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Pop - Paru le 17 septembre 1996 | Universal Music AB

For listeners who had caught up with the Cardigans on their breakout album, Life, the group's third album was a confusing pastiche which included several conventional pop songs, but also added tracks with left-field arrangements and some (comparatively) disturbing lyrics. In reality, however, the group had simply returned to the mood and feel of their debut album. On Emmerdale, the melancholy was personal and solitary in nature, but here depression is focused on unfaithful lovers -- in both the songs which vocalist Nina Persson helped out with lyrics and those written by the rest of the band ("Choke," "Step on Me," "The Great Divide"). Even the single, "Lovefool," is a depressing lament of unrequited affection, and the presence of another Black Sabbath cover ("Iron Man") certainly isn't an immediate upper. Still, First Band on the Moon is saved by the Cardigans' core strengths: Persson's vocals and Svensson's arrangements. © John Bush /TiVo
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CD20,49 CHF

Pop - Paru le 17 septembre 1996 | Universal Music AB

For listeners who had caught up with the Cardigans on their breakout album, Life, the group's third album was a confusing pastiche which included several conventional pop songs, but also added tracks with left-field arrangements and some (comparatively) disturbing lyrics. In reality, however, the group had simply returned to the mood and feel of their debut album. On Emmerdale, the melancholy was personal and solitary in nature, but here depression is focused on unfaithful lovers -- in both the songs which vocalist Nina Persson helped out with lyrics and those written by the rest of the band ("Choke," "Step on Me," "The Great Divide"). Even the single, "Lovefool," is a depressing lament of unrequited affection, and the presence of another Black Sabbath cover ("Iron Man") certainly isn't an immediate upper. Still, First Band on the Moon is saved by the Cardigans' core strengths: Persson's vocals and Svensson's arrangements. © John Bush /TiVo
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CD20,49 CHF

Pop - Paru le 3 novembre 1998 | Universal Music AB

With "Lovefool," the Cardigans catapulted from a cult favorite to an international phenomenon. Instead of being happy with their success, they fretted about their artistic credibility, concerned that they were seen as merely a light pop band instead of an ironic pop band. This is usually a danger sign for any young band, since it results in a self-conscious departure from form -- and that is exactly what Gran Turismo, the follow-up to First Band on the Moon, is. There are still elements of the group's appealing melodic style, but they have trimmed away their sense of humor and style, adding vague electronica experiments and mildly distorted guitars in their wake. Truth be told, there were always hints of despair beneath the Cardigans' shiny surface, but they often sound as if they're trying too hard to be serious throughout this labored, self-conscious album. Since the band has talent, there are not only hints of past glory, there are suggestions where the group intended to go, but too often Gran Turismo sounds like diluted Garbage, not new-school Cardigans. It may simply be a transitional album, but it's a dispiriting listen, nevertheless. © Stephen Thomas Erlewine /TiVo
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Pop - Paru le 25 mai 2004 | Universal Music AB

If any clue were needed to confirm a new direction for the Cardigans -- that is, other than the music itself -- it's the change of hair color for vocalist Nina Persson. Previously an icy blonde that approached white (best flaunted on the cover of Life), Persson's hair is now jet black, a color that matches her confessional mood and conflicted feelings about love on the Swedish group's fifth studio album. Produced by Per Sunding (career-long collaborator Tore Johansson left after an initial session), Long Gone Before Daylight is understated and well-designed, a musicians' record, one that sounds more like an MTV Unplugged session than the high-energy chamber pop of their early recordings. Unfortunately, it's also over-produced to within an inch of its artistic life, and lacks the quality songs and exquisite productions that the group had made a hallmark. Persson composed all the lyrics, rewriting the Spector standard "He Hit Me (It Felt Like a Kiss)" into "And Then You Kissed Me" (sample lyric: "Baby you hit me/Yeah, you punched me right in the heart/And then you kissed me...and then you hit me"). Guitarist Peter Svensson took care of all the music, relying on familiar pop archetypes but forswearing the catchy hooks in favor of carefully constructed songs. Still, the Cardigans don't have enough musical personality on their own to carry these songs; they've always been a surprisingly workmanlike band -- their performances here are sympathetic and intricate -- but they simply can't rise above this subpar material. [The American release, which followed over a year after the Canadian and European issues, included a bonus DVD featuring three videos and three live tracks, plus interviews.] © John Bush /TiVo
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Pop - Paru le 1 janvier 2008 | Universal Music AB

