…”The hateful eight” is a rare treat.

The hateful eightDeeply disappointed with “Django unchained” , it took me a while before getting around to watching director Quentin Tarantino´s  latest oeuvre. The take on a traditional western set in a wintry Wyoming starts off with breathtaking scenery shot in wide-angle Panavision. A wooden Christ on the cross covered by drifting snow. A stagecoach making it´s way through an icy expanse and the visual punch of the beautiful but sparse landscape. Long, lingering takes establishing a feeling of being on your own in a cold and hostile environment. Tarantino has a story to tell, and the surroundings are at the same time bleak and great-looking.

Amoral bounty hunter John Ruth is transporting murderer Daisy Domergue to the city of Red Rock to be hanged, when he is joined by two men with agendas of their own. The haphazard team takes refuge in Minnie´s Haberdashery to avoid an advancing blizzard, and when they find a group of men already in place, the story changes into a tightly directed chamber drama steeped in echoes of the American civil war. In some ways reminiscent of “Reservoir Dogs” and replete with Tarantino stalwarts like Samuel L. Jackson, Tim Roth, Kurt Russell and Michael Madsen, the further 3+ hour story twists and turns around themes of trust and deception.

Violent, but not excessively so in today´s meaning of the word. That said you can philosophize about the development of violence in movies. From the horror of someone being shot and falling down in the classic films of the 50´s, to today´s high-def exploding craniums and shot-off scrotums. As well as the change from yesterday´s moral hero to today´s ambiguous anti-hero, always looking out for number one. For film-makers, here´s a brave new world to deal with.

While forging a career cannibalizing movie history can sometimes make Tarantino look like an intellectual fake, his mastery of the medium lets us forgive everything. Who cares if his later movies are DJ mashups of huge amounts of genre films, as long as he pulls it off this beautifully.


…2016 w 24 – Album of the week is “Pop Crimes” by Rowland S. Howard.

Rowland S HowardWithout a doubt one of the most influential guitarists of our time, Rowland S Howard started his career in Melbourne, Australia as part of the nascent punk scene with his group The Young Charlatans. Writing what some consider his most well-known song “Shivers” as a mere 16-year old, he became one of the formative members of legendary band The Birthday Party, as they morphed from their earlier incarnation as The Boys Next Door. While Howard wanted to do the vocals himself, Nick Cave pulled rank as the singer of the group and did his own version. Originally thought out as a song about the strongly felt but rapidly changing and risible feelings of emotionally instable teenagers, it was initially banned from air-play because of the mention of suicide in the lyrics. Later it became a strange and uncharacteristic hit from a band that went on to alienate everyone looking for easy pop.


Moving from Australia to London, The Birthday Party developed into one of the most important bands of the post-punk movement, with an intensity and aggression still unsurpassed. The extremely original guitar sound that Howard developed during this period, partly based on the MXR Blue Box effects pedal, had never been heard before and was in some ways a perfect foil to Nick Caves powerful vocals. After moving to Berlin, The Birthday Party gradually turned into a vehicle for the ideas of singer Cave, and the group imploded in 1983. The split gave birth to Crime and the City Solution, fronted by Howard, as well as Nick Cave and the Bad Seeds. Superb live work from both bands feature in Wim Wenders´ classic movie “Wings of Desire”. Such a perfect rendition of Howard´s stage presence and Nick Cave´s intensity, backed by Blixa Bargeld and genius multi-instrumentalist Mick Harvey.



While The Bad Seeds was and still is extremely successful, Howard´s bands (including These Immortal Souls) largely remained a concern for the initiated. Finally taking the step from groups to a solo career, Howard released his first own record with 1999´s “Teenage Snuff Film”, recorded with old comrade Mick Harvey. An immensely enjoyable album of high-quality songs with the trade-mark Rowland S Howard guitar sound and his droll, intelligent and humorous lyrics.



After a hard life of substance abuse Howard was left suffering from hepatitis C, ultimately developing into liver cancer. The recording of “Pop Crimes” proved to be his last, and Rowland S Howard passed away in December 2009, some two months after the release of the album, still waiting for the liver transplant he so desperately needed.

