Such a nice night for mid-November at the 400 Bar. Athletes in Slacks (myspace) warmed up the crowd with their laidback loungey harmonizing sound that only two keyboarders and a guitarist can produce. The band claims all their songs are about love, except later on their hour-long set, they introduced a song about hating two guys from New York. They did finish strong with a cover of INXS's "Never Tear Us Apart", and that's what really matter.

The first time I heard about Swedish band Little Dragon, was in January. Ceji was really into them. Since we generally like Swedish bands here, I did try and keep up with their whereabouts. As it turns out, they're in the middle of their tour through the US to promote their sophomore album, Machine Dreams. Although the band's been here already, they confessed last night that this was their first time in Minneapolis.

They didn't do Ceji's favorite "Recommendation" song, but I though hands-down their best song played was "After The Rain", complete with an amazing ending.

From what I heard from their live set, their new songs seems to drifts from the R&B and Jazz influence to more electro and beats. I think the combination works well for them, especially since I like their big beats/electronica sound.

Little Dragon

So one thing I should point out is that singer Yukimi Nagano's dance moves looks very martial and yoga-like. She's often doing this tough smirk and her fists in boxing stance. It's as if she's saying, "bring it on". The way she dances and handles herself, she seems like she was born to be an entertainer.

I've been to a lot of shows lately, and I can tell you that this was one of the best shows yet. They're heading their way to the East Coast, so definitely check them out. If they're not heading through your city, you should check out Machine Dreams, out now on Peacefrog Records.

I've previously mentioned that I came across Anna Ternheim mostly because of my obsession with Swedish pop music. Ternheim's name was attached to another Swedish musician, El Perro Del Mar, who did a brief tour throughout the US a few years ago.

To catch everyone up on this singer/songwriter, she quietly debut her album Somebody Outside in 2004 and was recognized as "Best Newcomer" on the Swedish Grammy and P3 Guld award. For Separation Road won "Best Female Artist" and "Best Lyricist" after two other nominations for the Grammy. So clearly, she was well-established in her hometown.

Unfortunately, repackaging her US album Halfway to Fivepoints with the best bits from her two albums, released last year was a good introduction - but it didn't exactly set the US on fire.

I hope all that will change with producer Bjorn Yttling (of PB&J) on her side for Leaving on a mayday (US release August 11^th on Verve Forecast), will change all that. In fact, it already won Best Female Artist" and "Album of the Year" in her home town.

I felt, based on the two US albums is that Yttling understand that Ternheim has a beautiful voice. No vocal trickery (goodbye, autotune) her voice comes through piercingly clear. Any effort to bring in orchestral seems to be met with it being only used in background arrangements. Check out her single, "What Have I Done", which was recently remixed by El Perro Del Mar, it shows off both Yttling's organization around Ternheim's angelic vocals.

Lyrically, I feel that Ternheim seems to write a lot about running away, unfamiliar locations, being hurt or "damaged", to yearning for unobtainable desires. Very personal lyrics, and I'm curious to see how that is interpreted when she plays some these songs live, particularly on my favorite track, "Black Sunday Afternoon". Hopefully, I'll get a chance to see that when she comes here in Minneapolis on October 9^th with Loney Dear* and Asobi Seksu).

Leaving on a mayday is out now, you can find it at the usual places, amazon or itunes.

* PS, I have for ages thought that name was "Lonely Dear", until I was schooled a few months ago.

As expected, a pretty quiet evening at the Beat Coffee House in Minneapolis, with an all-star cast of women-singers and songwriters.

Starting it all off is Aria Souder, who started off by herself and then gaining a cellist, then by the time "The Experience" was played, she gained herself a drummer (who incidentally was "working" at the Beat). She started off quiet, but ended loud... before going back to her solo self on the last song.  She seems quite happy on stage and I get the impression that she's been around the stage and the Beat for a while now.

The Dirty Darlings brought a much needed upbeat energy to the bill. They also brought friends and families, who may have been in book clubs and math leagues. The Darlings sounds very garagey and definitely twee-ish. While they may be a little young, they certainly have an ear for great indiepop melodies and it should be interesting to see how these BFFs may evolve as a band.

