Cardigans Unravelled #1: A Camp Nina
Written: Aug 04 '05 (Updated Aug 08 '05)
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Product Rating:
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Pros: Lovely, lovely alternative country / lo-fi indie pop album. Great lyrics, pretty voice.
Cons: I really tried.. but I couldn't find any!
The Bottom Line: Nina will elevate you, and be your mantra for a very fine country state of mind.
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| dpjohansen's Full Review: A Camp - A Camp Movies |
Nina Persson. Quite bonkers, but the girl possesses a good voice. As lead singer of Jönköping's The Cardigans, she's carved out quite a successful career for herself as being the front woman to one of the most famous Swedish exports since ABBA. Plus, she gets voted "Most Beautiful Woman" in Sweden in most polls, even the ones that have nothing to do with physical appearance. Over the years I've had a love-hate thing with Nina. Actually, I've never hated her, that's a strong word, but had we been at school together, I'd have undoubtedly chased her around the playground and pulled her pigtails on a regular basis. But then I'd have felt bad, and probably given her the fruit bar from my lunch.
The Cardigans have been knocking around for a good 13 years now. They have several successful albums under their belt, but, dare I even mention that song? I think I'd better... "Love Fool". Oh you know the one. It never left the airwaves for six trillion weeks during 1997. All that aside, I appreciate the Cardigans, they make decent enough indie pop for me to deem them likeable, although occasionally it can be a bit sweet for my tastes. A bit like chewing on sugarcubes until your teeth start developing cavities. After The Cardigans released 1998's less than successful "Gran Turismo", they took a 5 year hiatus to scamper off and rethink themselves. Of course, a few of the Cardigans took this time out to go off and make albums of their own. One was bassist Magnus Sveningsson, who recorded a rather impressive album under the name of Righteous Boy (up next), one was guitarist Peter Svensson (He did a couple of things.. more on him at a later date), the other was our Nina.
Nina's solo debut was originally recorded with Atomic Swing's Niklas Frisk, but Nina said upon rehearing it later, that it sounded a bit dated and depressing. Therefore, the whole thing was re-recorded, with extra songs added, with the man behind the brilliant Sparklehorse, Mark Linkous, as producer. The result was something quite intriguing. Especially since some of the weird instruments included were saws, sequential circuits and telephones. Needless to say, I rather liked it.
"A Camp" (2001 Stockholm Records / Polydor / Universal)
Produced by;
Mark Linkous.
The album's opening track, "Frequent Flyer" is positively lovely, whilst being musically eerie in spurts, it also throws in some funky beats and dreamy sweeps. Plus, you can't help but fall in love with the desperate feel Nina has in her slightly quivering voice, as she ponders disappearing into the clouds. This continues through to "I Can Buy You", however, introduced on this one is a bluesy sounding country feel that's echoed through the album here and there. Nina sounds remarkably comfortable with the country sound. With a stetson and some leather boots, you could almost picture her riding off into the sunset on the back of her (Sparkle) horse. Both of those opening tracks seem to set a certain mood for the album as a whole, a mood I found extremely appealing. The pretty "Angel of Sadness" is where you get a sense of Mark Linkous' help on this album. It smacks of that lo-fi Sparklehorse sound, with minimal use of instruments. Again with that country flavour, by way of a gorgeous twanging guitar, although, there is a certain sadness to the song, which is echoed in the song's lyrics. Apparently, Nina is a bit peeved at some misery loving Angel that's taken up residence in her abode, and despite her pleas of; Angel of sadness, angel of grief, save me some hours, and please... Can you leave?. This Angel isn't going anywhere, Nina laments Life with her is getting hard. Poor Nina.
I LOVE "Such a Bad Comedown". Nina really does sing the blues here, and with good cause. The song is weary sounding, but in an effective way, it's sort of breezy and slow, a little bit jazz-country and blues, and I love the the woozy yet slightly schizophrenic strings. However, what I like most are the lyrics, which Nina sings like she has a really bad hangover, mascara askew and hair all tossed and unkempt. She sings almost scoldingly, yet still sounds mildly affected by the night before's drug haze, at her "chemical lover";
You veiled me in your haze,
Like a puppet in your lace,
Amazing disgrace,
From your silverspoon substance..
My oh my...
You took pride in my f*ck-up.
I've been cursed and i've been hailed,
I've blown it and i've inhaled,
But I never had
Such a bad, bad comedown.
It really does serve her right for indulging herself with illicit substances in the first place. Naughty Nina.
The sleepy "Song For the Leftovers" gorgeously lulls you like a .. lullaby. Close your eyes, reflect on the evening out you just had, let the quiet strings and low brass guide you into a gentle sleep, shhhhh Everything is alright now.... But don't sleep too long, or you'll miss "Walking the Cow". Then again, falling asleep after a night of drink and drugs, maybe that's the quirky dream? Taking the cow for a walk.. (I refuse to give in to any Nina and Cow related jibes.. despite really wanting to.. New mantra; IloveNina IloveNina.. and relax) The song itself was actually written by Daniel Johnston, and is the first of several cover songs Nina puts her own Persson-esque mark on this album. I've never heard the original, but I can tell you that Nina's version is quite upbeat sounding, a little bit understated yet rockish in places, even. Despite this song giving way to something a little faster in places, Nina still manages to sound depressed as she semi-whispers her way through these daft lyrics about taking a bovine for a walk. Perhaps "Walking the Cow" is a euphemism for something.. I could wager a guess, but best to keep things clean, eh?