This is one of those great records that fairly few has heard of. It´s reach goes from the euphoric pop of starter “(I know) A girl called Jonny” to the intensely emotional end-of-relation chronicle “Shut you down”. Title track “Pop crimes” perfectly showcases his guitar technique, expressive but still somehow restrained. All about heart and soul over technique. Closer “The golden age of bloodshed” is just so good and one of my favourite songs of the year.

Although aged beyond his years by hard living and disease, Howard still kept his impeccably elegant airs. Dark suit and white shirt, pale chiselled features, black crop of hair and the obligatory cigarette hanging from his red lips. Staggering across the stage while yanking the whammy bar of his trusted Fender Jaguar, face enveloped by a cloud of cigarette smoke. A rock star look to beat all other rock star looks.

I think it´s absolutely great that he got to end his career with a work like this. The product of a rare and singular mind fully exploring his particular brand of genius. Great songwriting, lyrically vital and with guitar playing out of this world. Please listen to this, and if your appetite is whetted watch the “Autoluminescent” documentary that´s available on DVD. They don´t make them like this anymore. Respect, and thanks for all the music.

…so long without any activity.

Fate and circumstance has made this my blog inactive for so long. Meanwhile the world has continued to turn, without me taking the chance of analyzing what´s happening. Well, hopefully this will change  from now on, with my reality being more conducive to reflection and commentary.

Mathias Dahlgren – second revisit.

Mathias DahlgrenWritten about before on these pages, this is an awesome restaurant that has so far done everything right. Chef Dahlgren is a bona fide culinary genius creating contemporary dishes based on the best seasonal ingredients available. Having enjoyed his signature menu “The natural kitchen” twice before, taking my brother and his lovely wife there on a much anticipated weekend in Stockholm was a pretty safe bet. I absolutely guarantee that everyone interested in gourmet dining will be happy after an evening at this establishment.

Upon arrival our company was served a glass of excellent Champagne followed by a short tour of the kitchen, where the first amuse bouches were prepared before our eyes and consumed while chatting with parts of the staff. After being seated at our table additional amuses continued to arrive, with perhaps the most memorable being their by now classic freshly baked rye bread with smoked butter and cod rye. Pretty simple but just so good.

This amazing start was followed by the menu proper, using Swedish produce to create an experience combining elegant simplicity with state of the art gastronomy. Everything expertly executed without ever losing it´s feeling of freshness. Innovative yet never contrieved. This restaurant doesn´t offer any gimmicks, just world class cuisine based on the best raw materials available anywhere. There is a reason behind the interest for Nordic gastronomy. Don´t take my word for it, just go there and prepare to be dazzled.


…malt whiskey from the US? Ok… – American whiskey tasting nr 10.

Deciding to start making malt whisky must be one of the worst business proposals ever. Investing in an operation that will have expenses from day one, but no income for many years seems like something for either the foolhardy or the extremely wealthy.

Here in Sweden, as well as in several of the other Nordic countries, new distilleries face a long period of initial economical uncertainty. The successful ones (like for example Mackmyra)  survive the start-up period by releasing early bottlings of basically unfinished product. The idea of letting the buyer follow the process of the distillate maturing from raw spirits to finished whisky has proven pretty successful. The few remaining of their first preliminary bottling recently sold at auction for just under 900 USD.

Even when making typical American whiskey-types like bourbon and rye (requiring only a comparatively short time´s maturation before marketing) we still see that the companies need to produce something else to tide them over the first years. Examples of this is the High West and FEW distilleries that I´ve written about earlier. In light of this, it´s not that surprising that domestically produced single malt is not a very big thing in the US. A handful of producers exists, and here I´m tasting two of them.

Wasmund´s Single Malt Whisky, 96 proof (48%).

Wasmunds single maltAnother one from the Copper Fox distillery, this time made from locally produced barley malted at the distillery. Like their rye, the malt for this whisky is dried and flavoured in a kiln fired by applewood, cherrywood and oak. Pot stilled in small batches and matured in barrels together with chips of applewood, cherrywood and oak. My particular bottle was from batch no 50 and 42 months old.

