When Peter, Bjorn and John's 2006 cult anthem Young Folks thrust Swedish indie into the spotlight
no one could have been happier than The Concretes. Now twelve years into a colourful career, latest
single Oh Boy sees them making the most of the Ikea-pop revolution. Mixing a strong sixties pop
influence with galloping rhythms and intricate guitars, the song is a breezy, carefree summer jaunt
that manages to be sweet without being sickly. Maria Eriksson's reverb drenched vocals, delivered
in an Anglo-Swedish accent, give a heart warming sense of honesty whilst the lyrics are cryptic
enough to avoid the song sounding stale. The generous three B-sides show an interesting mix of styles.
The piano lead Ed's Kids showcases a more serene and melancholic side to The Concretes, whilst
Justin's Kids sees the band flirting with 80's synth pop.
Given that the band have been around for twelve years the fact that Oh Boy is a fresh and likeable
song is a credit to the song writing ability of the band. The song is closer in tone to the twee indie
pop of Camera Obscura than their Swedish contemporaries, and with the recent rise in popularity of
this band, it can't be long before The Concretes crack the UK alternative scene also. We like Oh Boy,
there is something about the way it all fits together that feels so effortlessly right and it should
establish for The Concretes the reputation they deserve.
Review 2 (of 2)
Reviewer: Andy (5 July 2007)
Hailing from Sweden, the Concretes are a indie group originally formed in 1995
and now consisting of seven members, after the departure of lead singer
Victoria Bergsman last year. Hey Boy is the second single to come from
their third studio album, Hey Trouble and is a fairly melancholy piece
about the end of a relationship.
At under three minutes, the title track is fairly short, jumping straight in
with an uplifting riff before the first verse begins, accompanied by rolling
drum beats. This is fairly downbeat in order to contrast with the uplifting
and catchy chorus that follows. The same structure follows for the second
verse, before we roll into an almost jazz-like relaxing middle section and
close with a return to the chorus. Overall, the song is a good choice for a
single, short but memorable and a pleasure to listen to.
The first of the B-sides, The Sentence, continues with a similar tune but
remains fairly downbeat without the euphoric flourishes of the title track.
It tends to drag a little before the end, with little variance throughout,
and doesn't match the quality of the opening track. The third track, Ed's
Kids, contrasts dramatically with the earlier two, being a wistful piano-led
piece with a beauty that almost brings a tear to the eye. The vocals
reminisce in an almost talkative style, broken up by the occasional
occurrence of the more melodic chorus, complete with backing vocals. Towards
the end, the piano is replaced by a horn which plays a brief closing
instrumental.
Proving the versatility of this disc further, the final track Justin's Kids
is not so much a fourth track as a dance re-mix of the track before. The
number is a nice slice of 80's electro, opening with a repetitive bass line
that is later accompanied by a series of drum beats and various electro blips
and beeps before the main section kicks in. This time, the main tune is
played on an electric keyboard, replacing the piano of the earlier version,
and this version is much more uptempo. Notably, there is a nice section
where the vocal track is simply played acapella, which makes a nice break in
what may otherwise become a fairly monotonous track.
Overall, this CD has something to suit almost all tastes and I'd throughly
recommend it. The main track provides a catchy piece of indie-pop, while the
third track provides a thought-provoking number perfect for listening to at
home. Finally, the last track provides something you can dance to, an
interesting re-mix that would fit in nicely among other pre-club tunes.