The guitar-saturated intro pushes the thinking to the founder of the boogie-rock and (only?) prominent figures AC/DC, but the far too stressed bass and the by youth recreation centers emphasized guitar sound, Angus Young should never sign. The singing is drowned in a powerful reverb which takes the point out of the otherwise competent verse-and refrain melody. Speaking of the refrain you directly learn it and it is set in the back of the head. It occurred to me some days afterwards I sometimes hummed on it. The instrumental intermediate part lacks meaning and the guitar solo leaves a great deal to be desired. As for the rest my thoughts go the country queen Dolly Parton with a song with the same name – is this a pastiche?
A cheerful synthesizer intro and you are suddenly transferred 20 years back in time crawled into a game pad to a Nintendo 8 bits in the middle of Kid Icarus, Solstice or any other classical video games. Nevertheless the illusion is breaked when the rest of the comp comes and rush the tempo slightly. Inevitably bring to mind the song Bredäng Centrum by Doktor Kosmos on the disc Reportage! From 2002. The thoughts also go to German industry rock as Kraftwerk. A competent drummer and bass player lift the tune on the end and the refrain feels natural and captivating along the end of the song! However, a quick fade-out in the end feels not so punk!
The guitar intro pushes the thinking to the sound of early Iron Maiden, but also reminds of when my brother connected his Gibson-copy to a Peavy Bandit 112 65W and pulled heavy high volume through the walls. The guitar subject in the beginning which returns at the end is really good. The bass is always in the front of the sound which contributes the driving character of the tune. The gnawing and everywhere present hi-hat which lay above everything else becomes after some minutes rather nerve-racking. The song does not have much of singing melody but is based sole on the instrumental parts. The crushed keyboard carpeting in the background reminds on when hard rock bands in the middle of the 80’s wanted to broaden their sound and put synthesizers in the comp to thinking more to look good and put impressive guitar solos. The concept works also in this sound context!
The song should work on max volume in any A-tractor in this country and the text row on that the singer loves the Swedish people brings the thoughts to the national romantic rock which were made commonly famous by band as Ultimathule in the 90’s. Nevertheless it is doubtful about the message is the same for Järntvätt! The guitarist tips about that he has listened to old honorable rock-'n'-roll in the short intermediate plays.
A hasty, beautiful and well thought-out scoop intro starts up the song.
The sound reminds on the masterpiece of Iron Maiden Somewhere In Time from
1986 although much more untidy. The song style and also the song itself
reminds strongly on Motörhead. The verse promises well at the refrain,
but just the first refrain feels little as an anticlimax. At the second
refrain it comes loose and the singer delivers with desperation the fateful
title “Hon e me barn!” (“She’s pregnant!”). The O-ohande in the background
feels right located – of course in good old hockey choir style! The outro
with same synth-guitar sound as the intro rounds off the song in a beautiful
way.
Something unusual as intro on acoustic guitar sets the song out. However there are not many seconds before the electric guitar comes and untuned takes over. When the verse has started the acoustic guitar is vanished into thin air in the sound all the way to the calm instrumental intermediate part which comes after 2 minutes. Nevertheless this part lacks meaning except to give a half tempo rest in the hot quadruple time throb. The lyrics is censored which deaden some of the effect of it. Again the thinking goes to Motörhead maybe because the drummer’s feeding style reminds strongly on Mickey Dee.
Here we have a vocalist who lives up to her name and keep in tune in a captivating manner. The soft guitar intro with bass and drum marking in each quarter makes the thinking go to a chewing goods train on the American lowland. The song is cut and a bad guitar fill begins part two which is instrumental going round and round in some minute with a guitar solo you have heard better. The feeding plectrum bass in the end get me thinking on a 10-12 liter bus diesel engine in operation and that makes me wish the tune should not end so fast!