The highlight of their set is their cover of Lykke Li's "Dance Dance Dance". It's too cute when Bri introduced the song: "It's by Lykke Li. She's Swedish. Er..." (as if no one's heard of her... as you know she's on my top 5 for 2008). Their version is definitely more fun and 'dance' and less tribal.

With just her amp and guitar, Holly Newsom did a series of "short songs". She seems to have a lot of songs. Possibly because she's normally in a band called Zoo Animals? I'm assuming she also writes and sings for this band? If not, well I think she should be. She has a very interesting way of singing and talking. Like a lazy southern sound.

Sydney Wayser ♥ the Beat, Minneapolis (9/16/09) Bella Koshka♥Beat, Minneapolis (9/16/09)

Sydney Wayser's setup was quite a change from the minimalistic Newsom. We were wondering about all the fancy mics and recording equipment, but it all made sense when she tells us that if you give her our email address, she will send out information on how to download the recording of this live show.

The prospect is kind of neat: you can re-live Wayser's sunburnt or her endorsing of the $10 Indian food buffet. I guess food is not that inexpensive in New York (although when I was there, I had the best food from Indian to Egypt to Italian, since NY is a mashpot of ethnic cultures.)

Bella Koshka sounds like a very melodic European gypsy gothic music, with a bit of triphop thrown in! I think most of their set is from their 2008 debut album, Slow Dancing on the Ocean Floor, and every song heavily relies on Hilary Davis's violins and backing track. This proved to be a problem towards the end, when they had some minor difficulties with their background music not coming through.

Check out this video of Bella from last night, from minnscene.com:

Bella Koshka - "Matinee" at the Beat Coffeehouse July 16th

I noticed they're playing with UltraChorus at the Nomad World Pub in a few weeks (Lara, who was at last night's show also reviewed UltraChorus)... so that upcoming show should be interesting.

You can pick up Slow Dancing on the Ocean Floor at amazon.

ED HARCOURT
edharcourt.com ♥ myspace ♥ twitter

Ed Harcourt is nothing short of amazing when he's playing live, possibly due to his many years of opening up for REM, Wilco, Beth Orton, Supergrass, etc. An amazing multi-instrumentalist, he mostly relies on his piano and strong vocals.

Recently, he composed the score for the "Donnie Darko" sequel S Darko, which I gave it a good review... despite the critics panning the movie. Russian Roulette EP is the latest release, around or after sxsw.

Like many of his previous songs, these songs on the EP tells little stories. I think sometime his personal life shows through in these songs, for instance the musical roller coaster "Caterpillar" reflects the singer's emotions of highs & lows when his newborn daughter Roxy was placed in an incubator.

It's the first song I've written about her. She was a little ill and we waited for her in the hospital for the chrysalis so we could take her home.

-- Ed Harcourt

These are great piano songs, they sometime sound a bit like old fashion television theme songs (accessible to anyone that hears it). There is one mountain folky-ish song called "Creep Out Of The Woodwork", which may be because of the country-sounding intro.

My favorite is "Sour Milk, Motheaten Silk", whose music was inspired by "Cypress Hill and Japanese children's shows". The violins towards the end by his wife, Gita, added a nice touch to the song.

You can get Russian Roulette EP from Dovecote Records, where you can also purchase his last album, The Beautiful Lie. Although it may sound gimmicky, you can get the EP via USB in the shape of a bullet. It's cool!

Harcourt will next appear in London at Standon Calling on August 2^nd.

