Sounds like ‘80s
By Cassie Hood
hoodc@mscd.edu

   The high intensity, up-tempo, synth-filled music of The Sounds jettisons people out of the present and back into the ‘80s. Adorned in leather and tight pants, the band not only sounds like it’s from the past, it looks like it, too.
   Fortunately for The Sounds, America is embracing a time-warped obsession with ‘80s mumbo-jumbo. The incredibly popular “Grand Theft Auto: Vice City” takes place during the decade. Popular stores sport fashions straight out of the era: baggy shirts that serve as dresses, fluorescent colors, big earrings and gaudy jewelry. Even the spiky, out-of-control hair of the past has become trendy again. It’s no surprise The Sounds have found a place for themselves in the world that is popular culture.
   Maja Ivarsson’s vocals mimic those of her predecessors. Her harsh voice sounds reminiscent of Debbie Harry of Blondie. In each song she sounds a little different, keeping things interesting.    Occasionally her coarse voice ventures out of tune, giving it a dry, raw sound.
   Of course, The Sounds wouldn’t have their ‘80’s dance flair without Jesper Anderberg on keyboards. His synthesizer transports the audience to the era of side ponytails and stirrup pants.    During slower songs, Anderberg turns the piano into a punk-rock instrument of doom.
   Felix Rodriguez uses jaded, blasé guitar chords to create a wailing sound. Fredrick Nilsson’s drums keep time and make the sound complete, but they aren’t exceptional. Johan Bengtsson’s bass work is low key and generic. Perhaps the rhythm section lacks flair in an effort to play up the vocals and synthesizer, where the real genius lies.
   While some of the instruments are hard to hear, or too boring to listen to, the band traps people and pulls them in. The Sounds have the ‘80’s punk attitude that screams, “we don’t care if you like us; we are going to keep making music.” This band is amazing because it transfers its vigor and excitement through its songs, giving everyone a taste of their demeanor.
   The Sounds formed in Sweden in the late ‘90s. In 2002, they released their first album, Living in    America, which debuted at No. 4 on the charts in Sweden. In America the band received mixed reviews. The album lacks the harsh and raw vocals that now give The Sounds their ‘80’s edge. Ivarsson sounds like a young, poppy teenager with no attitude. Anderberg’s synthesizer is barely audible. Everything that makes them good now is lacking.
   After a couple of years, they started to gain momentum in the American music scene. In March 2006, they released their latest album, Dying to Say This to You, and more listeners have embraced the band. Their newfound sound gives them the edge to join and take over what is now considered popular culture.
   All of the songs on Dying are fantastic, but “Queen of Apology” stands out as one of their best songs. Ivarsson sings choppy, short sentences that match perfectly with the beat of the drums.    Anderberg’s synth offers a spacey, up-tempo noise that provides the framework for the song.
   In “Hurt You,” the guys in the band sing (Ivarsson briefly appears for the chorus, but mostly the song showcases the guys’ abilities to sing out-of-tune). The change in vocals is jarring at first, but the song still delivers the edge and excitement of other songs on the CD. Nilsson’s drums are extremely simple and slightly boring, but they help set the tone of the overall song. Rodriguez’s guitar plays quietly through most of the song. He does have a slight guitar solo that offers nothing more than old time rock ‘n’ roll; his abilities at riffing and screeching shine through.

 

The Sounds will grace the stage April 28 at the Ogden Theatre with Action Action and Morningwood. Doors open at 7 p.m.

Hear them at the-sounds.com or myspace.com/thesounds.