This nowadays classical is a song you like in the same way as you like Eddie Meduza; You accept it and pay tribute to its cult! However, the musical quality can really be discussed. The drum sound is unworthy and this song takes the concept of out-of-tune-singing-pop to a new level! By the way, this concept the son of Göteborg Håkan Hellström has made popular in the 2000 century. But it is uncertain if he got his inspiration by Spy, which despite the cheeky band name (Spy means vomit) get me to, really throw up.
The song starts with a good old drum/bass intro followed by an almost flamenco inspired guitar comp. A lavishly fitted out singing arrangement in the refrain with background singing emphasizes the impression considerably. The tune and perhaps above all the sound reminds on TV-music a la Georg Riedel, Jojje Wadenius and others. It is not a little honour to be named in the same context as these giants. The mastering leaves a great deal (nothing) to be desired, but at the end the instrumental part lifts the tune and you wish it should not end as fast…
Something as unusual as a clever combination of bass player and a drummer raise the impression immediately. This is covered by cookie chocolate crisp guitarist who instead of associate to a hard loaded Marshall amp rather move the thoughts to a Panasonic tape-recorder turned all too high all to many times! The exaggerated reverb on the singing does absolutely work and creates a beautiful sound. Here we are not pained by a lot of lengthy instrumental parts despite a little prick in the middle. The song says what it wants and that is in a short time! The only complain is perhaps the bad English accent which the whole band is responsible for …
The title is at least puberty and also the intro which probably is a sampling in a church of Linköping area. The song comes sneaking in and sounds almost as Black Sabbath in a couple of steps before the verse rally begin and then a completely new genre reveals: Punk-melody-black-metal! It is like Dark Funeral or Slayer meet Dennis och Dom Blå Aplesinerna in an upbeat-duple-time-dead-metal-polka! In some way they manage to do it and it sounds trustworthy! The refrain is directly settled and it nibbles in the frontal bone! The lyrics as for the rest leaves something to be desired but anyway the verse feels just like a transport distance between the sprightly refrains.
Johnny Rotten drives that song intro. No, but the fact is that the singer in the beginning of the song sounds as the punk legend from Sex Pistols. It is impossible to perceive a word in the text but the good fleshy carpet by guitar comp makes the tune worth listening to. The BB. King guitar riff is worth remembering and it does not take long time before the song is ended. Thanks!
Some seconds of noise and it is almost a melody in the comp …
A long instrumental intro reminds in sound on Ebba Grön work in the end of their career. The short by bass intensive part just before the refrain sounds like Kiss from late 70’s with Gene Simmon’s plectrum feed of bass. The refrain sits like a cap and stick to. Then, when you think the song is ended it isn’t, you get a couple of extra refrains into the bargain!
The almost progressive intro make you think on industry rock, somewhere in a German steelworks Zeb & the Fast Ones play. In “Första klass” it is much of text that shall out in short time and there shall also be room for 2 guitar solos with rock character and a guitar get a footing at the end, here it’s getting on fine! The guitar sound reminds on Ace Frehleys and it is probably a Les Paul copy pushed through a Marshall amp that the guitarist plays. In the end you get a few seconds hockey choir and if you didn’t know better you could think it was the robbers in an adaptation for the screen of Ronja Rövardotter by Tage Danielsson who shouts around the table in the robber’s castle.
In the above mentioned steelworks Zeb & the Fast Ones continue
with 2000år. The tune is built by guitar riff and comp more than
the singing but despite that they get a political message about the risks
with industrialization and the modern computerized society which certainly
appeared frightening when the tune was recorded.
In the end there are some beauteous sound effects or shall it represent
something that blast away? No doubt it was really hi-tech with sound effects
at that time!
Cake tins! A part of the sound image definitely is cake tins! Also a lot of other kitchen utensils seem to be used in the percussion! Innovative. Perhaps this was what Pink Floyd tried to achieve when they once in the 70’s after Syd Barret left the band decided to try to do a disc without their instruments, just play on stuff they could find at home. To the story it belongs that they gave up and recorded a real disc but the ambition was there! Perhaps Baader-Meinhof has walked all the way? “It comes blood when we spew …” The message is as clear as daylight!
