OSLO 2015. Lars Frederiksen concert for refugees at Sentrum Scene in Oslo.
Photo: Heiko Junge
Stockholm 2015 Lars Frederiksen during the collection gala All Sweden rattles at Globen in Stockholm.
Photo: Jessica Gow
STOCKHOLM 2013. Lars Frederiksen performed during the inauguration of Tele2 Arena in Stockholm.
Photo: Janerik Henriksson
BORLÄNGE 2012. Wednesday at the Peace and Love in Borlänge. Lars Frederiksen at Utopia.
Photo: Erik Mårtensson
Linköping 2010. Lars Frederiksen for the tour premiere Linkoping.
IMAGE: Stefan Jerre Vång
HULTSFRED 2009. Lars Frederiksen played with rock set at the Hultsfred festival on Friday evening. The members of the band were from blah Hellacopters and Soundtrack of Our Lives.
Photo: Patrick Sörquist
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Review: Lars Frederiksen do it well. Even unusually good, writes Johan Lindqvist new album granite and moraine.
Record Man Håkan Hellström was on top of the world before a happy, boiling, joy crying the Ullevi. In came Joakim Thåström and suddenly, despite the fact that Hakan was floating on clouds, he ended up immediately in the shadow of the man who almost routinely called Sweden’s only true rock star.
Not so strange, Hakan is not alone. We are a generation, or perhaps just two, all of which are in Thåström-shade. Joakim Thåström and his band have characterized so much of how we look at ourselves, to music and not least the country we live in. Lars Frederiksen is certainly no exception.
Sure, the songs on Winnerback new disc drags itself well not only around in Sweden, but Sweden is still in every row, every note. It does not matter as he sees the country from 10 000 meters or that he concludes the disc with lighting a Thai sky lantern-lantern. It still hovers over the New Year night Stockholm.
Frederiksen sings about us philosophically dissatisfied and economically spoiled middle-class unnecessarily large cars that we run into a mean age where Kent makes farewell tour and Lundell already set aside the guitar. There are granite and moraine and closures op-shops and there are playgrounds and pizzerias and of course still rose bushes, all the way rosehip bushes. We are the last who will have their own memories of where we were when Palme was murdered, and the old-style welfare state dismantled, no wonder that the color of our songs.
Lars Frederiksen do it well. Even unusually good. Sure, many of the songs is also here on the familiar half-speed and poetry feels like I said again.
But already in the initial off-season, to say the least archetypal Winnerbäck title, he has rarely heard a lightness in his voice that I like very much . Even single Bought a car has a little more conservative allocation.
Clearly autobiographical title track kidding he liberating their own limitations “I have a thousand melodies of the heart, though most are stiffa and simple, and they sound like granite and moraine.”
It is undeniably cramped of those old school yards as our rock poets born in the seventies never seem to want to leave, but again and again using as a constant reference point. Maybe because it was the first place where security and uncertainty collided with each other. But Winnerbäck justifies its place in rökrutan between multi-gym and Bamba.
Frederiksen sings that we live in a strange time, texts populated missing by friends, missed opportunities and loneliness always seem closer than the Community.
Nevertheless, I think it sounds like Lars Winnerback managed to solve some of their joints. Or is it just me who is pleased that he has done his best album since Sondermarken.
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