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Kleerup - Kleerup [Album] Cue the generic bass kick and gentle heart wrenching female vocalist. Yes that’s right it’s that fella that made the really annoying but stupidly catchy tune with the blonde haired timid Scandinavian charmer Robyn. As for one hit wonders this may have been Kleerup’s one and only chance to hit the big time. The song was overplayed to the max, everywhere you went when it first came out you would hear the “it, it hearts with every heart beat”. It’s notably said when creating music find a formula that works and stick to it. This is exactly what Swedish boi Kleerup has done. Now Sweden owns a few unique accomplishments; Hot women and the side parting hair-doo spring to mind immediately, but dance acts that are actually good are rare. At times Kleerup is no exception if not for the contagious melodies and toe-tapping bass beat. Pretty much every track on the record is a simple dance bass beat and gated synth, which is good for a while, but kind of gets tiring. Diversity in an album is very important, unless you’re the next Britney or Maradonna. On which any music that is in their name will sell. With an act like Kleerup, you need to sell yourself on a debut. With Best Newcomer, Best Composer and Best Producer at the Sweden Grammies this year he is definitely kicking up a stink. He certainly hit the nail on the head with ‘With Every Heartbeat’ as mentioned earlier, yet seems to lack the same “oomph” with the other thirteen tunes. The collaborations with Lykke Li, Titiyo, Marit Bergman and Linda Sundblad have their own unique quality’s. “Until We Bleed” has a certain warmth about it, kind of like a water bottle. Lykke Li’s overly reverberated vocals work wonders with the mellow drive of the music. The same goes for track six that features Titiyo, a steady neutral warmth that calms you down and uplifts you at the same time. All of these collaborated tracks feature the basic electronica with a female vocalist are good, just nothing new to Kleerup’s sound. “On My Own Again” does mix it up by using a mans voice, whether or not this is actually Andreas I don’t know. Showing that he can diversify even if for 1 out of 14 tracks. “The End” seems to be a very well titled track, as it could well be used as a credit scene in a film. With a gentle guitar line and simple drum pattern the combination cleans up the album nicely and leaves a smile on your face. Stokholm syndrome can’t be cured, but I definitely feel like I’m coming down with some. |
Re: Kleerup - Kleerup [Album] "Now Sweden owns a few unique accomplishments; Hot women and the side parting hair-doo spring to mind immediately, but dance acts that are actually good are rare" hate to be pedantic but there was/is a whole dance music movement that came out of Sweden/Stockholm. Adam Beyer, Cari Lekebusch, Joel Mull, Par Grindvik, Hardcell to name but a few. Might not be the most commercial in nature. but defintaley very good "dance" acts. |
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Re: Kleerup - Kleerup [Album] Yeah who else would tell us about the Swedish dance music scene? - Not I. |
Yeah I know right! I think when his review count is enough we should ask Robin to become an editor, represent the dance music side of altsounds and increase it's presence. |
Re: Kleerup - Kleerup [Album] Great idea, his dance knoweldge is epic |
Re: Kleerup - Kleerup [Album] ah guys it is so sweet to feel appreciated..... good story about the Swedsh dance scene for ye Speedy J (jochem paap) met Adam Beyer at a party way back in the very early 90's in Stockholm. Jochem was playing a tape (oh the days) of his own trax on the stereo and Adam Beyer who was making the same style of music at the time, couldn't believe someone else was making the same sort of stuff (edgy, carnal, and downright filthy techno). they became friends (partners in crime) and Drumcode was born.......... |
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