“It is good taste, and good taste alone, that possesses the power to sterilize and is always the first handicap to any creative functioning” - Salvador Dali
Acid House Kings
The Legends
Caesars
The Loveninjas
The Concretes
Irene
El Perro del Mar
The Radio Dept.
Mando Diao
Anna Ternheim
Friska Viljor
Shout Out Louds
Club 8
Frida Hyvonen
Loney Dear
Sakert!
Peter Bjorn and John
Love Is All
Pelle Carlberg
Lykke Li
I'm From Barcelona
Sambassadeur
Jens Lekman
The Amplifetes
Suburban Kids With Biblical Names
The Mary Onettes
The Tough Alliance
The Cardigans
Honorable Mention:
Air France
Bare Knees
The Bridal Shop
The Budgies
Cloudberry Jam
The Embassy
Hello Saferide
Jose Gonzalez
Klifton FilenteLasse Lindh
De Montevert
Nixon
A Smile and a Ribbon
The Sounds
Strawberry Fair
Taken by Trees
The Tallest Man on Earth
Vit Pals
*Due to work obligations, there will be a brief hiatus. Sorry!
The Cardigans created some of the best pop of the mid-1990s, without a doubt. In addition to their now-ubiquitous "Lovefool," the band had a run of several successful albums in the same time period. Their laid-back, sunny pop lends itself well to relaxing outside and instills a sense of hope. Ok, maybe this is a bit melodramatic. It's damn good pop, regardless. Enjoy!
Albums: First Band on the Moon (1996), Life (1995)
Tracks: Your New Cuckoo, Been It, Lovefool, Carnival, Rise and Shine, Our Space, Sick and Tired
Henning Furst and Eric Berglund were childhood friends long before they formed the insanely popular synth act, The Tough Alliance. It's perhaps this knowledge of each other's tastes and musical preferences over time that led them to incorporate so many different styles into their music, including electronic, dub, reggae, soul, pop, and Caribbean.
In the mid-Aughts, there was no band that produced more catchy tunes with broad appeal. The vocals are a bit similar to contemporary surf-rockers, The Drums, but the music is far from lo-fi and represents some complex, crafty compositional planning. Many of these are perfect for the summer. Enjoy!
Albums: A New Chance (2007), Escaping Your Ambitions (2006), The New School (2005)
Tracks: First Class Riot, Something Special, Neo Violence, The New School, Koka-Kola Veins
The Mary Onettes are another Labrador Records wonder whose closest cousin, in terms of sound, is probably Sambassadeur. They focus more on ambience and atmosphere than melody with a sound most akin to The Jesus and Mary Chain and other shoegaze greats from the 1980s. Critics have been harsh on them, but I'm a huge fan of their sounds. Here are some recs:
Albums: Islands (2009), The Mary Onettes (2007)
Tracks: Lost, Void, Puzzles, Dare, Explosions, The Disappearance of My Youth
Like their name suggests, Suburban Kids with Biblical Names draw on influences from the highly literate and playful '90s U.S. indie scene. Traces of Silver Jews, Pavement, and Magnetic Fields can be heard. But much more than actually sounding like these bands, the near-unique Suburban Kids with Biblical Names share their penchant for mixing intelligent and humorous lyrics with irresistible classic pop melodies, electronic beats, and quirky instrumentation.
Albums: #3 (2005)
Tracks: Rent a Wreck, Funeral Face, Loop Duplicate My Heart
These guys rocketed onto indie radar screens last summer with their club hit, "Somebody New," though they are far from a one-hit wonder. They continue to produce some of the freshest electronic music to come out of Sweden in the past year. Enjoy!
Albums: The Amplifetes (2010)
Tracks: Somebody New, Blinded by the Moonlight, It's My Life, Whizz Kid
Like a Jonas brother of Sweden, Jens Lekman has the unique ability to make American girls swoon for his sweet chansons and overt serenading. He has the songwriting versatility of Beck, the showmanship of Morrissey, the cynical irony of Stephin Merritt, and he remains conscious of his songs' meanings to his eager audiences. He's been a little reticent as of late, but rumor has it he may now have a place in the Bk. Enjoy!