Elsewhere on the album you will find covers of The Replacements' "Rock N Roll Ghost" (!) and Restless Heart's "The Bluest Eyes in Texas". Nina covering a Paul Westerberg original was something quite interesting for me, since I'm a fan of his. Does she do a good job? I'll say, it sounds better than the bloody original! Taken away is some of that original rock element, and added is a sort of 50s sounding slow pop feel, with more than a hint of a country twang. Aided by hubby Nathan Larson on backing, Nina really does make the song her own. The same can be said for the plaintive country ballad "The Bluest Eyes in Texas" (originally found on the "Boy Don't Cry" soundtrack). It's country for the 2000s, done Nina style, which is to say, beautifully, gently, chillingly. It sounds a little more rock than the original, and I love it. Love. It.
This album isn't all about the ballads and whimsical country and blues feel. No, no. There are also tracks like "Hard as a Stone", which PJ Harvey or Kim Gordon would be proud to call their own. It's full on, fuzzy, indie rock and excessively grungy. Even Nina's vocals get the distorted treatment. Similarly, there is "The Oddness of the Lord", whilst being slower than the former, it still manages to be a dense, drooling song, dripping with ripe sounds and grinding instruments. Both songs come amidst the slow like a smack in the face. Good ones, though. Relish them. Linkous' presence is felt in droves on the song "Algebra". Which could easily be one of Sparklehorse's own pretty lo-fi ballads, with discreet, muffled sounds and bizarre lyrics. Much of that is also found on the obscure "Silent Night". It lightly mimics the Christmas song in places, mainly the lyrics. The music, however, is a sequence of randomly strewn together sounds, which are sparse and pleasant, with Nina all bright and echoy. The album's remaining two songs, of a generous 14, are "The Same Old Song" and "Elephant". The former is sprawling and creepy in places, and absolutely stunningly gorgeous in others. As for Nina's vocals, there's a bit of a rap going on there, but not in an obvious way. She still hits those lovely sweeps in parts, though. "Elephant" closes the album, and what a finale. Jeez woman, way to cut like pointed teeth.. or tusks, maybe.. It's bittersweet, plaintive, lamenting, sour, it goes for the jugular;
So this is how you put an end to things?
By cutting throats with a smile?
I misbehaved,
I'm in your way,
In your way,
Like an elephant.
I may have used some choice phrases to describe you, Nina, but never an elephant, love.
I'm restless and mad and anciently sad
I haven't said anything bad about any of these songs, have I? Not one, single, solitary, criticism. Now that's a first for me where Ms Persson is concerned, I have to say. I think if I'd have looked for flaws, they would have been half-arsed attempts at finding fault for the sake of it, and frankly, just plain picky. It's surprising to me, since Nina has a habit (with the Cardigans) of annoying me sometimes, but with her solo album, she totally threw me for a fruit-loop with a collection of excellent songs. It really is quite beautiful, mixing a lot of country twang-tainted and bluesy numbers, with distinctive lo-fi indie pop, laced with guitars, pianos, brass and lovely strings. Throw in a couple of dirty, grungy songs, some excellently done cover songs, and Nina's undeniably pretty voice, you can colour me most impressed. She's quite capable when it comes to penning some interesting lyrics, too, despite the fact she calls herself a man twice in separate songs, but I'll let that slide. The lyrics are mostly woeful, but very quirky, occasionally bonkers. As only Nina can be. They make me smile.
Overall, the woman has proved she can sing the blues with an alternative country heart; her sweet, indie pop roots are still present, they're just slower, daintier, and aren't likely to give you cavities. Just oodles of fuzzy-wuzzyness. Given the Persson / Linkous collaboration here, don't expect anything resembling alternative rock, or upbeat, syrupy, Cardigans style pop, it's far too quiet for that. Think somewhere inbetween. Having said that, there is also no escaping that distinctive Sparklehorse feel occasionally. Linkous leaves his mark here and there like a dog would pee on every third or fourth lamppost when being taken for a walk. Those marks come in the form of occasional muted sounds and interesting instrumentation. Likes saws. Again, I like that, but being a fan of Linkous', and being familiar with his style, I guess I would.
A Camp (interesting name.. even though I feel like it should be followed by a noun, like, Donkey, or something. Cow?) should do a follow up, but as it stands, Nina can currently be found working on the latest Cardigans album, "Super Extra Gravity". However, this is a very pretty album. Cardigans fans will enjoy this album, Sparklehorse fans will enjoy this album. Fans of lovely, country flavoured lo-fi indie sounds will enjoy this album. I enjoy this album. A lot. It's probably the first time (but hopefully not the last) I would even consider bestowing upon her 5 stars.
So take a well deserved 5 stars, Ms Persson, you Swedish Cowgirl, you.
Cheers.
Overall: 5 stars
Tracks: Frequent Flyer / I Can Buy You / Angel of Sadness / Such a Bad Comedown / Song For the Leftovers / Walking the Cow / Hard as a Stone / Algebra / Silent Night / The Same Old Song / The Oddness of the Lord / Rock 'N' Roll Ghost / The Bluest Eyes in Texas / Elephant
Worth noting: A plethora of musicians, including;
Nathan Larson (Guitars / Keyboards / Backing vocals / Husband)
Nina Persson (Vocals / Mellotron)
Anders Hernestam (Drums)
Jane Scarpantoni (Cello)
Mark Linkous (Guitars / backing vocals)
Karl Berger (Conductor / String arrangements.. a conductor? Fancy)
Jonathan Donahue (Of Mercury Rev!!! Saw)
Great Music to Play While: Thinking Nina missed her calling as a Cowgirl who sings the blues.
All lyrics quoted copyright Nina Persson + Linkous/Persson
Recommended:
Yes
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dpjohansen
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Member: David Johansen
Location: Sverige
Reviews written: 100
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One day I shall return...
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