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The Genius Of Komeda

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Komeda

 
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The Genius Of Komeda
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Avg: 4.0 (54 ratings)

  • We Say...

    b>An eclectic bag of Swedish indie-pop
    Drawing unabashedly from fellow indie-popsters Stereolab but also from Siouxsie & the Banshees, jazz, garage rock, lounge, Devo and other largely bygone pleasures, Komeda remains among Sweden's most eclectic indie-pop acts. On their American, English-language debut, analog synthesizers and cheesy organs bleep and drone alongside nervous, choppy guitars. Female vocalist Lena Karlsson croons with detached, non-rock smoothness, but more excitable male band members take the occasional cameo, pointing in directions that those other Swedes in the Hives would soon follow.

  • They Say...

    A product of the same Swedish pop scene which spawned the equally effervescent Cardigans and Cloudberry Jam, The Genius of Komeda is another outstanding export, a bright and charmingly kitschy ode to space-age popcraft. Comparisons to Stereolab are certainly warranted, particularly on tracks like "Disko" and "Frolic" (with their "ba-ba-ba" backing vocals and futuristic effects), but Komeda's melodic smarts and cinematic aesthetic are all their own; tracks like the opening "More Is More" and "Rocket Plane (Music on the Moon)" are immediately ingratiating, and further buoying the album is the band's sharp, tongue-in-cheek wit -- theirs is a joke well worth being in on.

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