Albums: Night Falls Over Kortedala (2007), When I Said I Wanted to Be Your Dog (2004), You Are The Light EP (2004)
Tracks: Sipping on the Sweet Nectar, The Opposite of Hallelujah, A Postcard to Nina, You Are the Light, When I Said I Wanted to Be Your Dog
The following text is from a review I posted to DOA some time ago:
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While on a drive in my hometown recently, I discovered that something truly remarkable had happened to the radio. Well, oldies radio. My trusted provider of decades-old Brill Building pop and doo-wop one-hit wonders had decided that oldies music had simply become, too old. Worse yet, the torch had been passed on to radio real-estate extraordinaire Pink Floyd, who seemed content to gloat, “The time is gone / The song is over.” Oh, how right they were!
When my initial denial and subsequent disgust began to fade, I lamented the loss of this nostalgic staple of my youth. As a child, my parents always chose “Oldies 104.1” in the car, and this music quickly became the de facto backtrack to all my backseat adventures. Road trips aside, a genuine fondness for that characteristic precious pop and soulful singing had grown over the years, usually with each hopeless crush and lost love. Though romance has always been a frequent theme in music, few modern artists manage to capture the very essence with such simple sincerity and unabashed swooning as was commonplace in the early 1960s. Admittedly, this explains my adoration for retro-pop balladeers such as Camera Obscura, Lucky Soul, and Irene. Nonetheless, there exists a noticeable dearth of current musicians able to capture that classic ‘60s sound. Fortunately, Sambassadeur’s new LP European allows me to add another name to that list.
Certainly no stranger to sentimental songs, Sambassadeur delivers an emotional gem with European. Always improving, they have evolved steadily since their self-titled debut, a stripped-down lo-fi experiment that still managed to garner critical praise. Although thoughtful lyrics and memorable motifs from the first LP remain, European more closely resembles the band’s second album, Migration, which marked a shift in artistic focus from melody to mood. Whereas Sambassadeur’s first album seemed to emulate the simple chansons of French pop great, Serge Gainsbourg (Fans will know their name originates from his song “Les Sambassadeurs.”), European seeks to capture that quintessential American sound from the 1960s: wall of sound, prominent orchestras, and bold bass lines. The album embodies this spirit and sound so well, I felt compelled to verify that Phil Spector and Brian Wilson didn’t actually have a hand in its production.
The first track “Stranded” may initially throw the listener off-guard, with a solitary piano playing enough major chord flourishes and sappy suspensions to win Whitney Houston another Grammy in 1986. Luckily, this saccharine solo is brief, serving only to ready the listener for their journey back in time. Within half a minute, the tempo quickens and a sweeping melody supported by strings, guitar, and bass unfolds, accompanied by a now-jaunty piano. Our arrival couldn’t feel any better than this! Although this track may not be the most memorable or tear-inducing on the album, it does serve as a good introduction, functioning as an amalgam of the remaining 8 songs.
Perhaps equally able to serve as album opener, “Days” is boisterous, uplifting, and features a notable piano/violin melodic interplay that is one of the catchiest in modern pop. Decidedly retro, it sounds shockingly similar to “Baby, I love you” by The Ronettes, or at least the first 30 seconds do. Despite this, Anna Persson’s vocals represent a more somber side, proclaiming “I happen to know where the day wind is blowing / A place to go when people say you’re way too blue / If you want to go you must keep them from knowing / Loneliness is something you’re accustomed to.” This song seems to encompass the essence of European best – a collection of infectious oldies melodies juxtaposed with present-day lyrical introspection and ruminations on love.
To appreciate the album solely as an oldies re-hash would be unfortunate, as several tracks showcase Sambassadeur’s tremendous versatility at eliciting myriad emotions. For example, on the ballad “Forward is All,” instrumental complexity is avoided in order to create a lush, dream-like serenity that serves to better highlight Persson’s haunting, yet captivating voice. In contrast, instrumental interlude “A Remote View” abandons vocals entirely for the subdued and gentle feel of a delicately picked guitar. Admittedly, the song becomes nearly church-like with its hymnal chords, though it manages to successfully avoid that cliche Christmas “cheese” with impeccable phrasing and intrinsic sincerity. If anything, it highlights Sambassadeur’s noteworthy ability to precisely create a musical aesthetic that conveys both mood and meaning – persistent pedal points, layered strings, and spot-on reverb effectively provide both vintage appeal and ethereal wonder.
