Kingwood

Album review

When Nikola Sarcevic's first solo project, Lock-Sport-Krock, was released in 2004, fans were shocked by how different it was from his work as Millencolin's lead vocalist. Instead of embracing the sort of brash, stomping, boisterous punk that Millencolin is known for, Sarcevic the solo artist moved in a much calmer, more introspective folk-rock/adult alternative direction -- minus the rest of Millencolin, Sarcevic favored an approach that drew comparisons to John Mayer and Gin Blossoms rather than NOFX, the Clash or Cock Sparrer. But the Swedish singer didn't become a full-time solo artist, and Kingwood -- his first post-Lock-Sport-Krock album with Millencolin -- finds him hell-bent for punk once again. This 2005 release doesn't contain even the slightest hint of Lock-Sport-Krock's singer/songwriter aesthetic; Kingwood is punk all the way, and the Swedes spare no passion on melodic but in-your-face offerings like "Mooseman's Jukebox," "Farewell My Hell" and "Shut You Out." Guitarist Erik Ohlsson has claimed that Kingwood is, as of 2005, "our best, most focused record yet"; the 'best' part is questionable, and many longtime Millencolin fans will insist that Pennybridge Pioneers is still the band's crowning achievement. But Ohlsson certainly speaks the truth when he describes Kingwood as focused; Millencolin does bring a lot of conviction to this material, which thrives on the sort of simplicity and gut-level rawness that old-school punk was known for back in the late '70s and early '80s. Kingwood isn't as essential as Pennybridge Pioneers, but it's still an inspired, enjoyable addition to Millencolin's catalog -- and while Sarcevic has a lot of potential as a folk-rock singer/songwriter, it's good to know that he can still belt out punk with a lot of passion and fury.

© Alex Henderson /TiVo