How about the new song? Well there is not much to say actually. The tune is more up tempo than what she used to cook. But it is still 100% brilliant. Crazy how she is able to build a strong atmosphere with few sounds. I put right away her upcoming album as my most awaited one for the weeks to come.
Remixes and covers have been engulfing the whole web for many years. To be fair, I am not fond of them. But sometimes it works. Like the PINK MILK’s cover of Foreigner’s “I want to know what love is”.
You take an 1980s tune and you switch it into something dark as hell. “You” switch it? Well, “Pink Milk”, aka Edward (from Riddarna) and his wife Maria, did it! Since anything linked with Riddarna always ends up in this blog… Enjoy!
There is this guy. His name is Calle Olsson. He is mostly known as a member of the Bear Quartet, even if he works with numbers of great Swedish artists/bands (such as Fireside or Hello Saferide).
Mister Olsson has also a solo electro project called Paddington Distortion Combo. Some say Paddington DC. Others say “PDC”. But most of people say nothing cause they just never heard about it. A shame. It has been running for many years. And I have actually mentioned it in this blog like hundreds of times. Love is leukemia was even my favourite album of 2008.
Since Calle is also “the guy who sings in PAPER” which just released a crazy album that I mentioned in my last post, I guess time has come for a little U and UN reviews. Well, maybe not “reviews” per se. It is hard to review those sonic UFOs. Let’s just say I give you a hint about them.
So, in 2015, PDC released two albums: U and UN. He has actually already cooked three albums before, called UNIT, UNITE and UNITED. So I guess there is something “conceptual” behind this project. More important – at least, for those of you who already know PDC – there are big big differences between his first releases and his latest ones. I mean his debut The Sun is down and the sky is grey was nearly a “pop” album (kind of noisy though). U and UN are not. We can describe them as two obscure electro records with obsessive loops and no lyrics. Not very mainstream if you know what I mean. Probably a little bit weirdo if you are used to listen to the radio. But weirdo with attitude. With a point of view. Kind of Twin Peaks meeting LCD Soundsystem. Electro art. Or something like that. I don’t know. I guess one could say PDC gives machines a soul.
If you cannot picture what I am babbling, just listen to the tunes Kinder Kraus (from UN) and Mute Ants (from U) featured in this post. Or listen to the whole albums through Spotify. In three words : beep, krrrrr, zzdfrt.
When the first track of an album is named The Magnificent Descent Of A Lowland Arpeggiator I guess you can think there is a lack of simplicity in the music. When the first track of an album lasts 10’51 I guess you have the right to wonder if the band behind it is megalomaniac. Or if they have an appetence for commercial suicide. I mean “The Magnificent Descent Of A Lowland Arpeggiator”?? 10’51?? Seriously?? You tell me that and I picture right away never-ending guitar solos. Or even worse: a concept album!
First PAPER album, An Object, was smashing. Second one Mischmasch was pure genius (my fav album of the year 2011). We design the future is therefore their third album. It’s gonna be released by Novoton in two days, on Wednesday 14th of October. It sounds different than their previous ones but keeps on somehow going in the same direction, with the same radical spirit. And no, this is not a concept album actually.
When Come On, the first single, came out in July, I wrote it was “less punk” than their usual tunes. I was not wrong, but actually the whole album is much much more extreme than anything they did before. More diverse. Probably post something, but I could not state post what. Post punk maybe. Or maybe just punk. For instance, in one of its best song, the very noisy Friah, (which lasts 12h50…), Calle Olsson repeats at the end, all over and over again, “Du är så jävla dum i huvvet” (“you’re so fucking stupid” in English) while some politicians are speaking in the background. And We Hold You Responsible is a straightforward hardcore hit in the face. So, yeah, this is not a punk record per se but PAPER are angry and politically involved.
Not sure radios will enjoy the album though. American Bible might be the only obvious (and great!) single. The other songs are somehow obscure. I can imagine though that if you enjoyed their previous records you’re gonna like this new one, probably the more adventurous and ambitious of their career.
More important, this is to me an album. A proper album, I mean. It seems obvious, but I cannot see much proper albums these days. Sure, there are records featuring songs, but albums? Am not too sure. Here, there is clearly a point of view behind it. And a coherence. And numbers have not been chosen randomly (in this respect, the album had to begin with The Magnificent Descent Of A Lowland Arpeggiator and to end with 16’24 long Rushmore). That’s why I tend to consider it as the most fascinating Swedish album of this year since it might be the only proper album of this year. And if it is not easy to love it at first listen, you are gonna find it hard to give up listening to it eventually.
Last time I mentioned Nina Kinert, she just turned into Nina K and just released a new song called Impossible. She answered few questions of mine telling me an album was on its way. Good news it is now officially planned for November. On Ice she called it.
She gave me a glimpse of this album defining herself as a “diva”, which is funny. And true. Cause ladies & gentlemen, I think we have here a pop diva who fully accepts to sing pure eighties influenced pop music with confidence. As she pointed out in my latest post: “For the upcoming work I’ve gone back to my root-references a lot. The 80’s and 90’s artists I listened to and sang along to in my room. My childhood heroines Mariah, Enya, Whitney, Sade, Sinead. The divas are my comforting power animals”.
Well, Feels better is probably less a “hit single” than her previous Impossible, but it confirms the new music direction Nina is taking. In this respect, it can probably be seen as the end of the transformation of Nina from Kinert to K. The folk caterpillar she was is now a pop butterfly. I might miss some of the fragility of her voice and the more discrete production of her debut, but I confess am quite curious to listen to the whole album to see if On Ice is too nice.
This blog is dedicated to Swedish music artists only. If you are the owner of one of the files, photos or videos which are on my blog and want me to put them off, please mail me (my email address is at the top of this blog in the lovely letter pic)