Millencolin - Machine 15

Oh, Millencolin. After 17 years and 8 albums, you are still going strong as one of Sweden’s most prolific rock acts and one of the few bands still in existence people in their 20’s can look back fondly upon and remember as one of the first bands to inspire them. You’ve lasted this long without any massive mainstream success and boy, are we glad you guys are still out there making music.

With that said, let’s face facts here: Millencolin will never record another Pennybridge Pioneers, the 2000 landmark album many claim to be the highlight of their nearly two decade career span. Since Pennybridge Pioneers was released, Millencolin – composed of vocalist/bassist Nikola Sarcevic, lead guitarist Erik Ohlsson, rhythm guitarist Mathias Farm, and drummer Fredrik Larzon – have gone from arguably their most mainstream release (2002’s Home from Home) to a more back-to-basics approach (2005’s Kingwood), earning mixed reviews along the way. Even though the band has received its fair share of criticism since Pennybridge Pioneers, they have retained the same attitude and the same core members, something any music fan can tip his hat to.

After going so long without a huge single to boost sales, it almost feels like Millencolin are due something big. Their latest full-length release Machine 15 reflects this desire by toning down the anger and high-octane punk rock felt on earlier albums, instead dishing out pop rock hooks alongside a glossy production value. Normally Millencolin have strayed from this maneuver, but with Machine 15 the songs don’t stick with you like they did on previous albums. They’ve ditched their faster numbers for basic three-chord verse-chorus-verse tunes and definitely emphasize the pop aspect of their sound. While Sarcevic’s vocals have improved immensely over the years, and it’s evident he enjoys crooning out a ballad or a delectable pop diddy (and to be honest, the dude knows melody), fans are accustomed to the skate-punk spirit Millencolin used to present rather than the love songs.

“Detox” is a great lead single choice but lacks the meat fans ultimately yearn for; it’s fluff, and while catchy, it’s forgettable. “Done is Done” is out of place, throwing the trajectory of the disc off course immediately. “Vicious Circle,” “Saved by Hell,” and “Ducks & Drakes” are too caught up in displaying a gentler side to the band, and while change is necessary in the music business, it’s far too sudden for a band known for its high intensity to evoke a new sound upon their listeners. The lead title track is deceptive, indicating the disc will be fast paced and just as rollicking as Kingwood was. However, Sarcevic has let the sugary-pop seep into his subconscious and strays as far away from For Monkeys and Life on a Plate as he can. The listener is never given a chance to be amped up, and with the majority of the energetic songs on the latter half of the disc, the case may be that the listener has already lost interest. The record also never quite captures the lyrical euphoria and intentional humor that was at hand in earlier material, and the songs simply validate the fact that all us old school Millencolin fans are just getting older.

Machine 15 in not necessarily a bad record, it is just far too dissimilar and mellower than the Millencolin sound we are used to. In due time, it could be an album that will grow on people and be appreciated for its maturity, but with bands like Lagwagon and NOFX who have been around as long as Millencolin has, the lack of humor and straightforward pop rock approach doesn’t feel right, and the album suffers as a result.

Record Label: Burning Heart Records / Epitaph Records
Release Date: March 22, 2008 (Australia); April 7, 2008 (Europe); May 6, 2008 (USA)

Track Listing
01. Machine 15
02. Done is Done
03. Detox
04. Vicious Circle
05. Broken World
06. Come On
07. Centerpiece
08. Who’s Laughing Now
09. Brand New Game
10. Ducks & Drakes
11. Turnkey Paradise
12. Route One
13. Danger for Stranger
14. Saved by Hell
15. End Piece

Review by: www.absolutepunk.net

Nikola Sarcevic - Roll Roll And Flee

Any fan of Millencolin knows what to expect from Nikola Sarcevic: nigh-irritatingly catchy melodies and simple lyrics that allow for moments of astute observation. This didn’t change on his solo debut, 2004’s Lock-Sport-Krock, and it hasn’t changed on Roll Roll and Flee. 

Roll Roll and Flee was released in Europe on Burning Heart Records last year, but it has yet to see American release. This is disappointing, as it is an enormous leap forward from the bargain bin-worthy songs that made up two-thirds of Lock-Sport-Krock. 

Sarcevic’s first album was great in spots, but overall sounded like acoustic punk songs. Just like many of Sarcevic’s peers, his solo sound didn’t vary much from his full-time band, save for a lack of distortion and speed. On Roll Roll and Flee, however, he has come into his own as a solo artist, with a `70s pop/folk sound similar to that explored by a few of his labelmates that have also gone solo, namely Greg Graffin and Dennis Lyxzèn. There is an interesting variety of instruments on this album, and one of my personal favorites is the harmonica, which is played with a precision and necessity that so many singer-songwriters fail to achieve. Throughout the whole of Roll Roll and Flee, I am amazed by the level of musicianship and the coherence of the songs. It’s not that the parts are impressively complex, but that they are played almost effortlessly. Of particular note is how well-suited the drums are for this style. They’re never flashy, but obviously not placed under Sarcevic’s guitar as an afterthought. 

From the interesting chorus melody on “From Where I’m Standing” to the line “’Even Christians are afraid of dying,’ I think I heard you say,” Sarcevic’s wordplay proves impressive on this album. The lyrical content is relatively depressing, and the music compliments it, only approaching upbeat on a few country rock numbers. In an age where many of his contemporaries are aping `60s folk and hillbilly music, it’s interesting that Sarcevic’s more direct influences seem to be Simon and Garfunkel, the Eagles, Jackson Browne, Nick Drake and the like. 

Despite all of this, the album fails to completely stay with the listener. The stronger songs stick, much like the strong songs off of Sarcevic’s debut, but the others are initially forgettable. Unlike Lock-Sport-Krock, however, Roll Roll and Flee’s weaker songs are not weak themselves, only in comparison to the better songs. This may have prevented this album from receiving more notice in 2006, but it bodes well for Sarcevic’s future output. Personally, I am enjoying this album more and more as I listen to it. 

The bottom line is that this album will largely appeal to fans of Millencolin AND poppy folk songs. It is not a mindblowing album that will change your view of music. But the songs are very good, which, by itself, is something rare. If anything I have said has piqued your interest, find a way to listen to this album. 

Review by: Scruffy @ www.punknews.org

Franky Lee - Cutting Edge

For anyone expecting Millencolin guitarist Mathia Farm’s side-project to be sub 3-minute pop punk gems will probably be in for a shock when they hear Franky Lee. A Foo Fighters/Samiam-esque rocker, this is a surprisingly good 13-track album that should appeal to more than just the obligatory interested Millencolin fans checking out what the band’s axeman has been up to.

Opener ‘Solitary’ sets a highly impressive tone for the record, a rock and roll stomper which, on first listen, is a little too un-Millencolin like for those of us who remember the band for their ‘Fox’ days. But when you consider Nikola has already tried something different too, I guess it’s inevitable that a band who have been around as long as Millencolin have that their members would like to try something different. The Afghan Wigs thumping ‘Angles’ shows the band’s rock influence is worn firmly on sleeve, while ‘Your Complexion’ and ‘Cold Eyes’ are solid efforts too.

While I guess many people will check out Franky Lee for the inevitable reason, this record is good enough to warrant a listen in its own right. It’s not an early contender for album of the year, but in a slow month for new releases, ‘Cutting Edge’ is well worth your time.

Review by: www.punktastic.com