Despite earlier successes, European definitively solidifies Sambassadeur as a paragon of Swedish pop: sweet but not sappy, bold yet beautiful, and emotionally eclectic without becoming melodramatic. Masters of musical atmosphere, Sambassadeur does more than just sing about love, hope, and sadness – they make certain that even the biggest cynic will feel it. In addition, they have capitalized on their old-fashioned sound to carve out a unique niche among notable Labrador mainstays such as the Acid House Kings, The Legends, and Pelle Carlberg, among others. Furthermore, Sambassadeur’s compositional plasticity, as evidenced on all three LPs, ensures that listeners will be wistful but never weary for years to come. Unfortunately for most fans, the title may also be seen as an ironic reminder of Sambassadeur’s almost exclusive Scandinavian presence, due to guitarist Joachim Lackberg’s fear of flying. Maybe somebody should tell him that he can still cross the Atlantic on a ship, oldies-style.
- David Roy
February 19, 2010
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Albums: European (2010), Migration (2007), Coastal Affairs EP (2006), Sambassadeur (2005)
Tracks: Stranded, Days, Forward Is All, The Park, Subtle Changes, Final Say, New Moon, If Rain, Between the Lines, Kate, Marie
If there's one musical group fit to act as worldwide ambassador of happiness, it would be Swedish ensemble, I'm From Barcelona. Their songs are peppy, cheery, and like an explosion of sugary sprinkles on an already candied musical base. Fronted by Emanuel Lundgren, this collection of 20-30 (The number varies by album and performance) diverse Swedes serves as a vehicle for his pop creations. They've now released three albums, the most recent being several weeks ago. Get Happy!! The recommendations are below:
Albums: Forever Today (2011), Who Killed Harry Houdini? (2008), Let Me Introduce My Friends (2006)
Tracks: Get in Line, Always Spring, Headphones, Collection of Stamps, We're From Barcelona, Treehouse, Chicken Pox
Lykke Li (Lykke Li Zachrisson) is quite popular among electronic-minded hipsters here in NYC, and for good reason. Her indie electronic tunes are bass-heavy and feature beats quite conducive to dark alley clubs on the LES. She's a little quirky and has a knack for reproducing melodies from the 1980s while making them sound fresh and new. She's certainly off the beaten path for a Swede, but her novelty should be welcomed. Her newest album was released in 2011 and reveals a more confident and gritty side, as she casts aside any lingering timidness and sings freely with conviction.
Yet another Labrador mainstay, Pelle Carlberg brings a touch of twee to this already saccharine line-up on the label. His music is lighthearted and a bit 'cute' at times, but offers a bit of a raw, lo-fi element not commonly found in Swedish pop. The best comparison to be made might be to indie pop legends, Belle & Sebastian, a group he even alludes to in the title of one of his songs. Enjoy!
Albums: The Lilac Time (2008), In a Nutshell (2007)
Tracks: 1983 (Pelle & Sebastian); Metal to Metal; I Love You, You Imbecile; Clever Girls Like Clever Boys Much More Than Clever Boys Like Clever Girls
The following is text from a review I wrote some time ago for DOA:
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"For many years I have held the personal – and somewhat nerdy – belief that most music can be described by a bell curve. Yes, I am aware that even the mere mention of the word “curve” may trigger PTSD-inducing flashbacks to that college chemistry class or statistics in general. Nonetheless, it is important to note that music and math have long been intertwined – from the widespread shunning of the devil’s tritone by classical composers (It has six “satantic” semitones) to modern mothers’ insistence on touting the marvels of the Mozart effect. Therefore, it seems reasonable that a metaphor for our relationship with new songs has a mathematical component as well. Let me explain further.
