listen to straight through. Both the recording and the songwriting are dynamically flat. However, it's easy to understand the hype as many individual tracks sound fresh and exciting on their own. I imagine that, like in the case of I'm From Barcelona and their debut album, the release got rushed to capitalize on the ongoing buzz and suffered a bit as a result. Both IFB and Miss Li are very talented, there's no doubt, but they could've used more time to get it right the first time out.
Miss Li - Miss Li
December is here so that means it's time to look back and reflect on the year past as we prepare for the holidays and 2007. I normally try to reach back a few years for my Friday mp3 posts, but today I'm only taking a small step back to last year for a song from the criminally underrated Hyacinth House. The Swedish roots/country act's self-titled debut easily made my 2005 top 10 and continued to stay in steady rotation throughout '06. Every time I listen to them I can't help but wonder why these guys aren't more popular? I cannot thing of a single other up-and-coming act in this genre that even comes close to touching their level of quality. The album's artwork may be a bit lackluster (they are 100% DIY fwiw), but the music is top notch. Great songs, perfectly balanced recording, the whole package. If you dig twang, you need to hear this. The band reportedly has something new in the works, too. Can't wait to hear it.
Hyacinth House - Ghost town
For most folk, all you need to know about the new Once We Were is contained in these four little word: post-rock double album. Chances are high that'll either get you super stoked or make you run screaming. For you rare wish-washy types, let me attempt to earn your approval. As for you brave, skeptical people who are courageous enough to still be with me, you can come along too. First, it should be noted that the album "Contra" is not the sort of sprawling epic (read: boring) you might expect. Yes, it's two CDs, but it's only a tad over an hour long in total. Each half works well as its own self-contained work and splitting the record in two was a great idea to make it more palatable for the masses. I can think of quite a few other recent post-rock releases that would've benefitted greatly from the same sort of self-editing. It's also worth noting that Once We Were's music goes beyond the usual loud-quiet-loud noodly riffs one might normally associate with the genre. There are certainly elements of that, but they are employed with skill and restraint. Listen to the track I've posted today for a solid piece of proof. If you're even a casual fan of instrumental rock, you're sure to find something to admire here. Very recommended.
Buy "Contra": [click here]
Once We Were - Carnival
The drone of Dead Letters Spell Out Dead Words is a lofi rumble compared to the earth-shaking throb of The Idealist (as discussed here). I don't say that to disparage DLSODW, rather to distinguish them. Also, whereas I remarked that The Idealist is well-suited for loud listening, DLSODW is quieter and more creepy, more dungeon-like if you will. Employing minimal synths buried with twisted field recordings and other found-sounds, the sound of Dead Letters is dismay and dreary - perfectly suited for dark winter evenings. The particular piece I've posted today from the new album "Old ghosts, new ghosts, all ghosts" swells and reels along with a distinct slow melody before finally collapsing into total static at the very end. Considering the miserable weather we've been having 'round these parts recently, this hits the spot.
Dead Letters Spell Out Dead Words - In perfect and imperfect circles
I like Eskju Divine a lot, but I don't love them. Their epic melancholy rock is quite distinctive, not just for their unique instrumentation (keys/bass/drums), but also for frontman Gustaf Spetz's plaintive wail. I've always enjoyed the way his voice soars along with the music, complimenting eachother perfectly. So why isn't it a love-match? It's something I have a hard time justifying myself. I usually love dreamy pop like this, but it's almost too light and airy, so much so as the individual tracks tend to blend into one another. There are standouts such as the single "Hold on" which I've posted today, but when taken as a whole, the album "Heights" tends to be a bit too atmospheric for it's own good. I enjoy it fine whenever I have it on, but I have a hard time remembering any highlights. Taken one song at a time, it fares much better.
Eskju Divine - Hold on
How does someone so young get to sounding so old? The Book of Daniel's Daniel Gustasson is that kind of guy: old before his time. The music he creates is heavy with the kind of poetry and wisdom that one usually associates with age and experience. It's as if he's a relic of an entirely different era. So is it all a ruse then? Does that make him a poseur? Is authenticity really all that important when the quality of work is this high? I'd say no - I have no problem enjoying The Book of Daniel and actually find these sorts of misgivings rather embarrassing. Daniel is a genuine artist and I have no doubt that he's exactly the same kind of person as the one his music would you to believe he is. If that's not the case, that is to say he's simply roleplaying, well that takes talent too. It does not diminish his skill. As for the song I've posted today, the question of identity runs through his lyrics as well: "It's so hard to be yourself, when everybody says you're somebody else." My doubts melt away during the bridge when Daniel strains to falsetto on the last word of each line. That kind of yearning anguish tugs the heartstrings and makes the heart ache. If he's faking, he's a damn good actor 'cuz that's some real passion I hear. It's best not to think too hard about it and just enjoy it. It also should be noted that the recording on the album "Songs for the Locust King" is especially nice and warm. No extraneous compression, just natural tones and a fantastic room sound. I close my eyes and see a band performing in a room together even though I know from reading the liner notes that this was not the case. Everything is organic and clean, especially the horns. Why aren't there more records that sound this good? Even if the music wasn't as nice, I'd still appreciate it for that fact alone. Together, the sum adds up one of the best albums of the fall, perhaps the year.
The Book Of Daniel - The camels parade
It's Friday and I'm off work for the extended holiday weekend and I've got my brother and sister-in-law visiting, so no news update today. However, I still have a classic track for you today, courtesy of contributor Jonas Appelqvist. Timely too, considering the recent Straight Edge Terror Force strike on the Systembolaget in Umeå.