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Pop - Paru le 1 janvier 1995 | Universal Music AB

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Pop - Paru le 25 octobre 2005 | Universal Music AB

The Cardigans gained the respect of listeners in the mid-'90s, not for the impossibly sunny triteness of their lyrics, but for the wonderful songs and productions that seemed to emanate from Malmo, Sweden, and the minds of the group's core trio: vocalist Nina Persson, songwriter Peter Svensson, and producer Tore Johansson. More than ten years after their debut, a few things had changed -- the lyrics were no longer sunnily trite but cynically trite, and the songs and productions were no longer so wonderful. Super Extra Gravity matches their previous record, Long Gone Before Daylight, for its dour mood and sour attitude, its lack of discernible hooks, and the unappetizing flavor of the Cardigans' performances. First of all, Persson's lyrics are eccentric and unconvincing. She may not have truly meant it when she sang, "Come on and love me now," a lyric from an early album, but she sang it like she meant it; here, on "Overload," she asks, "Baby dance with me," but sounds like it's the last thing on her mind. (Listeners are easily capable of appreciating irony, but they like to be allowed in on the joke.) Secondly, Svensson's songs are understated and drab. Those qualities could work if they were combined with the work of a gifted lyricist, but unfortunately that's not the case. Finally, Johansson's productions only occasionally allow a hint of brightness and color into the proceedings. © John Bush /TiVo
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Pop - Paru le 1 janvier 1995 | Universal Music AB

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Pop - Paru le 3 novembre 1998 | Universal Music AB

With "Lovefool," the Cardigans catapulted from a cult favorite to an international phenomenon. Instead of being happy with their success, they fretted about their artistic credibility, concerned that they were seen as merely a light pop band instead of an ironic pop band. This is usually a danger sign for any young band, since it results in a self-conscious departure from form -- and that is exactly what Gran Turismo, the follow-up to First Band on the Moon, is. There are still elements of the group's appealing melodic style, but they have trimmed away their sense of humor and style, adding vague electronica experiments and mildly distorted guitars in their wake. Truth be told, there were always hints of despair beneath the Cardigans' shiny surface, but they often sound as if they're trying too hard to be serious throughout this labored, self-conscious album. Since the band has talent, there are not only hints of past glory, there are suggestions where the group intended to go, but too often Gran Turismo sounds like diluted Garbage, not new-school Cardigans. It may simply be a transitional album, but it's a dispiriting listen, nevertheless. © Stephen Thomas Erlewine /TiVo
A partir de :
CD20,49 CHF

Pop - Paru le 1 janvier 2008 | Universal Music AB

A partir de :
CD20,49 CHF

Pop - Paru le 25 octobre 2005 | Universal Music AB

The Cardigans gained the respect of listeners in the mid-'90s, not for the impossibly sunny triteness of their lyrics, but for the wonderful songs and productions that seemed to emanate from Malmo, Sweden, and the minds of the group's core trio: vocalist Nina Persson, songwriter Peter Svensson, and producer Tore Johansson. More than ten years after their debut, a few things had changed -- the lyrics were no longer sunnily trite but cynically trite, and the songs and productions were no longer so wonderful. Super Extra Gravity matches their previous record, Long Gone Before Daylight, for its dour mood and sour attitude, its lack of discernible hooks, and the unappetizing flavor of the Cardigans' performances. First of all, Persson's lyrics are eccentric and unconvincing. She may not have truly meant it when she sang, "Come on and love me now," a lyric from an early album, but she sang it like she meant it; here, on "Overload," she asks, "Baby dance with me," but sounds like it's the last thing on her mind. (Listeners are easily capable of appreciating irony, but they like to be allowed in on the joke.) Secondly, Svensson's songs are understated and drab. Those qualities could work if they were combined with the work of a gifted lyricist, but unfortunately that's not the case. Finally, Johansson's productions only occasionally allow a hint of brightness and color into the proceedings. © John Bush /TiVo
A partir de :
CD20,49 CHF