VERISMO verismetal.com ♥ myspace Verismo - Failure Verismo is a New York-based thrash metal trio, consisting of Stephan (vocals/guitars), Vinny (bass) and Tamas (drums). What I thought was funny is that they puke at the "throes of indie bands, experimental rock outfits, and techno-infused acts continue to battle it out for recognition in the highly-competitive New York City music scene" - all too true regarding New York's indie scene. Well metal's still huge all over the world, but it's a question of taste... and personally it's not my cup of tea. But if you like a bit of a harder (but not ear-punishing as some metal bands I've heard) guitar-noodling of Verismo, you can download their latest EP Greed for (ironically) free, if you sign up on their mailing list: FREE - "GREED" EP Friday, July 10, 2009 We want you to have it, listen to it, import it to your iPod, share it among your friends...etc. Remember a full length coming out at the end of this year! Get the EP absolutely free by signing up to our mailing list, 2 options: - Join our mailing list thru our myspace profile. - Come to www.verismetal.com and click on Mailing List.		THE RADIO DEPT. theradiodept.com ♥ myspace ♥ twitter The Radio Dept. - David The Radio Dept. - Deliverance From Sweden and our favorite Swedish label, Labrador comes The Radio Dept.'s David EP, released sometime in late June. We've previously mentioned Radio Dept. before and Randy describes This Past Week as: "it's shoegazey, melancholy, a bit subdued, but also lush and really well-layered between the vocals, guitar, keyboard, samples, and drum machine." I think anytime I read layer and drum machines, I just think of lo-fi, but they aren't. They're definitely dreamy in some chases. The single (4 tracks) are a quick listen. The songs are easy-on-the-ears, a little too relaxing with the mostly-instrumental "The Idle Urban Contemporaries". Obviously the main and title track "David" is the best among the songs. However, I didn't particularly care for the Rice Twins remix of "David", which is too jumpy and that use of vocal autotune drives me nuts, in my opinion. It could've been an interesting song if you haven't heard the original mix. But then again, I've mentioned before that I wasn't keen on remixes either. David EP is available now from Labrador.
BRAIN CHILDREN myspace.com Brain Children - Guts The children are Mikey Young and Max Kohane, based out of Victoria, Australia, who spent their years as punks and releasing DIY punk records (under such acts as Eddy Current Suppression Ring and Agents of Abhorrence). A lightning bolt must've hit the both of them as they are drinking their "Fosters" and they became a fishnet-wearing disco superhero duo called Brain Children, complete with the red Brainsmobile. They've just released a self-titled CD/12" and based on the six tracks, it's pretty much what you would expect out of a disco dance/synth band... ultimately sounding like they're from the 80s. There's definitely some bassy funk elements, especially on the "Guts", which I think there are actual girls-vocals on it. Either way, if you like what you heard, check out more at their myspace. It's easy for Australians to order the Brain Children EP directly from their record label Stained Circles (THEY SELL TAPES! TAPES!!! It's like 1986 again). Outside of ozland, you can only order 7" only, and you must use paypal.		GALA galasound.com ♥ myspace ♥ twitter Gala - Freed From Desire The Un-Remix Italian pop singer, Gala Rizzatto, or simply known as Gala, gained a bit of fame over the UK (appearing on Top of the Pops), as well as playing with Janet Jackson and U2, quite a feat. Not really sure what happened, but she moved to New York, leaving her UK record label behind. Her latest release is an EP called Tough Love. This release is really polished, a very professional produced little six-track. For the most part, I love pop music, and since Gala's background is from Italy, she certainly knows her eurodisco music. If you don't like eurodisco, then turn away now, but if you dig Sophie Ellis-Bextor or Kyle Minogue, then you'll love Gala. Pretty soon, you'll find youself dancing uncontrollably to "Freed From Desire The Un-Remix" and "DKOL (Different Kind Of Love)". Watch out for that distinctive yip-yelp she does on "Tough Love". I see that she'll be heading over to Moscow for a live show at the Forbes Club on September 18th. You can follow her on Twitter, which she will occasional take some pictures on her walkabouts.

In the rose-colored world of indie pop, where the legends of Amelia Fletcher, Pam Berry, and Rose Melberg loom large, it’s easy for any girl with a pretty voice, guitar, and a pixie haircut to get ahead. The four girls behind Liechtenstein have all of the above, but on their debut album, Survival Strategies in a Modern World, they add their own distinct take on the tried and true shambling twee record.

Liechtenstein’s influences are clearly palpable within each song. The fuzzy guitars are straight out of a Black Tambourine EP, while the schoolgirl vocals could easily fit in a Softies track. But upon further listens, Liechtenstein set themselves apart with layered harmonies, foreboding lyrics, and a darker edge that may scare away the more fragile pop fans. Opening track, “All At Once” combines moody melodies with a thumping bassline that your lame uncle would probably describe as “funky.” The song immediately lets listeners know that isn’t your typical sunny pop album.

Sure, there are songs about cats and flowers, but the band has a knack for infusing even the most infectious songs with a gloomy undertone. The air of mystery might have something to do with my inability to understand most of the lyrics. On the uplifting “Postcard,” I can make out bits and pieces about running away and not leaving a note but all attempts at interpretation are lost when a tide of sugary harmonies comes crashing in. It’s not much, but I get the impression that the song isn’t just about not leaving the cat on the stove.