When I first heard Final Exit back in '95 on their first full-length "Teg" I was blown away. Not only because of the uncompromising hardcore they delivered, the rumour also had it that David Sandström and Dennis Lyxzén were members of the up-til-then secret band (something that proved to be true). With titles such as "True til maturity", "Straight edge terror force", "The beginning" and "Wife and kids and television grave" they pushed the boundaries and really set the records straight(!). I got to see them once on their "We are splitting up and you don't care"-tour and it is still the best gig I've ever been to. Truly brilliant! The mp3-post featured here is taken from the second album called "Umeå". Ladies and gents: sit back and enjoy!
If any members of said sXe Terror Force are interested in talking to the press, er uh me, I encourage you to get in touch.
Final Exit - Roles and rules
Hey y'all, happy Thanksgiving! I've got Laakso's contribution to the "Oh no... it's Christmas!" comp as a special treat for you today, my favorite track from said release. Everyone knows the trials of traveling home for the holidays - the expectations of familial obligation, the uncomfortable meetings with old mates from school, all the ensuing pain and frustration. It's universal and even if you don't celebrate Christmas, you'll probably have some similar experiences to help you relate. Really, this song could just as easily be about Thanksgiving; well, if they celebrated said holiday in Sweden I guess. The tune itself isn't much more than a Violent Femmes rip, but I don't think it's a big deal. The lyrics are the important part and the story is sang with humor and warmth. The more hysterical that Laakso frontman Markus Krunegård gets, the more the song rings true.
Buy "Oh no... it's Christmas!": [click here]
Laakso - Merry Christmas
The best song from the Consequences demo is still the best song on their debut full-length album, though it must be said that the new version is substantially beefed up. No more Peter Bjorn and John drum loop (from "I don't know what I want us to do" off their first album), instead we're treated to a lush full band arrangement with backing vocals provided by none other than Marit Bergman and Frida Hyvönen. The first single "Release me from love" is a good'un, but this here's a total barn-burner.
Buy Consequences' self-titled debut album: [click here]
Consequences - Come on
Today marks the official release date of Hello Saferide's "Introducing..." LP. I know it may seem totally arbitrary, but these things are kind of important in the retail world. Or so I'm told anyway. Like many people, I was first introduced to Hello Saferide's music via "Highschool stalker" which was something of a small Internet sensation when it first made the rounds. Unfortunately, I blew it off. That song and the subsequent single "My best friend" (aka 'the lesbian song') stuck me as too twee, too cutesy. Not that were bad mind you, just that they were apparently lacking substance. So, like an idiot, I slept on it. Luckily, those cursory listens stuck a chord with my wife or I might've never gone back for more investigation, but eventually I did and thank goodness because Hello Saferide is much more than meets the eye. Yes, she's cute and twee and all that, but there's also a poetic depth to her work that isn't so obvious. It's all too easy to write her off as some run-of-the-mill female singer/songwriter, but run-of-the-mill she most certainly isn't. This is music that grows the more you listen. There's always another line that requires second thought and study. Also, as I've stated before, this is not the sort of thing that ever gets old. Hello Saferide will sound just as good twenty years from now as it does today. That can only mean one thing: instant classic.
Download "Long lost penpal" (Annika's favorite song on the record, also featuring the very talented Firefox AK) today from the playlist on the right or head to my label page for a few additional tracks. Buy Hello Saferide CDs and LPs here: [click here]
Hello Saferide - Long lost penpal (ft. Firefox AK)
A few months back, I posted an mp3 for the song "Kjøtere", the first single from Johndoe's latest album "Dødvinkel". Little did I know, said record would go on to become of my favorites for 2006. How would I? Just like you, I only had one (albeit great) song to go on. So let us revisit Johndoe once again, this time with the song "Nattskift". Frontman Jonas Skybakmoen explains the lyrics:
"Nattskift" literally means "night shift". It's a song about not knowing what will come later in life. When you get older, you seem to think a lot more about these things. In short, the story is about a ghost like old neighbour that never sleeps. Every night, he leaves his apartment, only to play the slot machine at the local gas station. The protagonist in the song comes across him late one night, and for a second, their eyes meet. And the protagonist gets afraid, because he can see the reflection of himself in the old man's eyes. This meeting with his "future self" kinda leads him to contemplate where he is going in life. So "Nattskift" deals with themes of destiny, chance and uncertainty.
Not speaking Norwegian, the thing I like best about that song is that infectious melody line that sounds like a guitar doubled with cello. And that noise in the first chorus that sounds like a reverb tank being kicked over. Love that too. Look for the copies of "Dødvinkel" to appear in the webstore soon.
Johndoe - Nattskift
It's Friday again and I'm feeling overworked, so Simon Tagestam gets this week's classic post:
The infectious poppy punk stuff that Randy played on their first couple of EPs was what made me love this Swedish band in the first place, but their angry and political lyrics helped to cement my total devotion to them. "You are what you fight for" is from Randy's third album "You can't keep a good band down" that was released in 1998 and probably my favourite album of that year. Stefan Granberg might not have perfected his American accent at this stage (and he might not have done so as of yet), but I don't care since I'm a very strong advocate that this is nothing that really matters - foreign accents in music are charming and should never be frowned upon! The lyrics to this song always make me want to shape up and fully embrace my half-forgotten pseudo-ideals, perhaps after another 1,000 listens this will finally happen. Here we go...
Randy - You are what you fight for
Continuing on in the same vein as Monday's Asha Ali post, here's another female-fronted act very much in the classic Swedish indie tradition. 'Cept that Don't Be A Stranger actually features ex-Honey Is Cool members so the comparisons are less surprising. Very melodic with a slightly eccentric bent and a touch of darkness around the edges, DBAS is a band to watch. The only problem with their debut EP "Ho ho"? It's too damn short. Read more about the band in this interview at Absolut Noise.
Don't Be A Stranger - Perfect problem