Whoa. Been a while, huh? Did you even notice I haven't posted since July? I'm still alive. I moved to a new state. I got a new job. I moved to an area where I don't really know anyone, so maybe this will mean getting back to regular posting? Ah, who knows.
Anyways, I'm sitting here at work trying to power through this mental block, and I'd have to say my main motivator are these Swedes Gaphals playing their invigorating, electric, unrelenting punk rock into my eardrums. Screw coffee or an energy drink, just put on Gaphals' 2013 LP Regimen and feel the adrenaline rise. Give it a spin below.
WHAT ARE THEY SAYING? Actually it doesn't really matter (and I haven't studied Spanish since sophomore year of college), but no matter as it's really all about the danceable blast of wild psychedelic garage rock heat that doesn't let up over a short but effective two minutes and 51 seconds. Imagine if latino pop fell into a rough crowd, a rough crowd by the name of Garage Rock, which just so happened to be a gang that dabbled in the free, somewhat frenzied spirit of psych rock. That'll give you an idea of Stockholm's Sudakistan and the beautifully loud "El Movimiento (Teenhäze Edit)." Sometimes the best things in life are brought to us by volume, mounds of dirty distortion, and more volume.
Although the name is rather simplistic, Francis has a lot to their name. Take for example "Traktor," the first single from their latest EP, This Must Be Blood (Strangers Candy Records). It's a lovely pop song wrapped in a haze of near dream pop guitar that darts over the rattle and roll of percussion and thumping bass.
Brother-sister duo Dag för Dag (Sarah and Jacob Snavely) are from America, but now call Sweden home. The cultural difference that results from such a major move isn’t too, too radical, but it’s certainly something that can affect a person’s perception of the world. Having lived in two hemispheres, the Snavelys undoubtedly see the world in a much different way than, say, someone who’s hardly traveled outside their home state. On their debut album, Boo, Dag för Dag translate their nomadic spirit and global vision into something that aims to be anthemic while maintaining its personal, intimate touch.
When one considers the magnitude of miles, there's a crushing sense of defeat that floods the mind and drowns the heart. The distance can make the heart grow fonder, but it is also capable of convincing a person to let go and move on. In a subconscious way, the heart and mind work to fill this void with such thoughts; they aim to keep the faith or turn the back on the past. So much time is spent digging for hope and strength that, before you know it, one loses sight of the present; time slips by without a chance to experience what happens right now.
Old Amica is an acoustic/electronic duo from Sweden that consists of two men who live miles apart from one another (Umeå and Stockholm, to be exact). On record, the band sounds as though they are in the same room, but their music captures that immense power of distance. With the ambient chords, drones, and flourishes of synthesizer, delicate acoustic guitar strumming, and shy, vulnerable vocal deliveries, Old Amica express heartbreak in a simple yet eloquent manner. Their bare-bones approach is masked by the magnitude of their sound -- it might be quiet and relaxed, but it is quite spacious. They prove that honesty, while a simple concept, is something that transcends any and all boundaries.
Peter Bjorn and John are set to release their sixth studio album, Gimme Some, on March 29th. The band have shared two songs from the album, including the absolutely stellar "Second Chance". The first time I heard it, I fell in love with it -- the production, the hook, the tones, the energy. It's the reason why my phone background is currently a three-thumbed hand. Needless to say, I'm pretty excited for this album. In case you happened to miss it, check out "Second Chance" below.
Peter Bjorn and John - "Second Chance"
"Second Chance" further proves the theory that the Swedes know how to craft truly great pop music. This song, obviously, isn't straight up pop, but the infectious energy and melody are undeniable, and will stick in your head like the memory of heat in the dead of winter -- or Charlie Sheen catchphrases ("Winning!," "I've got tiger blood," "Yeah, I'm on a drug -- it's called Charlie Sheen!" etc.). And, hey, if it doesn't buy a plot of land and move into your head upon first listen, you'll probably be suffering withdrawal symptoms if you happen to go through extended periods of time without hearing it.
What's more, the music video for this song is just as great as the song itself. Do you like streamers? Confetti? Paint? Reverse it. What? View the magic after the hop.
Singer Jacob Snavely sings around the borders of the proper pitch, capturing the essence of impending chaos. Bass and guitar riffs work their way down as if to suggest a gradual slip into darkness -- a perfect support for Snavely's free yowl. There's a chill that creeps into the song as it progresses, one that draws you deeper into its percussive web. It moves with a slyness, under the cover of an ominous mood. Watch out.
Dag för Dag (Swedish for "Day by Day") is brother/sister duo Sarah Snavely (electric guitar, keyboards, bass, violin, vocals) and Jacob Snavely (bass, electric guitar, percussion, vocals).
Watch the video for "I Am the Assassin" after the hop, which was directed by the Shout Out Louds' Ted Malmros.
Losing a member, especially a singer, can certainly affect the character of a band. Following the departure of vocalist Victoria Bergsman, who kicked off a solo career providing vocals for Peter Bjorn & John’s breakthrough “Young Folks,” The Concretes restructured: drummer Lisa Milberg assumed lead vocal duties and the band set out on a new creative direction. WYWH is the second album with Milberg leading following 2007's Hey Trouble and sees the band moving further away from their more upbeat, twee sound.
With WYWH, The Concretes have begun to craft a new, moodier sound, adding a melancholic undercurrent to a hybrid of indie pop, disco, and Eurodisco. Milberg’s gentle, yet sweetly seductive vocals help to produce a groove-oriented melancholy, one that defines an inner struggle to find balance between the dark and light. The album finds the band working more of a laid back vibe, often emphasizing mood over hooks. In a relaxed, reflective way, WYWH pits the upbeat rhythms and spirit of disco/Eurodisco against the brooding side of indie pop retrospection.
There's something rather mystical about Fredrik. The Swedish duo (now trio) gently fit warm, melodic phrasing into the expansive sonic landscapes, one conjured up by chilling atmospheres and intricately layered instrumentation. The source of their intimate intrigue lies deep down inside some untouchable corner of the soul. Fredrik create textually rich songs that are easy to lose yourself in -- places to escape the outside world. With mystery on their side, the group casts out hypnotic spells in the form of experimental ambient folk that is just as much focused as it is far-reaching.
It's so cold outside. The air seems thin, almost as if it could crystallize at any moment. Nothing can protect against the frigid atmosphere. Anything running through the mind before the body exits to the outside is immediately forgotten, overtaken by a mental push to feel warmth -- even though it's nowhere to be found. And yet, deep down, something warm keeps us from death's door.
The above songs are from Fredrik's new EP Origami, out now both digitally and as a part of The Kora Record's limited edition series of 7th anniversary 7" EPs. Fredrik's third full-length, FLORA, is out on March 29, 2011 through The Kora Records.
Watch the group's NPR Tiny Desk Concert after the jump.
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