Sekunderna

Reviews

Heavy Lag / Sekunderna / Teenage Bigfoot / TV Cop split LP

I love splits. This one is a cool showcase of the current dirt pop scene, with each band contributing two original songs and one cover. If that’s not enough for you, it even comes with a fifteen-page zine. The whole affair gives off heavy MARKED MEN or RADIOACTIVITY vibes, so it should come as no surprise that three of the bands either recorded or mastered their tracks with Jeff Burke. The original songs are a good example of what each band brings to the table, but the covers are the real gems here. TV COP covering MOLLY HATCHET just might be my favorite track on the split; pop punks covering Southern rock and doing it justice??? I’m into it. The TEENAGE BIGFOOT originals remind me of walking into a Hot Topic circa 2003. Not into it. On the other hand, their cover of “Dreams” by the CRANBERRIES was stuck in my head for days, and I really dislike that band! For the uninitiated, I don’t feel like anything on here will make any of these bands your new favorite. But for existing fans, Jeff Burke worshippers, or anyone looking for a few killer dirt pop covers, this LP will feel right at home in your collection.

Sekunderna Tiden Är En Dröm EP

I never get sick of this stuff. Power pop is a broad umbrella, and frankly a lot of what falls under it is just a drip. Luckily we have groups like this, who belt out the harmonies and play with a fire under their ass. This is gritty, articulate guitar pop that I’d love to sing along with as long as I had a Swedish phrase book in my back pocket. There are elements here of HOT SNAKES, albeit more melancholic than pissed-off, especially in the guitar. In general, the tunes evoke a sort of longing nostalgia for nowhere. A time that never really existed, and opportunities you don’t even know you missed. Is that overly poetic? Sure. But that’s a testament to the disarming vulnerability of this music. Turn it up loud, go for broke, and dance with whoever’s nearby until far too late. My only gripe? After five cuts of supercharged pop rock, it all ends with a lo-fi, single-guitar closer that I keep waiting to turn into something anthemic with the full band behind it. It sort of just fizzles out. It might not even bug me if it were the second-to-last track. But it isn’t, so it does. Otherwise, a beautiful record.