Norwegians would
Serena-Maneesh
It seems fair to say that Scandinavia comes in for a rough time of it when it comes to music. Just have a look at Finland’s recent triumph in the Eurovision Song Contest. But is not viewing Scandinavia as the home of Abba and bad death metal just another lazy stereotype? The fact is, in bands like Refused, The Hives and The Cardigans, Scandinavia has produced some seminal records, and Norway’s Serena-Maneesh aim to continue this heritage.
But be warned — the potential for crossover mainstream success seems remote here. Indeed, the dreaded shoegazing tag could easily apply to Serena-Maneesh, and no doubt many of you by now have already given up on them and put Abba Gold back on. Don’t. While Serena-Maneesh may well suffer from moments of extravagant indulgence, their first full-length album sounds like a comprehensive history of rock music since the seventies.
For a band who claim to have been inspired by their primary school teacher playing them Heroin by The Velvet Underground you would expect nothing less. Such a bold mixing of genres inevitably leads to as many failures as successes: the fuzzbox guitar solos on opening track Drain Cosmetics sound little better than Oasis’ ill-advised foray into New York garage-rock, and songs such Candlelighted drift along shapelessly.
But Serena-Maneesh are not always content to imitate their idols: Selina’s Melodie Fountain is an early high point, with a driving and thoroughly danceable guitar riff slowly developing into a psychedelic, ethereal climax. Likewise, Don’t Come Down Here combines a truly menacing riff with a dreamy coda reminiscent of Sigur Ros. It is here where Serena-Maneesh truly come into their own rather than their attempts to be all things to all people.
It is their experimental approach that is most appealing.
25th May 2006