The first seconds you wonder on which planet you have got into, but then the theme itself starts and suddenly you are captive! Unison guitar and bass and also castanet in the top of the sound picture: unbeatable and underrated. The acoustic guitar in the right channel which under the first turn of the theme completely attack in flip out characters and during the second theme (and henceforth) lay on pleasant backbeat chords is in some way the whole remainder! The result is a mix of Russian folk music with balalaika and bouncing Cossacks and flamenco. Of course flavored with punk sound!
Classical punk sound, classical punk speed, classical hockey choir in the refrain, classical hot-tempered drummer and a guitar player who hardly get time! Classical!
The guitar intro sounds like someone who tries to play violin on a cat, untuned is just the first name! Then something follows that probably is a melody, perhaps also a verse and a refrain, whereupon the song is finished with an inappropriate outro. This is not good!
The first seconds sounds as a train on distance. After about 15 seconds it is more like being run over by the same train. And so cowbell and I am sold on it. ”Fellas, you got what appears to be… A dynamite sound here. But, I could’a used a little more cowbell!” All tunes with cowbell land up higher in the ranking! But seriously, which langugae does he sing on? Perhaps it is the Bad Bones sound but the singing drown in the guitar carpet which by the way is rather okey. And sure everything is finished with the good old feedback howling from the guitar amplifier!
Only the band name ”Kurt i Kuvös” (Kurt in Incubator), priceless! The shortest intro in the world succeeds by an out of tune singing followed up by the refrain where the other band members add up in a choir. The song is punk short and the lasting impression is that it is as punk rambling, which really makes the song almost full of go! The mixing does not lack anything else, sound reminds here of Kiss in studio in the 70’s, except for the singing is a little bit too low mixed.
Different from the other song, this song is put together much better than the previous and there is also a place for a little intermediate play! The fact is that this both swing and stick together! There is also a hint of refrain which is set in memory – can this have been the earring of the 80’s in Linköping?
After some seconds somebody spew on the microphone and then the
song starts. The intro sound is really Motörhead crop out. Fleshy
bass and muich drums! When the singing comes I think on the adaptation
for the screen of Ronja Rövardotter by Tage Danielsson. Some kind
of quasi-tenor-robber-choir, perhaps in the Mattis castle shouts out the
theme of the song.
Nix, Kurt I Kuvös doesn’t convince here despite entire 4 chords
in the outro. Punk record!
At the intro it feels I am in any death metal play in Borås. Overloaded guitar distortion sound above the drums in huge speed! The verse has some kind of call-and-response thing between two singers there one of them sounds like picked from some kind of nazi-film with propagating shrill voice! The fact is that this really, at the least by sound, this could have been Slayer or Dark Funeral. This time we are served with, wait for it, two guitar solos! Beautiful!
The intro and the verse is together in a beautiful way and for the first time after about 10 songs on the disc it feels like a song with a clear structure in classical rock way with verses and refrain! The guitarist serves solo also this time and he manages to convince! It reminds on good old 70’s rock a la Led Zeppelin or Black Sabbath despite they had charismatic singers, which you honestly miss in Meat Eaters!
What we have is a terrific bass roll which takes the whole sound picture with some kind of guitar pushing in background… Over all this Arne Weise lay and talk …
No. This song has one thing and that is exchange of tempo, which by the way is well managed- But … No.
Ulf Dageby on drugs seems to sing lead in Zpamhead. This is true punk with intermediate guitar with badly adjusted Marshall booster. For once it seems like the voice is high in the mixing and the singing can (almost) be perceived. It seems like the master volume wow a little on this track.
What makes you know that it is not Ulf Dageby who sings in Zpamhead
is when one to say the least rough Östgöta- dialect presents
the song! This song has an important message, namely: Do not scratch the
lacquer! Comments are unnecessary.
