Reviews 2082

In search of the psych-garage blowout with space-rcok droning, a cool, motorik insistency and notes of retro-futurist pop? Look no further than The Low Frequency In Stereo, proof that it's not all Scandi-jazz in Norway. This wryly titled fourth LP deserves to shove them into the spotlight. It pays respect to Cluster, Klaus Schultze, The Stooges and The Beatles´ white album, but reveals their true kindred spirits as Black Mountain, Sinoia Caves and Stereolab.
Time Out (UK)

… The Low Frequency in Stereo, which once started with instrumental lo-fi post rock, are now supposed to be a technically superb indie rock band on their fourth album ”Futuro”, in which the three men and two women alternate as singers to shine then immediately scattering unlikely sounds from the history of the analog keyboard in the background or taking their regular place on drums, bass and other and playing disciplined on space coverage. That's how it should be. Is it that way? It is. “Futuro” impresses with its rich, powerful, robust vintage sound and the synthesis of influences that can be enumerated, but only when they work together create that emergent something that is commonly called a proper sound and style. It has become a one-piece plate
Frankfurter Allgemeine (DE)

The Low Frequency In Stereo has always had a knack for progressive structures that lead to a homogeneous unity at a high level of nostalgia and futurism. Had Jules Verne been looking for a soundtrack for his mechanistic science fiction, the Norwegians would have been at the top of his list. With their new album “Futuro”, the band, which has been changed over, now presents its most complete album to date. Whether this is simply because they docked with the Norwegian Prog smithy Rune Grammofon is pure speculation. Compared to the drone landscapes on "Futuro", the band's previous albums look like petty front gardens. Never before have they found such direct ways to translate their far-reaching fantasies into timeless sounds. It hardly matters whether they are in expansive epics like “Mt. Omit Pinatubo ”or“ Solar System ”or in harmless but moving pop songs like“ Starstruck ”. On the contrary, it is precisely this harmonious duality of infinity and everyday life that is suitable not to overwhelm the listener. At no time does the record sound strained or ambitious, everything gives the impression that it can only be implemented in this way and not otherwise. The songs are incredibly varied. Sometimes guitars weighing tons weigh on karst rock, then female chants move like ethereal clouds over the sky, keyboard drones go into an orbital orbit or jam together like a tribe of wild Vikings. Low frequency is more closely based on the British stereo lab, that is the perfect blend of lounge pop and avant-garde. With guests like the violinist Nils Ökland and ultralyd saxophonist Kjetil Möster, the quintet is also looking for sounds that integrate it more closely into the experimental environment of Rune Grammofon. 9/10.
Eclipsed (DE)

It almost has features of a bipolar disorder, as the band seamlessly shuttles between two extremes: on the one hand, they let off steam in a mixture of lulling herb rock grooves, psychedelic post rock and organ-decorated jazz rock characterized by long instrumental passages. And equally, you can't miss taking trips to the indie pop sector again and again. While the light-footed “Star Trek” tribute “Geordie La Forge” or the charming 60s popper “Starstruck” are so surprisingly easy on the ear, the “Solar System” space descent in noise, including the spinning free jazz saxophone, takes over nine minutes long far out. This band is not easy to put in a drawer. And for that you can only congratulate them.
Visions (DE)

First of all: turn up. Play it out loud. This band builds walls out of sound. No ugly Berlin fire walls or even clumsy barriers like "The Wall" that juvenile punk rockers succeed, who all play very loud at the same time. No, the five Norwegians build foundations from bass drones, support beams from organ points and textures from single lines and plaster the whole thing with an activated tremolo and rich backbeats. Then there is a fresco of pseudo-girl singing and a few graffiti, in which the "ancestors" are playfully honored: Stereoloab, Add N To (X), the local heroes of 120 Days, the noise science of Supersilent and the hair-raising skirt of Motorpsycho. What a burden, what an achievement for a band whose youngest members have just passed the 20!
Sound & Recording (DE)

