Posted on 07/28/2005

 

You know those words that you've heard but you aren't exactly sure what they mean, like "pedagogue"? For me, "soporific" has always been one of those words. Thankfully, the dictionary provided me with a straightforward definition ("sleep-inducing"), which makes it the perfect word to describe Layyourbattleaxedown, the latest from the Concretes. This album is soporific as shit. It's the musical equivalent of watching golf. The Concretes are a cheeky and weird multiple-member band from Sweden. The band has gained recognition in America since the release of their self-titled Astralwerks debut last year. Their music takes some of the catchiest elements of classic American pop (bright guitars and ethereal background melodies) and combines them with stuff Belle & Sebastian did already. Layyourbattleaxedown is more or less a collection of B-sides released to capitalize on their stateside popularity (one of their songs was recently featured in a Target commercial). This album is really slow and it makes me want to pass out.

Since the most noticeable thing about the Concretes' music (at least on this collection) is the thin and lethargic vocals, it's easy to finger singer Victoria Bergsman as the reason why the album lacks any tangible energy. It wouldn't be fair, however, to place the blame entirely on her. Bergsman actually has an interesting voice, but doesn't exhibit enough range or emotion.

I think the problem is that there are just far too many people in the band. In addition to Vicki, there's Maria, Martin, Ulrik, Lisa, Per, Daniel and Ludvig. Their best move would probably be to look to their native predecessors and make some cuts until it's just two guys and two girls like Abba or Ace of Base. Also, consider replacing one of these girls with Robyn.

While a slew of folk-influenced music has pervaded college radio stations in the past year, the Concretes really aren't introducing anything new with this album. Aside from a solid cover of the Rolling Stones' "Miss You," the album's 12 tracks merge to form an almost stagnant moat of sound. The band features an impressive collection of instruments (check the depressing Southern church organ on "Lady December" and "Snad Free Ride"), but they're unable to break free from a repetitive waltz tempo.

Shit's boring.

Once in awhile, they exhibit signs of life: "Shuffle," the album's closer, finds the crazy Swedes trying their damnedest to convince you that they're more than just good background music. Unfortunately, the only discernable benefit of listening for an extended period of time is getting the opportunity to measure your heart rate at rest.