As you saw, I have not posted for a while on this blog. It does not mean Absolut Noise is dead. It is just on hold since I am currently spending (a lot of) time on other personal projects. I’ll be back though. Stay tuned.Tweet
Ok then, time for the yearly Absolut Noise summer break. This past year was crazy. Busy. Sad. Let’s enjoy a little bit of sunny days, would you?
Before that, just a last hint about a record released, beginning of June, through the young label Scandinavian Crush. It’s a compilation. I never mention compilation in this blog. And it is a Paddington DC record. I always mention PDC records in this blog.
Its name? “A collection”. This is not a sexy name at all, but it prevents from saying “best of”. And that’s quite cool, because this is definitely not a best of. This is more an attempt to give listeners a hint about what PDC is, i.e. an unsane/diverse Calle Olsson very personal project. Hard to sum it up. I tried here or there.
And now, ladies and gentlemen, summer time.Tweet
I might have kept the best for last. Soviac, then. Remember? I have always been fond of them (since 2007, to be sharp). Even picked their “Back album” as my favourite one of the year 2012. It took them four years to give birth to “Göld” and the result deserves the wait (Listen to it on Spotify // Get it through iTunes).
Let’s be straight: this 2016 album sounds quite different from their previous record. While the “Back album” was a great piece of pop, “Göld” is heavy, nasty, grungy. A bit like some of their old tunes (I’m thinking about “Halte Jick” for those of you who are Soviac fans like I am). I mean, if you like noisy stuff, you’d better check this out. Melodies remain there though and are never buried under the stormy guitars. It holds a bucket of hits, such as “Shesodc”, “Golddigger”, “Strill” or my fav “Ducklin”. It stands as the most-glorious-Swedish-album-with-heavy-guitars-of-this-current-year. Or something. All in all, a must have.Tweet
Promise & the Monster? Long story! I totally fell in love with her debut album “Transparent Knives” released back in 2007, when she was still signed on Imperial Recordings. Later, in 2011, she released a great but surpriseless second album named “Red Tide”. And this year, came out “Feed the fire”.
What has changed between her debut and this come back album? Nothing much. Maybe it is a little bit less minimalist, but the sound remains mysterious, very David Lynchy (in this respect, the “fire” to feed refers probably to the famous Twin Peaks “Fire, walk with me”). And since I am into a name dropping phase, I realize I was quite correct when I first label her as the “new Stina Nordenstam” in my first post dedicated to her.
“Feed the fire” is therefore a cinematic piece of music. A proper album that puts you into a unique atmosphere. A beautiful gem frightening and delicate at the same time.Tweet