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Psychedelic rock from rural Sweden: a scary concept, but hang on. This album, the third long-player from Dungen, has more of a 60s feel than their heavily early-70s-influenced live show. I love me some 60s-influenced, psychedelic-flavored pop, and there are some really crystalline pop gems on here. It occasionally sounds like a much more psychedelic version of Sloan, which is A-OK in my book. Several of the tracks get a little epic in length, breaking off into psychedelic instrumental excursions, but somehow it stays pretty listenable, even when the jazzy saxophone comes out. For the most part things stay admirably restrained and grounded in solid songwriting. The album goes right to the brink of being too psychedelic, and only in a couple of places does it teeter over into guitar-solo excess or Spinal Tap "Jazz Odyssey" territory.
Bandleader Gustav Ejstes recorded this album pretty much all by his lonesome, taking on multi-instrumental and production duties. An impressive feat, and there's no doubt that this guy is extremely talented as a musician and songwriter. The retro, slightly lo-fi production values give the recordings a loose and immediate feel. There are some excellently melodic, McCartney-esque basslines, and I like the heavy, booming drum sound. The guitars are, of course, flush with echo and feedback, and there are some shimmering, soaring vocal harmonies (all in Swedish, so we just have to trust that he's not singing about white supremacy or kicking dogs). Ejstes plays a pretty flute, piano, and violin as well, particularly on some instrumental tracks that are alternately lovely and menacing. Dungen has been the subject of a lot of hyped-up coverage from the rock press lately, and it's understandable: this is a record with the potential to win over Hobbit-rockers and pop fans alike. (mike.10.05)
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