Liechtenstein is perfectly capable of writing the catchy, upbeat tunes, as seen in “Postcard” and “Roses in the Park,” but it’s on the slightly darker songs where they set themselves apart from the numerous bands they seem to be paying tribute to. The sense of urgency in tracks like “Reflections” and “Sophistication” provides a nice change from the overly cutesy landscape of today’s pop. The more mellow songs also offer an interesting contrast to the girls’ deceptively heavenly harmonies. It’s an added bonus to songs like “By Staying Here (We Will Slowly Disappear),” where, combined with the jangly guitars, morose lyrics, and handclaps, it is basically twee kryptonite.

In many ways, Liechtenstein don’t stray too far away from the typical indie pop formula, but they do tweak it a bit to produce an album that is both sweet and sour in all the right places. If you own at least seven cardigans or you’re just a sucker for anything Swedish, chances are, Liechtenstein is your dream band. But even if you’re a testosterone-fueled alpha-male, it’s pretty difficult to resist their charms.

Hey guys, I just got back from a vacation to the North Shores for the Memorial weekend holiday. I have been up there several times, mostly for hiking purposes. This time around, we spent a chunk of the day in Duluth, which has this small touristy section (exit 256B), which may turn around that my opinion that Duluth has nothing to offer (other than the band Low and Bob Dylan).

Anyway, although fun and exciting, I'm an old man and will be recovering from my trip - so I actually have no reviews prepared. So, you know what that means? News and gossips!

KATE MOSS TO WRITE NOVEL
Whoa, supermodel Kate Moss is literate? Well, she won't be doing all the writing, she's hiring Louise Wener (ex singer/songwriter of my favorite band Sleeper) as ghost writer. All this was first reported by the "highly reputable" the Sun.

As soon as the story was published in late Monday (May 25, 2009 at 6:17 PM), the story was picked up by a ton of "newspapers", including the NME, which Christopher said was "the musical equivalent of the sun".

Talking to Jon Stewart (Sleeper's guitarist), he basically could not confirm (or deny!) this, so in my opinion this gossip sounds legit.

So where are they now? Last month, Q Magazine, ran a story on Sleeper - lots of new details, including the elusive Diid Osman. I knew a lot of post-Sleeper split stories, but I'm not sure if it was public knowledge.

In addition to Stewart's jokingly regretful cover of Blondie's "Atomic" and working at the Brighton Institute of Music, his latest project is as the musical supervisor for the movie Telstar the Movie.

THE PIRATE BAY THEME SONG
Swedish "pirates" from the Pirate Bay was recently found guilty for, er, piracy and plunder. Although they have appealed the case, I don't think it will end in their favor.

Anyway, I got news from respected Swedish record label, Hybrism that Montt Mardié (monttmardie.com/myspace) have written an anthem for the Pirate Bay. You can torrent the song from thepiratebay.org/special (if you don't have bittorrent, you can find it online!)

An artist has got to make a living just like everybody else, there's no doubt about it. And these are tough times, believe me I know. The thing is though, if I were to go back in time, 10 years or so, and tell the 15-year-old version of myself that over a night, 60 000 people had heard one of my songs, the first question I'd throw back at myself wouldn't be "how much money did I make?".

Don't get me wrong, I love money and I want to make a lot of it. Bathe in it just like Uncle Scrooge. But money isn't the main reason why I write songs. First and foremost I want people to hear them.

Times are so strange at the moment and a lot of people are angry and upset. Still, for each day that goes by I get more and more convinced that we shouldn't try to fight the future, we should embrace it. Try to see opportunities instead of catastrophys.

I've written a song. I call it "We're All The Pirate Bay". It's free and nobody will ever have to pay for it, though if you incist you are welcome to make a donation!

Take care, Monty

Ironically, the theme song doesn't sound like it was stolen from anywhere else.

In the “About” section of Little Big Adventure’s website, sole member, Magnus Sätterström, explains that the majority of his songs are about “low self esteem” and “hate.” Pretty common stuff, but considering that these topics are being interpreted through the meticulous scope of Swedish indie pop, things are bound to get interesting.

