1991 by Melody Fields–Album Review
1991 by Melody Fields–Album Review
Hailing from the vibrant musical area of Gothenburg, Swedish psychedelic band Melody Fields recently released the second of two albums this year. 1901 was released in October, and then 1991, which I am reviewing here, was released in November through Coop Records (EU) and Nudie Records (USA).
1991 took its approach as a concept album that grew out of late-night jamming sessions and consists of four collaborations that include contributions from members of GOAT and Al Lover. The sound of 1991 draws a lot of influences from the 90s indie dance period with touches of 60s psychedelia.
The lead single, “Hallelujah”, immediately transports you back to the late 80s and early 90s scene with bands like Happy Mondays and Inspiral Carpets–the ‘Madchester’ scene. It is an indie-dance homage to that time. With trancey beats, a ‘hallelujah’ refrain in the background from an echoey female vocal, and piano beats, it sets the scene for a varied album. “Blasphemy” is a complete contrast with crunchy, wall-of-sound guitars, and it reminds me of a hive of angry bees with flavors of shoegaze and bouncy bongo beats.
“Jesus Lover” brings on the electronic vibes of The Prodigy and the moody elements of Joy Division. There’s a funky Middle-Eastern section that is both dreamy and eloquent. “Dandelion” comes in with a decisively 1960s sound, entrancing jangly guitars, and tambourines. Rousing drums form the beat, with drone-like vocals bringing to mind the Velvet Underground.
“Talking With Jesus” is transcendental and alluring with Middle-Eastern vocals, smooth synths, and a slow, languid feel. “Diary Of A Young Man” brings a punky feel with fuzzy guitars that sound like a spaghetti western, and thrashing drums. Halfway through the tempo, the song does a U-turn–all music stops, and a haunting Indian female vocal comes in. This leads perfectly into the next track, “Bhagavana Najika Cha”, which sounds like a group of laid-back monks chanting with a flute intertwining and weaving through this dreamy sequence track.
The final cut, “Son of Man”, comes in all gangster-sounding, with its plinky plonky piano that reminds me of the theme from the Michael Caine crime-thriller Get Carter. More of the Indian-sounding vocals arrive, completely changing the vibe.
Marcus Berggren
At first, 1991 sounds like a 90s chill-out album, but tracks like “Diary Of A Young Man” with its buzzsaw guitar, give it a punky, edgy feel. Experimentally, it dips in and out of tempos. “Dandelion” sounds like it belongs on a different album, but it blends neatly to give you both an electrified and tranquil aural experience.
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