Most people have a hard time falling in love with a new song the first time they listen to it. Whether through gifted mixes or just an implicit endorsement, a friend’s musical recommendation always seems to fall short – at first. However, after just a few plays, the song that is destined to be our favorite finds a safe place in our hearts and iPod playlists alike. Unfortunately, this romance begins to unravel not so long after. The more we satisfy our insatiable craving for a particular track, the less it seems to satisfy. Eventually, we are left with a song that simply sounds good, but no longer elicits emotion.
It seems that most new music lacks instant appeal largely because we don’t know what to expect. Presented with myriad melodic motifs, the listener is easily fatigued due to lack of context. After several listens though, the structure of the song becomes apparent and the crush begins. This familiarity may sound boring as described, though it’s anything but. Knowing where a melody is heading allows us to hum along, clap our hands, and tell our chatty friends when to shut up – all while we anticipate that next great musical rush looming on the horizon. Regrettably, this well-deserved intimacy is short-lived, as one can only perch atop the curve for so long without cascading down the other side. With one’s favorite song stuck on “repeat,” predictability soon predominates and the listener is left looking for the next easy out. The love affair is over.
Despite this ongoing cycle, I have long wished for a steady stream of songs that could win a place in my heart the very moment I heard them, yet also have the longevity of a favorite pair of jeans – like love at first sight coupled with the long-lasting potential of a soul mate. To be honest, this fantasy seemed unlikely to ever occur.
Recently though, it seems that Swedish sensation Love Is All has found a cure for the fleeting fling. Although songs with immediate satisfaction and staying power do already exist, they are uncommon and seemingly stumbled upon by artists unable to reproduce their accidental success. In contrast, all 12 tracks on Love Is All’s new LP Two Thousand and Ten Injuries provide instant intrigue, and after 20 listens to the album – it’s that addicting – not one of the songs managed to lose its initial charm. Somewhat perplexed, though obviously pleased, I pondered what had made this album so likeable (And I mean the snuggle-up-in-bed and take-home-to-your-parents type). After hours of misguided musing though, I realized why there was no complex formula to explain this – it was simply the album’s simplicity.
Don’t be mistaken, as Two Thousand… is a well-planned piece of pop. After what began as a casual exchange of ideas via email in early 2009, the band gathered at their home-built studio in Gothenburg, Sweden to record their first independent and most strikingly cohesive album to date. Recorded solely on a 24-track analog tape machine, the usual tinkering and tweaking that accompanied prior sessions was just not possible. Forced to conceptualize a song in its entirety, vocalist Josephine Olausson noted, “Everything is now there for a reason.” Love Is All has capitalized on this less-is-more philosophy by trimming the post-punk clutter of their previous albums and focusing on refined riffs, diverse drum beats, and discrete lyricism on love. Longtime fans should not despair though, as Love Is All’s characteristic frenetic edginess has only been tempered, not trashed.
Most responsible for eliciting immediate affection is the cavalcade of catchy melodies, which are so simplistic no prior exposure is necessary. For instance, third track “Never Now” relies heavily on the shimmering triplets of a jangly guitar, soaring up and back down a major scale. It’s so basic that it would be boring if not for the sonic texturing of the synth/saxophone combo and groovy swagger of the drums. Nonetheless, the recognizable motif provides an irresistible hook that charms from the very first listen. Similarly, both guitar and piano on “Again, Again” persistently drone on the major third before falling back to tonic at the end of each phrase. In this case, its reserved melody is not only responsible for the track’s allure but also reflects the mood itself, as Olausson painfully recalls a protracted wait for a lover’s phone call before eventually giving up hope.
Despite acutely infecting hearts with joyous jingles, the songs derive their incurable appeal from an intrinsic spirit of fun. No song encapsulates this better than “Bigger Bolder,” the album opener. Pushed along by a driving bass and sassy organ – the drums complete the polka – this instrumental free-for-all is like being caught in an emotionally invigorating whirlwind. Two Thousand… does more than elicit feelings of exuberance, though – it is the musical representation of it. Like inexplicably smiling when seeing another person laugh, the music reflexively triggers unavoidable euphoria and ecstasy. As a result, barring some spontaneous attack of anhedonia, one’s affinity for these songs is unlikely to fade.