Pop - Paru le 1 janvier 1994 | Universal Music AB

Though the sky is sunny on the cover, Emmerdale is quite a melancholy affair. First song "Sick & Tired" (the single) hints that all is not well in the Cardigans' camp, and later songs ("Black Letter Day," "After All...," "Cloudy Sky") also capture a depressed mood which conflicts with the mostly upbeat and positive arrangements. Of course, all but two of the original songs were written by a converted metal fan, bassist Magnus Svenignsson. In keeping with that fact, the cover of "Sabbath Bloody Sabbath" shouldn't surprise anyone, though its clever arrangement and the touching vocals of Nina Persson -- even though she's throwing around Ozzy Osbourne lyrics -- render the song practically unrecognizable. In the end, the battle between positive arrangements and melancholy lyrics creates a wistful mood that suits the Cardigans well. © John Bush /TiVo
A partir de :
CD20,49 CHF

Pop - Paru le 25 mai 2004 | Universal Music AB

If any clue were needed to confirm a new direction for the Cardigans -- that is, other than the music itself -- it's the change of hair color for vocalist Nina Persson. Previously an icy blonde that approached white (best flaunted on the cover of Life), Persson's hair is now jet black, a color that matches her confessional mood and conflicted feelings about love on the Swedish group's fifth studio album. Produced by Per Sunding (career-long collaborator Tore Johansson left after an initial session), Long Gone Before Daylight is understated and well-designed, a musicians' record, one that sounds more like an MTV Unplugged session than the high-energy chamber pop of their early recordings. Unfortunately, it's also over-produced to within an inch of its artistic life, and lacks the quality songs and exquisite productions that the group had made a hallmark. Persson composed all the lyrics, rewriting the Spector standard "He Hit Me (It Felt Like a Kiss)" into "And Then You Kissed Me" (sample lyric: "Baby you hit me/Yeah, you punched me right in the heart/And then you kissed me...and then you hit me"). Guitarist Peter Svensson took care of all the music, relying on familiar pop archetypes but forswearing the catchy hooks in favor of carefully constructed songs. Still, the Cardigans don't have enough musical personality on their own to carry these songs; they've always been a surprisingly workmanlike band -- their performances here are sympathetic and intricate -- but they simply can't rise above this subpar material. [The American release, which followed over a year after the Canadian and European issues, included a bonus DVD featuring three videos and three live tracks, plus interviews.] © John Bush /TiVo
A partir de :
CD6,49 CHF

Pop - Paru le 1 janvier 1997 | Universal Music AB

A partir de :
CD17,99 CHF

Pop - Paru le 1 janvier 1994 | Universal Music AB

Though the sky is sunny on the cover, Emmerdale is quite a melancholy affair. First song "Sick & Tired" (the single) hints that all is not well in the Cardigans' camp, and later songs ("Black Letter Day," "After All...," "Cloudy Sky") also capture a depressed mood which conflicts with the mostly upbeat and positive arrangements. Of course, all but two of the original songs were written by a converted metal fan, bassist Magnus Svenignsson. In keeping with that fact, the cover of "Sabbath Bloody Sabbath" shouldn't surprise anyone, though its clever arrangement and the touching vocals of Nina Persson -- even though she's throwing around Ozzy Osbourne lyrics -- render the song practically unrecognizable. In the end, the battle between positive arrangements and melancholy lyrics creates a wistful mood that suits the Cardigans well. © John Bush /TiVo
A partir de :
CD6,49 CHF

Pop - Paru le 1 janvier 1998 | Universal Music AB

A partir de :
CD6,49 CHF

Pop - Paru le 1 janvier 1998 | Universal Music AB

A partir de :
CD4,49 CHF

Pop - Paru le 1 janvier 1998 | Universal Music AB

A partir de :
CD20,49 CHF

Pop - Paru le 1 janvier 2005 | Universal Music AB

A partir de :
CD6,49 CHF

Pop - Paru le 1 janvier 1998 | Universal Music AB