The Hateful Eye EP features four Casio-centric songs about upset stomachs, fishermen, and uncomfortable situations. Opening track “Happiest Times” lives up to its name, as it is the most upbeat song on the EP – despite the predictably depressing set up (I remember you were once my love…). The repetitive but beautiful tinkling piano provides a lovely contrast to Sätterström’s mumbled vocals, and the melancholy lyrics strike a perfect balance between humorous and heartbreaking.

Sätterström readily admits to not being a “skilled keyboard player” and acknowledges the use of a noise filter to hide technical flaws and noise glitches. His Labrador labelmates, such as Acid House Kings and Sambassadeur, are known for their flawless production, but I can’t help but wonder if Sätterström would actually benefit from letting a few of those flaws and glitches seep into his sound. The lo-fi feel to his songs are definitely apparent, but on a monotone track like “Any Questions?” a little sign of human life behind the robotic production would be quite welcome.

The last track, “Son of St. Jacob’s,” is a fitting end to the EP, as it evokes the same earnest feeling of the opener. Sätterström’s self-deprecating and dry humor adds a layer of warmth to the electronic pulse, and I found myself listening to the EP on repeat, allowing the songs to blend together seamlessly. With such quietly infectious melodies, it’s easy to overlook the two themes of hate and low self esteem and simply enjoy it for what it is: a guy and his keyboard.

Love in October is an indie band, formed in Minneapolis, but ultimately moved to Chicago. Todd's previously reviewed their record, and I've seen them live before. This time around, they are now a five-piece band, complete with new extra guitarist, keyboardist and new drummer. What hasn't changed is their Swedish heritage pride, which they proudly display their yellow and blue Swedish flag where ever they play.

Seeing them at both The Minnesota History Museum and at the 400 Bar, is like night and day. While their daytime show was a bit toned-down (hey it's tough to rock out when there's marbled statues and parents and children all around), their 'adult' show was all-out rock-out-loud. They certainly seem more comfortable and in their element in the dimly lit venue.

Love in October Setlist ♥ Minnesota History Museum, St Paul (05/09/09)

MINNESOTA HISTORY MUSEUM
Prior to the start of their daytime show, Erik came on stage to talk about why Sweden exported so many (good) music. They are the third behind the US and England, as far as music production goes. This is a feat, considering the size of Sweden is only the size of California. He goes on to talk about how this was possible due to the Swedish government decided to put .7% into the arts in the seventies. Of course, being a long-time Swedishpop fan, I knew all these facts, however, I don't think the general public knew about the Swedish arts & music program.

After ten minutes, the rest of the band joined Erik on stage and they did the indie rock thing. And yes, I was head-bopping and foot-tapping. Quite embarrassing when drummer Ivan Sosa said, "I want you to enjoy the show - like THAT GUY!" and pointed to me.

They did three songs in Swedish (including the "VI Går Till Stranden" song from their debut LP), which fit in the whole Celebrate the European "Year of Creativity and Innovation" event that was being held that day. The highlight for me was their cover of Weezer's "Undone (The Sweater Song)". Yes, I I added my own dialogue to the song: "Hey did you hear about the party? I think I'm going, but my friends don't want to go. Can I get a ride?"

INTERMISSION
Warp speed to 10:30 pm (yes I did go out to dinner and saw the new Star Trek movie), and I've ditched the 400 Bar to see Kate & Lara as they leave their show at the Cedar Culture Center (this is only practically only a few doors down the road). I wasn't really expecting to see them actually, I had noticed a bunch of people leaving the Cedar so I went over there to see if the show was over (it was). I got first hand report/review from them about the show and we talked a bit about Chalakah and 'you got moted'. Kate has a band called Crush on Kristi, and they're playing June 12th, I think. Oh also, apparently 'beard rocker' bartender from the 400 bar was seen at the Cedar.

Love in October Setlist ♥ 400 Bar, Minneapolis (05/09/09)

400 BAR
Love in October took off their kids gloves, you would almost think they were two different band, based on the morning and night shows. Like I have previously mentioned, they look and felt much more comfortable. Even their playing and movement style was as different as their set list for tonight. Most of the set includes new (untitled) songs.

The highlight of the show was when they asked the original Minneapolis drummer, Travis (?), to come on stage to drum for one of their older songs. He definitely still remember the beats and did a pretty outstanding job.

