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.
The Verdict: Disco-Rock that sometimes overdoes it.
Not A Fan – Bogi Bjarnason Rating: – For someone whose life revolves around metal, trying to get through an entire Skálmöld album in one sitting is like subjecting yourself to Chinese water torture. Throughout the whole, endless run-time, the only thing I could think was, “What did those poor instruments ever do to you guys?” When the choruses kicked in, I was left wondering if Einar Bárðarson—or whoever is behind this marketing ploy—had not fully understood the results his “define: metal” Google search. Basically, the utter dreck coming out of my speakers sounds like the whole album was mixed
Sóley’s latest outing, ‘Krómantík’, surprises. The EP departs from her usual pop-tinged songwriting, instead delivering a very short collection of ghostly piano music written for several art projects. It is in essence a multi-soundtrack album, and its title is an appropriate portmanteau that sandwiches together “chromatic” and “romantic.” All of the tracks on this sixteen-minute EP revolve around an old piano, seemingly left to go out of tune and gather dust. Each piece channels composers known for their piano music, especially the late Romanticists of the 19th century, like Rachmaninoff, Shostakovich, and Prokofiev. “Stiklur” is winding and chromatic; “Kaósmúsik” and
‘To Them We Are Only Shadows’ is the latest album from veteran Icelandic musicians Worm Is Green, a band celebrating its fourteenth year of operation. The group uses electronics and samples along with vocals, drum pads, and bass to create a blend of austere textures, often with trip-hop influences. On ‘Shadows’, we hear a wide range of shifting moods, sometimes even abruptly within individual tracks. Nearly unaccompanied vocals might pause for a moment before choruses of synths enter; some glitchy beats might follow, only to conclude with a bass line and backup harmonies. ‘…Shadows’ also offers a surprising dryness; there
What Kvöl’s new EP lacks in musicality is made up for in character. The Reykjavík-based post-punk band, which counts noted “Salvation Soldier” Þórir Georg as a member, released their hazy four-song debut this past July. The album is dark and New Wave in aesthetic, constituted by programmed 808-style drumbeats; groggy, doubled guitar lines; and indistinct lead vocals. The reverb is cavernous and plentiful, yet analogue in nature. The occasional synth pad makes an appearance, grounded by bass lines that sound as if they were played through a guitar into broken recording equipment. Each of the EP’s four songs bear meaningful
From start to finish, Grúska Babúska’s wobbly, otherworldly self-titled debut is a pleasure to experience. There is something definitively narrative and theatrical about the ten-song collection, whose eclectic instrumentation includes flute, ukulele, guitar, synth, melodica, music box and a range of pitched percussion. The theatrical nature of the record derives from the constant starting, stopping, and resetting that punctuates each of the songs, resulting in a rare disturbing—yet captivating—listening experience. The arrangements are masterfully crafted, and chaotically layered without feeling crowded or pretentious. The record’s opening track, “Slagarinn,” begins with a minimal synth line, building in texture and dynamic with
BÖRN’s self-titled début is what some of us have been desperately waiting for: an album that properly echoes the misery of living in Reykjavík. Unlike mediocre bands who sing their happy tunes in broken English—with heavy doses of repetitive claps and heys!—BÖRN manage to portray Reykjavík as it really is. It’s neither cute nor civilized; it is in fact a typical Icelandic podunk backwater town (“krummaskuð”) on steroids. Gray, wet and windy. This Reykjavík death punk band initially called themselves NORN (“WITCH”), and in 2011 released a self-titled cassette of some rather noteworthy tunes. When a local black metal band