This whisky (yes, Bowmore-schooled Rick Wasmund is dropping the “e” for this brew) illustrates the above mentioned problem for enthusiasts turned distillers. By an interesting tweak of production techniques, Wasmund bypasses these type of economical concerns by using a process that gets the wood into the whisky much faster, and thus the bottle on the shelf earlier.

So, what does it taste like? The colour is dark, redbrownish amber. A nose that despite being completely different still shares some components with their rye tasted earlier. Initially there´s some alcohol harshness that quickly dissipates after adding a few drops of water (it´s 96 proof after all). After that follows tones of apple and cherry wood, cherries,dried apple, malt and ending with an earth-like note almost like molting leaves. In a tasting glass with a few drops of water the most prominent components are apple- and cherrywood smoke, with a fairly short finish of dry earthiness and a sort of watery mouthfeel.

It´s really fun to have tasted this whisky but the overall impression is of something lacking depth. I think the fruit wood idea for flavouring the malt is brilliant, but would very much like to taste this distillate after it´s spent 10+ years in a barrel.

McCarthy´s Oregon Single Malt, 85 proof (42,5%).

Mccarthys single maltStarted by Steve McCarthy in 1985 in Portland Oregon, the Clear Creek Distillery  has a long product list consisting of fruit brandies, grappa and liqueurs. Combining European brandy tradition with fruit grown in their own orchards they´ve managed to produce eau-de-vie with reputed high quality. Regrettably, I´ve been unable to find any of these in Sweden.

Their malt whiskey is a group effort with no less than three different parties involved. The peated malt is imported from Islay´s Port Ellen, also used by both Lagavulin and Laphroaig. Widmer Brothers Brewing Company then ferments the malt which is finally distilled by Clear Creek in a pot still. After three years of aging in a succession of barrels of Oregon oak (old and reused, slightly newer, brand new – in that order) it´s bottled with batch number and bottling date on the label.

Straw coloured. The nose dominated by fairly strong peat, with some oak and resin thrown in. Like the Copper Fox a pretty light mouthfeel. Beginning on the light side, the middle then reveals oak, malt and peat. The finish is medium long, dry and with a hint of bitterness.

Not at all bad, but would absolutely like to see what it would become after an additional 7 – 10 years of barrel-aging.

Old world vs New world

HIghland park 25I know it´s very unfair, but I still did it. I compared these two American single malts with a 25 year old Highland Park. Although both the Wasmund´s and the McCarthy´s have distinct characters of their own, both the nose and palate shows huge differences in depth and complexity compared to the Highland Park. If the considerable difference in quality is proportional to the equally significant difference in price is another question. Still, if you´re aiming for excellence shortcuts are not going to work.

…2015 w 11 – Album of the week is “New Gold Dream (81, 82, 83, 84)” by Simple Minds.

Simple MindsSometimes opportunity knocks. Despite not being the hottest act around anymore, it´s still pretty unlikely that Scottish band Simple Minds would do a concert in my relatively small Swedish hometown of Orebro. Still, this is exactly what happened tonight. The show being a mix of new material and old classics, I must confess to letting my mind wander a bit during the newer stuff, while immensely appreciating the numbers forever ingrained into my musical DNA. A professional performance enjoyed by an audience mostly consisting of pot-bellied men with graying and receding hairlines. No disrespect there since I must without a doubt be considered one of them.

Forming in Glasgow as Johnny & The Self-Abusers in 1977, the group quickly changed focus and appeared as Simple Minds with debut album “Life in a day” (1979). New-wave pop dominated by guitars and catchy melodies didn´t really take them anywhere. With echoes from both Magazine and early Roxy Music the album was rich with talent, and as one of fairly few in Sweden who got hold of it early on I still like it very much.