They seem really excited about a brand new self-titled EP coming out on May 26^th, I am assuming available on CD and definitely it's going to be on vinyl. The cover artwork features a 9 year old Erik, the shirt was recolored to red stripes instead of blue. More details about buying their records and seeing them live are all on the official website.

For years, my Scandinavian Holy Trinity has been set in stone: Jens Lekman, Sondre Lerche, and Erlend Øye. These three men embody everything I love about Nordic pop: catchy melodies, depressing lyrics, and above all, debonair looks (in a lanky, pale, probably-got-beat-up-after-school kind of way). But after last night, I may have to add another Swede to that equation: Emil Svanängen, a.k.a. Loney, Dear.

I had previously seen Loney, Dear (Yes, it’s “Loney,” not “Lonely.” Sorry, Spellcheck.) at Soundfix Lounge, a far more smaller, intimate venue. It was a lovely show, but I wondered if it would translate well into the much bigger Music Hall of Williamsburg.

Lia Ices at Music Hall of Williamsburg, Brooklyn (05/05/09) ♥ photo by Laura Loney Dear at Music Hall of Williamsburg, Brooklyn (05/05/09) ♥ photo by Laura Loney Dear at Music Hall of Williamsburg, Brooklyn (05/05/09) ♥ photo by Laura

Things started off slowly with opener, Lia Ices. Her gradual but fierce, piano-centric ballads reminded me of slightly more subdued Frida Hyvönen. In a way, her sparse instrumentation and morose lyrics set the mood for the rest of the night. The audience remained politely quiet through most of her set, as Ices maintained an enchanting, often hypnotic stage presence. The whole girl-with-a-keyboard outfit has been done several times before, but there’s something strangely haunting about Ices that sets her apart from other singer-songwriters.

The solemn mood was somewhat lifted when Loney Dear took the stage, opening with the steady-building track, “I Was Only Going Out,” from his latest release, Dear John. Several other songs followed a similar format, and in the larger setting with his full band, the tracks were able to flourish into lush, sweeping mini-symphonies.

Svanängen’s band (which included a keyboardist who eerily resembled a somber Andy Samberg) contributed greatly to the “bigger” sound not usually associated with Loney Dear’s brand of thoughtful pop. Whether it was the more electronic tracks from Dear John or the earlier, orchestral tracks from Loney Noir and Sologne, the band added an exciting, almost urgent edge to Svanängen’s confessional lyrics.

Loney Dear - Airport Surroundings Loney Dear Tour Dates 05/08/09 Rivoli Toronto, ON 05/09/09 Schuba’s Tavern Chicago, IL 05/10/09 Cedar Cultural Minneapolis, MN 05/13/09 Crocodile Café Seattle, WA 05/14/09 Doug Fir Lounge Portland, OR 05/15/09 Bottom of the Hill SF, CA 05/16/09 Spaceland Los Angeles, CA 05/17/09 UCSD San Diego, CA See Also Jens Lekman http://weheartmus... I'm not gonna claim to have the most macho music collection in the world---nay, my playlists are ...

My initial concern of Loney Dear’s quiet demeanor clashing with a larger venue was quickly put to rest. Svanängen has a knack for endearing and warmly funny stage banter, and within moments, the audience was smitten. He even managed to pull of the impossible: an audience sing-along that was not completely awful. Choosing the simple na-na-na-na chorus from “The Meter Marks OK,” Svanängen led the audience like a junior high choir teacher. Considering that the crowd that night mostly consisted of PBR-slinging, hipper-than-thou Brooklynites – it was quite a feat.

Of course, none of it would have been possible without Svanängen’s unassuming and shyly charismatic personality. Whether it was through his heartfelt lyrics or random witticisms, he gave off an immediate sense of likability. It is somewhat telling that the two grown men (both in vaguely corporate attire) behind me had the following conversation midway through the set:

Guy #1: I haven’t been this happy since I was a kid.
Guy #2: This is just beautiful. Beautiful.
Guy #1: I know. I just want to… touch him.

I know how you feel, Guy #1. And just when Svanängen couldn’t get any sweeter, he ended the show with the fitting track, “Dear John.” With just him and his guitar on stage, he sang, “Sleep well, tonight. Sleep while you can.” It was a beautiful ending to an intimate and charming show. So charming, in fact, that Jens, Sondre, and Erlend may have to watch their backs.