It almost borders on embarrassment on the one hand and uncanny on the other, in which frequency in this music-loving gazette new anthems from Rune Grammofon are sung. As if there were no other formidable labels! Or no other fertile soundscapes than those of Norway! Christian Eder writes more and more on this specific label topic in his rune gramophone story on pages 8 + 9. In a word: you have done it again. Have scouted Norwegian miracle jokes again and have given birth to a piece of silver with a solitary shine. The “Low Frequency In Stereo” rumbles through this “Futuro” album full of rough, scratchy wildness - very different from the not unlike ensemble from Ö-Land. Up to five (in numbers: 5! ) Organs bring this plate to bruckling or to the optimal realization of the Wuergel from Heimito from Doderer's Merovingian novel. We also hear: post-rock without unnecessary finishing, Sonic Youth with zero shit factor, Yo La Tengo length times width times depth, a jazz-pop-punk rock'n'roll epic of the master class. Can, Joy Division and The Doors are also tried associatively on the washing list - also fitting. Where so much can be associated, it is known as autonomy that it is shorter than a stone's throw to make it completely incomparable. The train either drives over this plate or rides the sow in a pig gallop. "Futuro" - one of several chili hot future music for the disco of a friendlier world. We also hear: post-rock without unnecessary finishing, Sonic Youth with zero shit factor, Yo La Tengo length times width times depth, a jazz-pop-punk rock'n'roll epic of the master class. Can, Joy Division and The Doors are also tried associatively on the washing list - also fitting. Where so much can be associated, it is known as autonomy that it is shorter than a stone's throw to make it completely incomparable. The train either drives over this plate or rides the sow in a pig gallop. "Futuro" - one of several chili hot future music for the disco of a friendlier world. We also hear: post-rock without unnecessary finishing, Sonic Youth with zero shit factor, Yo La Tengo length times width times depth, a jazz-pop-punk rock'n'roll epic of the master class. Can, Joy Division and The Doors are also tried associatively on the washing list - also fitting. Where so much can be associated, it is known as autonomy that it is shorter than a stone's throw to make it completely incomparable. The train either drives over this plate or rides the sow in a pig gallop. "Futuro" - one of several chili hot future music for the disco of a friendlier world. Joy Division and The Doors tried associatively - also fits. Where so much can be associated, it is known as autonomy that it is shorter than a stone's throw to make it completely incomparable. The train either drives over this plate or rides the sow in a pig gallop. "Futuro" - one of several chili hot future music for the disco of a friendlier world. Joy Division and The Doors tried associatively - also fits. Where so much can be associated, it is known as autonomy that it is shorter than a stone's throw to make it completely incomparable. The train either drives over this plate or rides the sow in a pig gallop. "Futuro" - one of several chili hot future music for the disco of a friendlier world.
Freestyle (AT)

Vowels are included in som en naturlig og svært velfungerende del av bandets fortsatt instrumentaldrevne lydbilde. "Futuro" best on the left side, med referanser to the Sonic Youth og Stereolab ("Geordie La Forge"), 60-tallspop og psykedelia ("Starstruck", "The End Is The End") and støyjazz ("Solar System "med Kjetil Møster på sax), hele tiden med utgangpunkt i gruppas velutviklede variant av sugherende, men velvety popvennlig postrock. Gjør deg selv en tjeneste og sjekk ut denne. 5/6.
Plan B (NO)

Omtrent midt mellom Stereolab og Motorpsycho har Haugesundsbandet funnet det som kan bli deres sweet formula. Med basis i instrumental nirvana-søk (hvilket annet band kan skilte med velamtige fem bandmedlemmer på organ?) Og sporadiske vokalinnslag, har Low Frequency In Stereo funnet noe som minner veldig om et magisk formular på sin fjerde cd. He snaps mulig å beskrive bandets musikk uten å henfalle til oppramsing av trendy musikkstiler og kule andre artister. Men jed Skal prøve å la være, bortsett fra antydningene i ingressen. Men forresten: På det ni minutter lange avslutningssporet "Solar System", med Nils Økland som gjestemusiker på fiolin, minner de tidvis mest om The Doors ala "When The Music's Over", til og med bevisste tekstreferanser. The vitner om mot! With electronic starting point, men med all verdens rockarsenal av instrumenter tilgjengelig og med heidundrende rytmegroove, jobber bandet seg Fremd fra bunnen av mot rytmisk ekstase i låt etter låt. En kan innvende at vokalen kan være anonymous, på grensen til det svake enkelte ganger, men vokalen er en bi-ting med dette orkestret. Musicians should oppleves som en vegg av lyd som tar gradvis grep om lytteren og den opplevelsen er fundamental og imponerende ved denne korsveien. Et pop album! 5/6. Et pop album! 5/6. Et pop album! 5/6.
Address notices (NO)

Med vinkar til såväl Motorpsycho och Stereolab, frasigt gitarrspel, mycket keyboards, och ett ordentligt driv i låtarna tar de seg förbi flertalet nordiska rock band. Mest lyckat er psykedeliska Solar System där Kjetil Møsters saxophon lägger till en extra dimension.
Gøteborgsposten (SE)

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