Kent Proves Brit-Pop is for Swedes, Too!
Written: Aug 10 '04 (Updated Aug 13 '04)
|
Product Rating:
|
|
|
Pros: Appealing, lovely pop tunes...
Cons: Sometimes a bit too unassuming...
The Bottom Line: If you enjoy indie pop music and are looking for something comfortable but new to try, look to Kent for a bit of inspiration.
|
|
|
| lambchops's Full Review: Hagnesta Hill - Kent |
Call me a sucker, I don’t care. I love all things Brit pop. Heck, my tastes have even expanded elsewhere across Europe to include countries as diverse as Scotland, France, Norway, Germany, and even Sweden. As far as Swedish pop goes, the modern band that comes to mind most often is undoubtedly the Cardigans. Strangely enough there is another talented Swedish pop band worth exploring--Kent.
Formed all the way back in 1990 in Eskilstuna by a pair of school chums (singer-songwriter Joakim Berg and lead-guitarist Sami Sirvio), Kent took shape when drummer Markus Mustonen, bassist Martin Skold, and guitarist Martin Roos (later replaced by Harri Manty) joined. The band went through many changes and eventually settled on Kent as a name soon before signing with RCA. The band quickly began recording and released their first single in 1994. They followed an eponymous debut in 1995. As the years passed, Kent became increasingly popular in Sweden. Both 1996’s Verkligen and 1997’s Isola put the band solidly atop the heap of Scandinavian music.
Despite their many regional accolades, Kent didn’t make much impact until the release of 2000’s Hagnesta Hill and 2002’s Vapen & Ammunition. My own journey with Kent began with the aforementioned Hagnesta Hill. It is an easy to like although not particularly challenging album in the same vein as decidedly British entities Travis, Manic Street Preachers, and Muse. The songs are as comfortable as a ratty old pair of Converse One Stars--only sans the dirt haze and offending odor.
Singer Berg flaunts the same boyish grandeur that Richard Ashcroft (The Verve) long ago perfected. His bandmates envelop this voice in layers of carefully arranged and perfectly performed pop. Keep in mind that this is not the American version of pop, rather this is the much deeper and much more textured European sibling. I like it--quite a lot actually. In fact, listening to Hagnesta Hill begs the question: “Why haven’t Kent hit it big in the United States?” There’s no good or rational answer to that inquiry.
So much of Kent’s fourth album is worth mentioning. The songs are by and large good--sometimes even slipping over the edge to great. To listen to Hagnesta Hill is a pleasure; the songs flit from the stereo to my ears with ease. Nothing about Hagnesta Hill is even close to bad, rather I’m mildly unimpressed now and again with the lack of musical variation. Despite my slight hesitancy, Kent is the kind of band I can’t help but recommend to even passing fans of indie-pop.
As with many acts, Kent lumps their best songs toward the start of their album. This approach is at first very satisfying, but in the end somewhat frustrating. Kent shines brilliantly with a pair of opening tracks. The King of Dead is a driving affair complete with memorable chorus, sweeping melody, and appealing instrumentation. Revolt III is, however, the superior song. The fast tempo and invigorating arrangement work perfectly together. At the same time Kent is intense and moody, light and chipper. These contrasts are impossible to ignore and draw me even further into the whole experience.
Continuing on, Music Non Stop and Kevlar Soul are both outstanding songs. The former infuses dance while the latter is a slower and more thoughtful track. However it is Stop Me June (Little Ego) that is probably the truest ballad and ranks as one of my personal favorites. The fact that I enjoy the differences in the first five songs goes to show that had Hagnesta Hill continued similarly I would have been better satisfied. The first hint that maybe not everything is perfect doesn’t occur until after the glorious Stay With Me and the refreshingly acoustic and emotional Quiet Heart.
Just Like Money is boring. It draws upon earlier songs that lean toward dance. I’d be fine with that approach if the pacing and melody were up to snuff, but they are not. Nor do I really appreciate the lackluster and melodramatic Rollercoaster, a song that positively reeks of sentimental hooey(a personal pet peeve). Hangesta Hill goes downhill all too quickly with Protection, Cowboys, and album closer Whistle Song all failing for much the same reason as Rollercoaster. As much as I despise the direction of the latter third of this album, I can’t say the music is bad--just boring and somewhat cliché.
Kent impresses me with Hagnesta Hill. It is a good, nearly great album if you look at the first seven or songs. If you take into account the remaining six tracks, it comes off as a bit boring but inoffensive. If you enjoy bands like those mentioned above, then you will like this album and for that matter band. Entertaining material from a largely ignored band.
Rating: 3.5 stars
01. The King is Dead
02. Revolt III
03. Music Non Stop
04. Kevlar Soul
05. Stop Me June (Little Ego)
06. Heavenly Junkies
07. Stay With Me
08. Quiet Heart
09. Just Like Money
10. Rollercoaster
11. Protection
12. Cowboys
13. Whistle Song
Recommended:
Yes
|
|
|
|
Epinions.com ID:
lambchops
|
 in Music |
 in Books |
 - Top 50 |
|
Member: Shelly T.
Location: Metro Detroit, Michigan
Reviews written: 1162
Trusted by: 833 members
About Me:
Georgian Bay, here I come! Gone until July 13.
|
|
|
- Add to My Yahoo!: 
- Add to Google Homepage: 
© 1999-2008 Shopping.com, Inc.