In addition to showing that one’s affection for music does not have to follow the mathematical up and down of a bell curve, Two Thousand… argues that our relationships with others need not be so oscillatory as well. On previous albums, Olausson sang repeatedly about falling in love and then subsequently falling out, all with ironic ambivalence. Two Thousand… marks a new maturity for Love Is All. Gone is the brash defiance characterized by snarky one-liners on love. Instead, a wiser and more introspective Olausson opens up on the album, at one point pleading with a past lover “I remember you calling me cruel / Well that was ages ago / Oh how I wish I could prove I have grown.” This album is proof.
Somewhat perplexing, the final track “Take Your Time” appears out of place on an otherwise stellar set of songs. Set to the tune of Pachelbel’s “Canon in D”, the track is sonically beautiful but lacks the unique allure of the rest of the album. Why would Love Is All follow in the footsteps of numerous others – such as Aerosmith, Vitamin C, and Catch-22 – and use this gimmicky musical goldmine? A recent rerun of Pam and Jim’s wedding on The Office revealed the genius behind this choice. As “Canon in D” is frequently played at weddings, the last track seems to serve as a veiled tongue-in-cheek reference to marriage and the longevity of love (Let’s ignore statistics on this topic). On an album characterized by musical and lyrical maturity, the message becomes clear – true love, whether for a song or another person, never fades."
-David Roy
March 16, 2010
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Albums: Two Thousand and Ten Injuries (2010), A Hundred Things Keep Me Up at Night (2008), Nine Times That Same Song (2006)
Tracks: Bigger Bolder, Never Now, Kungen, Dust, Movie Romance, Wishing Well, Talk Talk Talk, Busy Doing Nothing
Peter Bjorn and John are the quintessential American Swedish band. In utilizing this oxymoron, I realize that there are assumptions to be made about what is "American" and "Swedish." Without stepping into a quicksand of stereotypes, I'll clarify briefly and concisely.
PB&J hail from Sweden, but they have never truly engaged in the saccharine pop of their indie brethren. Instead, they've been clearly influenced by baroque pop and new wave, which has provided album after album of indie rock with broad appeal for American audiences. Perhaps Sweden's best known indie band, PB&J continue to release innovative and eclectic music that is clearly designed for international export. They're far from sell-outs, though, and they deserve all of their well-earned respect.
Just like most of the Swedish artists this week, longevity comes natural to this trio. Recently the band released their fifth album, Gimme Some, to much critical acclaim. Despite struggling to achieve the success of ironically-titled LP, Writer's Block, PB&J show no signs of giving up just yet. Here are the recommendations:
Albums: Gimme Some (2011), Living Thing (2009), Writer's Block (2006), Falling Out (2005), Peter Bjorn and John (2002)
Tracks: Dig a Little Deeper, Second Chance, It Don't Move Me, Young Folks, Objects of My Affection, Let's Call It Off, Amsterdam
Annika Norlin, of Hello Saferide, also releases her solo work under the name, Sakert. It features a very familiar style of sweet, fast-paced pop that is filled with hand claps and brass choruses. Enjoy!
Albums: Facit (2010), Säkert! (2007)
Tracks: Dansa fastän, Vi kommer att dö samtidigt, Fredrik, Isarna
Loney Dear is the moniker for Sweden solo-artist and songwriting genius, Emil Svanängen. Languishing in obscurity for the majority of the past decade, Svanängen continued to release several homemade albums on CD-R without becoming discouraged. Luckily, someone at Sub Pop took notice and signed him, thereby allowing the rest of the world to enjoy his music. Still though, he continues to record his albums alone, playing all of the instruments and only employing others while on tour.
In regards to the music itself, it is sugary sweet, of course, but also contains emotional depth -- the frequent use of suspensions and seventh chords facilitate this. In fact, many of Svanängen's songs would fit perfectly at the closing scene of an indie romance flick, as they build gradually on a simple hook and end powerfully in a frenzied clash of competing counter-melodies and instrumental voices. In addition to his songwriting prowess, Svanängen also possesses one of pop's best falsettos. Throughout entire songs, he sits confidently in the range of a soprano without ever losing tone or pitch. This is most evident toward the end of "No One Can Win," where he forcefully carries the tune to a soaring climax before he quickly brings the listener down to a gentle resolution.
