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Music
Review
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Singpore Sling

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Published April 3, 2009

After the swaggering binge that was Life Is Killing My Rock & Roll and the crisp urgency of Taste The Blood, PD&D is as confident, laid-back and self-assured as Singapore Sling have ever been, and continues to cement their reputation as one of the most robust, colourful and, above all, sonically interesting Icelandic rock bands.  It’s one of those great albums that, although it lacks a distinct hit or a specifically memorable song, it makes a powerful, consistent whole. It really is a win-win situation: if you hate the Sling, then you’ll just continue hating them for PD&D, and if you love the Sling, then you’ll continue loving them for it. The weird, vacuous sounds of Singapore Sling’s post-apocalyptic road trip, fuelled by a full tank of acid and cocaine, continue to thrill us as we stare empty-eyed into the headlight-lit night and barrel on to nowhere in particular.
  • The Verdict: Picks up right where we left off on the last album, so no real surprises, but that’s pretty much what everyone wanted, right?
  • Listen: www.myspace.com/singaporesling

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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

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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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Japanese Super Shift’s ’47’ is an unexpectedly emotional album. The record, which marks the newest creation from producer-instrumentalist Stefnir Gunnarsson, offers a healthy mix of dance-y instrumentals and mature, lyrical songs, representing a multifaceted album that feels as though it could fuel an entire evening, from the first drink to the sombre walkhome. The lyrics are thoughtful and well-crafted, and a comforting break from what we have been trained to expect from contemporary electronic music. Stefnir’s production chops begin to warm up four tracks into the album with “Voxotronic,” a nearly four-minute epic of drum-and-bass-heavy lurching, reminiscent of something a

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Home

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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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