“Real to Real Cacophony” (1979) was released later the same year and showed the first signs of Simple Minds being a band interested in something more than easy pop. The sound being distinctly electronic and the songs more complex, the album ushered in an era of experimentation that wouldn´t stop until the stadium years much later. Next album “Empires and Dance” (1980) developed the band´s sound further into the realm of the more listenable part of the synthesized avant garde, coupled with the burgeoning electronic dance music, rich with melodies and motorik rhythms.

Bringing the group´s talents and diverse influences to fruition, twin albums “Sons and fascination” and “Sister Feelings call” enforced the band´s position as the composite of art rock, avant garde electronics and modern dance music. Belive me, at this point in time listening to Simple Minds was hearing the cutting-edge sniffing at the outskirts of the commercial. So many years later I still remember these albums as important pieces of contemporary culture. Both immensely influential and extremely enjoyable.

New Gold DreamEvery important band has a greatest moment, and “New Gold Dream (81, 82, 83, 84) was this one´s. An instant classic that refined the essence of the group not only to a selection of formidable songs but into a cohesive album of rare beauty and sophistication. When it was released in 1982 nothing sounded as good as this record. Containing an unbeatable row of extraordinary songs, the album displayed the ultimate maturation of everything that had ever been good about Simple Minds. Based on both soulful and funky grooves, these numbers glittered and glimmered with a fresh and seductive melodic modernity that very few could resist. More than 30 years later this music still feels timelessly great.

While follow-up “Sparkle in the rain” (1984) contained several great songs, it ushered in the next phase of the band where stadium bombast displaced artful finesse. From this point on my interest was lost and never regained.










…2015 w 10 – Album of the week is “Double life” by The Moodists.

The Moodists are one of Australian rock music´s best kept secrets. Formed around the nucleus of Dave Graney, Clare Moore and Steve Miller, as Adelaide punk band The Sputniks moved to Melbourne in the early eighties. The addition of bass player Chris Walsh created the original line-up, later enhanced by guitarist Mick Turner. After two singles for the Au go go label the band relocated to London, releasing seven track mini-LP “Engine shudder” (1983),  followed by debut album proper “Thirsty´s Calling” (1984). Despite some critical acclaim not much happened commercially, and as many other Australian bands their time in London was one of abject poverty.

In today´s light “Thirsty´s Calling” could be seen as the record where the Moodists developed their sound, together with producer Victor Van Vugt who would follow the band through their entire career. Mini-LP “Double Life” (1985) was followed by three 12″ EP´s (“Justice and money too”, “Take the red carpet out of town” and “The Moodists”), before the band finally gave up in 1987, with couple Graney and Moore embarking on a diverse career of semi-solo work.

My own discovery of the group was through “Thirsty´s Calling”, which had received generally favourable reviews in the British musical press. With a sprawling rock ´n´roll aesthetic based on prominent bass guitar and Dave Graney´s highly original singing, this was a band with a vision of their own. A collection of idiosynchratic and intense songs creating a sonic landscape all their own.

“Double Life” was made up of equal parts new songs and previously released single material. Made without much attempts at producing and mixing, this still proved to be one of the group´s most enduring moments. Opening song “Double Life” was perhaps the band´s most focused effort ever, with a thudding bass line leading the song through minimal beginnings to discordant disarray and back again. “Enough legs to live on” makes a similar journey through barely controlled chaos. “Chevrolet rise” builds and builds into a beautiful junk sculpture which might just be the most melodic song of the album. “That´s how you´ll cry” and “Can´t lose her” connected to the band´s roots while emulating their earlier sound. Closer “Six dead birds” managed to take everything that was great about this band pushing it forward. A record encapsulating the essence of The Moodists.

The following series of 12″ EP´s lightened the sound and turned the band into a slightly more poppy direction, with the inclusion of former Orange Juice members and horn arrangements from Louise Elliot of The Laughing Clowns, without creating any  commercial success to speak of. Petering out, The Moodists transformed into the various vehicles for Dave Graney and Clare Moore. Yet a unique and influential band largely lost to the digital age. Although compilation double CD “Two fisted art” is heavy on early releases and live stuff, the last chapter of the band is missing. For this you´ll have to go vinyl.