This is some of the best Swedish pop produced in the past few years. Loney, Noir is especially rewarding when enjoyed in its entirety. :)
Albums: Dear John (2009), Loney Noir (2007)
Tracks: Airport Surroundings, I Was Only Going Out, Summers, I Am John, Saturday Waits, No One Can Win, Carrying a Stone, The Meter Marks OK
This singer-songwriter has been rather silent recently, but in the mid-Aughts she released a couple albums featuring her brand of piano pop. Her tunes are a stripped-down, casual affair, rarely featuring other instruments like guitar and drums. They're not boring though, as long as you can enjoy the subtlety in both her melodies and lyrics. Here are the recs:
Albums: Silence is Wild (2008), Until Death Comes (2005)
Tracks: Dirty Dancing, London!, Birds, Everybody Hurts, I Drive My Friend
Johan Angergård is not only the most prolific Swedish songwriter of the past two decades but also the most versatile, as well. He manufactures the catchy indie pop behind the Acid House Kings, the noise pop and dance of The Legends, and the soft, melancholy melodies of Club 8. In this latter group, Angergård shares the stage with fellow Swede, Karolina Kolmstedt, who provides the angelic vocals to Angergård's warm sonic creations.
They have released several albums in the past 15 years, all characterized by rich, lush ballads with sincere, pensive reflections on life and love. This homogenous blend of songs is not to be faulted, as the duo excels in this style. More recently, though, Angergård has decided to venture out of Club 8's comfort zone. On the recent album, The People's Record, he embraces West African pop as his muse. Unlike Paul Simon's Graceland and Vampire Weekend's debut LP, Club 8 doesn't exploit Afro-pop for its gimmicky hooks and guaranteed profits -- they replicate it in its entirety. As a result, the album carries with it an element of authenticity and showcases Angergård's true abilities as a musical chameleon. Not surprisingly, this recent LP is Club 8's best to date. (For those of you who are familiar with Fool's Gold's "Surprise Hotel" in 2010, this recent album is quite similar.) Please enjoy!
Albums: The People's Record (2010), The Boy Who Couldn't Stop Dreaming (2007), Strangely Beautiful (2003), Spring Came Rain Fell (2002), Club 8 (2001), The Friend I Once Had (1998)
Tracks: Western Hospitality, Shape Up!, Whatever You Want, Heaven, The Boy Who Couldn't Stop Dreaming, Saturday Night Engine, Love in December, The Beauty of the Way We're Living
If Bloc Party was the first group to win my indie music heart, which they did, then it was the Shout Out Louds who stole my Swedish Pop V card. Sure, it was the regret-less summer of 2005, I was a bit naive in the indie world, and these Swedes knew how to say (and play) all the right things; however, the Shout Out Louds really do deserve genuine praise. It was them, in fact, who set the bar for every future Swedish Pop romance and liaison.
The Shout Out Louds are a Stockholm-based quintet who create loud, energetic, and infectious indie pop. They formed in 2001 but they are most famous for their debut LP, released in 2005. Howl, Howl, Gaff, Gaff, used the addicting melodies found in other Swedish acts but added a greater sense of urgency, mainly through increased use of percussive effects like tambourine, hand claps, and even cowbell. All three of their albums represent a unique but varied collection of tunes, a fitting evolution over time of their songwriting abilities.
I actually had the pleasure of seeing them live twice last year, and I can say that they are one of the best live performances I have witnessed ("Very Loud" + some KISS). Also, as you may notice below, Adam Olenius, the singer, bears an uncanny resemblance to Jason Schwartzman. He might be more talented, too. Here are the recommendations:
Tracks: 1999, Walls, Show Me Something New, Tonight I Have to Leave It, Impossible, South America, The Comeback, Very Loud, Go Sadness, Please Please Please
Though Daniel Johansson and Joakim Sveningsson, of Friska Viljor, may have more in common with the ubiquitous Greenpoint scab, at least by appearances alone, their songs epitomize Swedish indie pop. The duo sings from the heart, accompanied by frenzied drums and bass, brass choruses, and a cheery glockenspiel. Very similar to Irene, a fellow Swedish pop group, Friska Viljor excels in delightful melodies and sappy tales of love. Enjoy!
