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Music
Review
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Jeff Who?

Published January 12, 2009

Quite confidently, Jeff Who? published their sophomore album
self-titled. Again, it provides everything the band got famous for with
the debut “Death before Disco”. There are tons of catchy hooklines and
pleasant melodies. Disco seldom seems as alive, especially when it
comes to the use of synthesizers and backing vocal arrangements. Jeff
Who? manage an exciting balancing act between modern Brit-pop bands
like Franz Ferdinand, poppier Queen and 80s disco-rock in the vein of
Bonnie Tyler. That sounds cheesy and here is the bad news: it sometimes
is. When the backing choir beeps “She’s got the touch” in the song of
the same name, that is really too much of the disco. However, the band
successfully serves very good songs like “Alain” or the rocking “You
and Me”. This is how “Jeff Who?” remains a good album in the end; you
just have to some of the tracks.


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Hugar

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I found myself six tracks into Hugar’s self-titled instrumental debut before realizing that the first song had ended. This could mean one of two things: either the lack of lyrical stimulation reaching my brain sent me into an inert mental state, or the neo-classical duo, consisting of producer-instrumentalists Bergur Þórisson and Pétur Jónsson, has achieved the type of cohesion that we are so rarely afforded in today’s single-obsessed musical dominion. I choose the former. The band’s website explains that after “many years in all kinds of different bands,” the two of them started putting together demos in 2012 that eventually

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With several albums under her belt, two No. 1 singles on the Icelandic music charts, and world touring with Gusgus as a teen, Hafdís Huld has a lot of previous musical experience to draw upon. She’s nearing her mid-thirties now, but has that certain Icelandic agelessness about her. Hafdís’s solo album `Home’ is a simple collection of original folk songs and lullaby-like tunes arranged and orchestrated by the singer’s partner, Alisdair Wright. The warmer, more densely arranged tracks on the album are the most effective and, with a reverberant piano, guitars and percussion, all very radio-friendly. A ukelele even makes

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Mexico

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Gusgus didn’t seem like a band that was in it for the long haul. Starting as a loosely strung collective of musicians, filmmakers, producers and vocalists, they seemed to the outsider like a mercurial proposition—a bubbling experimental formula with equal potential to expand, evaporate or explode. But after nine studio albums made over almost two dec-ades, Gusgus would be an essential inclusion on the Periodic Table of Icelandic Bands. They’ve not only continued, but thrived, recently coming into a run of form so rich as to become happily confounding. Along the way, they’ve shed skins more times than an old

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In the Eye of the Storm

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Trash From The Boys

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