Spinner lists their five favorite acts from by:Larm: https://www.spinner.com/2010/02/21/best-of-by-larm-festival/
The names: The Megaphonic Thrift, Altaar, Negash Ali. Kira Kira and Joensuu 1685.
Pitchfork reviews the new Sambassadeur album "European": https://pitchfork.com/reviews/albums/13932-european/
Also covered, Danish producer Kasper Bjørke's "Standing on top of utopia": https://pitchfork.com/reviews/albums/13945-standing-on-top-of-utopia/
Opium WarlordsIt's difficult to write a general review this debut from Finn, Sami Albert Hynninen, as each epic song almost deserves a review in its own right. That doesn't necessarily mean they're all brilliant, although "Live at Colonia Dignidad" does offer a selection of decent tunes that range from crushing, doom metal to ponderous, stoner ambience. The predominant musical outlook from the offset is one of funeral doom although the vocals offer a more ritualistic uneasiness rather than the deathly growl characteristic of the genre. While a lot of this is enjoyable and well thought out, some tracks, such as "Suck my spear, servant of satan" overstay their welcome by a fair stretch and ruin any impact they may have initially made. "Feel the strength" seems like a pointless exercise in riff-testing, as if he just rattled out a couple of ideas and fired them onto the CD, while closing track "Support the satanic youth" reeks of an attempt to surprise listeners by blasting out a mere five seconds of blistering mayhem that, if done in the spirit of Nuclear Assault, is obviously meant to be funny. However, given that the album discharges a serious tone, it's probably the case that Hynninen is attempting to mimic the sporadic sonic outbursts of early Napalm Death or Brutal Truth. Neither works and it's a sad, transparent end to an album that's brimming with authentic, grim undertones.
- John Norby
PopMatters reviews Fredrik's "Trilogi" collection: https://www.popmatters.com/pm/review/120322-fredrik-trilogi/
The Silent Ballet likes the new Jaga Jazzist album "One-armed bandit": https://thesilentballet.com/dnn/Home/tabid/36/ctl/Details/mid/384/ItemID/3123/Default.aspx
Fredrik62% -- that was the chance I was told they would play "1986" at this show, by the band a few days earlier after their stellar performance at the Mercury Lounge. The set-up at Union Hall however, allowed their sound to envelop another plane, with abstract projections on display behind them. (Considering the glut of bands that use video, it's always reassuring when the band, in this case Fredrik, does it well uses it to enhance the experience.) Their set included songs from both albums, including oft-loved "Black fur" and "Alina's place". The last time the band played in the States, they were a six-piece; now, they are back down to the two permanent members. This realignment actually allowed the band to provide much clearer renderings of their material, as opposed to the slight muddle of the large ensemble, and it showed in their confidence. Fredrik (the singer) then proclaimed "we've never played this song live before [sic]". They played "1986", and it was absolutely beautiful.
- Matt Giordano
MusicOMH reviews The Knife's Darwin-inspired opera "Tomorrow, in a year": https://www.musicomh.com/albums/knife-2_0210.htm
Pitchfork reviews Icelandic artist Ólafur Arnalds' "Found songs": https://pitchfork.com/reviews/albums/13808-found-songs/
House of TomidasIt's funny, sometimes, how one look at an album cover will conjure up all sorts of references as to the genre a band will fit into or what other bands they'll sound like. Upon seeing the "Dark times!" cover grunge old-timers Mudhoney spring to mind, mainly due to a loose visual connection with some of their album art. When the music kicks in, though, the comparison couldn't be any more detached. The first thing that's noticeable on this album is Britta Persson's vocal performance, which is altogether more eclectic and burlesque than demonstrated on her solo releases. No straightforward indiepop here; rather a gathering of musicians capable of holding their own at any '30s cabaret, yet easily translatable to the present day. The unique combination of quirky song arrangements coupled with Persson's evocative, haunting voice pours forth images of a vaudevillian French setting and that's a very enjoyable aspect of this album. On the other hand, songs like "Daytime drunk" and "From hand to mouth" offer a more contemporary take on things and it's proof of the genius in the band's composition skills that these sit perfectly with their more eccentric, old-time tunes. "The letter" is the biggest surprise on here, a dark creeper that sits right in the middle of a generally upbeat album and that offers a brooding, heartfelt exuberance that belies the rest of the music. A wonderful debut that will undoubtedly please Persson's mainstream fans while simultaneously drawing in the jazz club hangabouts.
- John Norby
Pitchfork reviews the self-titled debut album from The Amazing: https://pitchfork.com/reviews/albums/13882-the-amazing/
New short take reviews at PopMatters cover two wildly different Swedish acts, Dream Evil and Pixie Carnation. I'm a fan of both.
The Silent Ballet praises Icelandic artist Valgeir Sigurðsson and his new album "Draumalandið": https://thesilentballet.com/dnn/Home/tabid/36/ctl/Details/mid/384/ItemID/3091/Default.aspx
Scarred By BeautyWithin seconds of cranking this baby up it's easy to see why Danish youngsters Scarred By Beauty won the Danish Metal Awards ‘talent of the year' accolade for 2009. This, their debut EP, reveals a band with talent that belies their years and is strong enough to sit alongside some of the best extreme metal to emerge –- even from seasoned professionals –- in a long while. SBB draw their influences from a wide range of extreme metal and have brought it all together to create an utterly savage amalgam that's not unlike Meshuggah meets Death meets Cryptopsy's "The Unspoken King" album (let that Cryptopsy reference be not the death-knell, though. While it was slated by many, that was in the context of the band's former reputation for all-out slaughter). SBB have pulled off an amazing feat with this debut, albeit one that needs a bit of tweaking here and there. The main concern here is in the choice of vocals. While Hatesphere's Jonathan "Joller" Albrechtsen sports a demonic set of lungs, this band would benefit greatly if he were to reign in the screaming a touch, essentially moving SBB away from a metalcore alignment and synching them with a more generalized extreme metal outlook. The vocals on this really hit home with Albrechtsen's shuddering death growls and, used in the sparing fashion evident here, offer a gates-of-hell-opening diversion that's as powerful as bejesus. Super-tight musicianship, well thought out song constructions, and a giant-slaying production make this one of the surprises of the year. Just wind in the screaming a touch and these guys are definitely onto a winner.
- John Norby
Flower ClansPlaying like deep cuts off the "Juno" soundtrack, Flower Clans' newest offering "Voodoo Café" certainly has its moments. However, the Swedish band often mistakes youthful giddiness for audio sugar rush -- landing their work directly in 3-year-old birthday party territory.
It's not that "Voodoo Café" isn't a charming offering -- not admiring its homespun charm would be somewhat akin to kicking a puppy -- however, their everything-and-the-kitchen-sink approach quickly wears. Somewhere under it all lays strong, guitar driven folk. When it works on cuts like "Mountain low lay" and "Call me with a smile" it works. However, more often than not, it's frosted over with bizarre Kimya Dawson vocal ticks and errant woodwinds, making songs such as "Tina the reader" a breathtaking study in "almost". Then there are the more flagrant offenders. The best one can say about "Laj la la la laj la la la laj" is at least the band believes in proof in advertising. If only they had taken the perfect flute-driven fluff of closing track "Sunshine" and spread the wealth. Now that would have been something to make us giddy.
- Laura Studarus