Albums: The Beginning of the End (2011), For New Beginnings (2009), Tour de Hearts (2008)
Tracks: Come On, Larionov, Malou, You Meant Nothing, Oh No, Old Man, Shotgun Sister
Anna Ternheim is a Swedish singer-songwriter long respected for her blend of folk and indie pop, drawing comparison to both Sophie Zelmani and Coldplay. Shortly after her debut, Ternheim was nominated for several Swedish Grammis, winning Best New Artist in 2005. Recently, her style has developed a darker, more sinister flavor, representing a departure from her earlier orchestral pop leanings. Rumors are that she may have a new album out soon. Let's hope so!
Albums: Leaving on a Mayday (2008), Halfway to Fivepoints (2008), Separation Road (2006)
Tracks: What Have I Done, Shoreline, To Be Gone, My Heart Still Beats for You, No I Don't Remember
In a strict sense, Mando Diao should not even appear on the blog this week. Although they hail from Sweden, they have more in common with garage rock and Britpop (e.g. The Libertines) than Sweden's sugar pop. Despite this, their style of rock favors pop-oriented riffs more than experimental noise, and their overwhelming popularity in the mid-Aughts necessitates their very mention here. Enjoy!
Albums: Give Me Fire! (2009), Hurricane Bar (2005), Bring 'Em In (2003)
Tracks: Dance with Somebody, Gloria, God Knows, Sheepdog, You Can't Steal My Love
Beginning as a Swedish shoegaze act in the early 2000s, The Radio Dept. has gradually morphed into a bona fide dream pop wonder, and incidentally, Labrador Records' most popular band. Their most recent album, Cling to a Scheme, is their finest yet. It still features some fuzz from the guitar and drums, but there are now gratuitous amounts of synthesizer and classic Billboard hooks. I don't know how many days or weeks the summer season lasts in Sweden, but these guys are the ones to put on repeat when you're out and about under the bright sun. Recommendations:
Albums: Cling to a Scheme (2010), Pet Grief (2006), Lesser Matters (2003)
Tracks: Heaven's On Fire, Never Follow Suit, David, The Worst Taste in Music, Where Damage Isn't Already Done
Swedish sensation, Sarah Assbring, creates minimalist, tranquil soundscapes characterized by simple melody and brooding, cynical lyricism. Stylistically, she traverses everything from Brill Building Pop to modern-day trip hop, showing a real knack for pairing a song's anthem with a generational theme. All four LPs are true achievements in the realm of more sinister-sounding pop, each of them worthy of a few moments of your time. Enjoy!
Albums: Love Is Not Pop (2009), From the Valley to the Stars (2008), El Perro del Mar (2006), Look! It's el Perro del Mar! (2005)
Tracks: Change of Heart, Glory to the World, From the Valley to the Stars, Somebody's Baby, Candy, Party, God Knows (You Gotta Give to Get)
Stockholm-based balladeers, Irene, are the happiest people on the planet. Led by singer/songwriter Tobias Isaksson, the band sings songs of adoration and love, or rather, infatuation. "I wanna thank you / I wanna thank you 'cause you light up my life" sings Isaksson and company (8 times!), on Motown-inspired "By Your Side." Since these guys are 30+ years old and not ten, I have to assume they've never had their hearts broken. Or maybe, love in Sweden is something so profound, us jaded New Yorkers can just never understand. I'd like to, though. It's probably this wish to experience a fraction of the emotional euphoria that Irene exhibits that renders these songs so addicting to me. Like a chick flick, there are no surprises here, only happy endings. Ignore 'pragmatism' for just a few minutes and embrace the inner optimist. I'm sure there's a little left deep inside. :)
Albums: Long Gone Before Summer (2007), Apple Bay (2006)
Tracks: By Your Side, Out of Tune, September Skies, Back to Me, Always on My Mind, Stardust
