Titta/Lyssna: Erik Edsbagge Engström – Sista Silvret

Tidigare, vilket nu känns som för evigheter sedan, har vi skrivit om Erik Edsbagge Engström och hans upptåg som Ereden och E.E. Engström & The Twin Street Tree Trunk Love Ensemble. Det är inte mycket vi kommer ihåg, men det som etsat sig fast i minnet är för det första – välkomponerad och ambitiös musik – så det blir lite déja vu när han upprepar sig med “Sista Silvret” med sitt eget namn. Musiken påminner om en mer psykedelisk version av vad som slentrianmässigt kallas för “americana” – fast istället ersatt med “nordicana“.

Man blir upprymd av den nostalgiska samplingen i “Göteborg“, ett släng av det gråare men numera historiskt otillgängliga delen av Sverige. Trots att han avviker från det mer instrumentala måttet av singer-songwriter och inte drar sig från att låna in lite synthmusik, så passar det bäst med den mer lågmälda och tillbakadragna tonen i låtarna som helhet – även om vissa individuella låtar är bättre än andra – så blir det bäst när det lyssnas igenom helt och hållet.

Även om det rent generellt blickar framåt, så tar man ändå med sig mycket av det som varit, vilket blir fint på något sätt. Det är beviset på att man inte bara kan tro på “utveckling” som sådant, utan man måste veta var man kommer ifrån. Ni kan titta på musikvideon för “Hjärtat Därhemma” här ovanför, och lyssna till albumet i sin helhet här nedanför.

Americalight: Cathedral Pearls – Off My Chain


Americana, is a word that can be stated to be an resemblance of this band. Probably not as much when it comes to their music, but they’re from that continent on the other side of the world. The band I’m talking about is Cathedral Pearls, whom are from Spokane. They’ve released their debut-album “Off My Chain“, which is a sincere trip in between folk and indie, with hints of new wave. All with a spiraling experimental vein, but with a spoon, as they’re simply cooking the drug – inserting it when they say go. Most of the music revolve around both instrumentals, but a high stake in their bet is their vocalists, which consists of an equal part of women and a single man. With their voices, they sure overshadow their instrumentals, as there’s only some parts in the songs that reflect their ingenious bet. Unfortunately, the music itself is guided into a folly of generic. That ultimately destroys the symbiosis of what’s unique with the music at hands, which is a shame to be honest. But you always have something to pluck out and consider to be great. Once a medley of voices comes on, your brain simply catches its breath and you make a sigh of total relief. The atmosphere of the songs are very American, they have that certain aura which you can sense with your ears. You pick up the different characteristics which make it American. A well-polished sound-scape, their dialects of course and the general feeling can be related to folk songs from that part of the world. This is also one of their nemesis, which needs to be eluded. There’s some amount of cheesiness between the layers, but that doesn’t really matter in the end. The overall picturesque music that they deliver are considerably gentle, sincere and enacted with a great amount of precision. With that in mind, we might just set out for the sun. Their release feature eight songs, which have been hastily recorded, and were released on the 14th of May.

Synthlight: Scammers – Conventions

Scammers J-card

Wonderful, is what the wonderfully eccentric is. Sometimes, but not always. This is, however, true for the main subject in this matter, whom is called Scammers. He’s a single entity – and his real name is Phil Diamond, whom is currently residing in Kansas City, in the United States of Americana. He’s releasing a new album titled “Conventions“, pretty soon. Quickly, he might actually be sorted under the label of eccentric! Which is where the home of his heart is, if you wouldn’t want to call his endeavor a little bit experimentalistic, too. This is synth-pop with roots in nostalgia, featuring a conveyor-belt of solemnly irritating, but appreciative retro approach. Some of the subjects in the lyrical content of his music are degenerate, some aren’t. This isn’t something that hasn’t already been wildly practiced by the most decadent, but it has a certain vibe with his monotonic voice in the nonmonotonic landscape of sound. Don’t get me wrong, he can contain all the melody in the world within the grasp of his voice – but there’s a stalemate between the two, a paradox if you will. It becomes a convention in itself, while trying to stray away from the current “norm” or conventional paradigm. Oddly enough, it also challenges my perception of synth-pop and how it should be, or what it shouldn’t be. Some of the songs might be lurid and virtually deceptive, but some are the purest form of an unsettling mood in the concrete jungle we’re currently abiding to. There’s a lot of things going around, presumably if he continues to stray into the experimental vein – we’ll loose him, or he’ll loose himself in a couple of dog-days. But the strong, and conveyed influence of experimentalism is what makes it greater than it would’ve been. Otherwise, we could’ve thrown generic sounds at our ears for days on end. So, in a sense, it’s an appreciated moment with a total of nine tracks. It’s going to be released by the Danish label Skrot Up on the 1st of May.

Recension: The Jax – Rest Your Case (CD)


Likt många andra band, så har The Jax från Sverige fått för sig att köra på det gamla hederliga rockstuket som sannerligen är populärt i dessa tider. De är ett relativt nytt band från Jönköping, som består utav Hampus Steenberg, Gustav Wremer, Sebastian Klarström och Sebastian Ogenblad. Deras debutplatta “Rest Your Case” är inte endast en, ur rockvärldens mått mätt – generisk platta. Nej, den är mycket större än det omfång som moderna rock’n’rollare utger sig för att sakrosankt försvara. Inte för inte, så rör de om i grytan ytterligare och cementerar sig själva. Resten är historia.

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