Wieslander, Måns – Twin Piloda

Description

Format: CD
Label: Payola Records
Catalogue: Bribe 7
Barcode: 7394071000070
Country: Sweden
Year: 2000

Condition: New

01. Nightcap
02. Illium
03. Ivan G
04. Lepergirl
05. Free Toys
06. Zap Crusade
07. Indian Ladder
08. Still Afraid Of You
09. The Move
10. Nemo (Only You)

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SPLENDID E-ZINE

“Måns Wieslander, according to his press, is also “involuntary leader of the brilliant powerpop band Elevator Adam, one half of the equally fabulous folkelectropop-duo Campo Mondo and bassplayer of the the Moonbabies”. None of this really meant anything to me as I contemplated Twin Piloda. All I knew was that I was going to have to look up another damn extended HTML character if I was going to spell his name properly.

Wieslander offers ten (actually eleven) tracks of wistfully rich folk-tinged pop in the “intelligent singer/songwriter” vein – acoustic guitars and subtle percussion enhanced by the occasional loop. The true strong point here, however, is Wieslander’s voice. In the last few years, we’ve heard from a lot of solo artist types who can write thoroughly memorable music but can’t turn in vocals to match – this is particularly the case with emo guys, who are used to being able to “cheat” by screaming when they can’t hit the note just right. Wieslander, however, has a strong and enthralling voice, and is capable of conveying a wide range of moods and emotions. Working in a sort Forster/MacLennan vein, he aims more for a narrative approach than a confessional tone, invoking a quiet moodiness on the swelling pop of “Nightcap” and a throaty new wave superiority on “Ivan G”. “Zap Crusade” gives Måns a chance to work his falsetto-laden radio-friendly pop vocal, while “Indian Ladder,” which follows it, is one of those intimate musical conversations that’ll make the ladies swoon. And if you’re wondering if Wieslander can deliver the rock, “The Move” is about the closest you’ll get – it’s not fierce, but there’s plenty of feedback.

“The Move” also reveals Twin Piloda’s primary shortcoming. While the recording sparkles in the midrange, vocals and instruments hit a flat and brittle ceiling at higher volume.

The production also withers a bit during more intricate multitrack work, such as the layered vocals on album closer “Nemo (Only You)”. It’s a little disconcerting, but not a major complaint, especially considering that most of Wieslander’s work seems to be done on a four-track.

There’s also an odd feeling, which I’ve encountered with other Swedish artists, that Wieslander isn’t really speaking English. He is, of course, and he sounds American about 97% of the time, but the occasional awkward sentence construction
or odd song title (what the hell is a “Zap Crusade”?) hints at some cross-cultural incompatibilities. This isn’t a legitimate criticism per se – just something odd I’ve noticed over time.

Will you like Måns Wieslander? If you’re a fan of mellow, confessional pop ballads – The Lilac Time, The Go-Betweens or much of Stephin Merritt’s output — then yes, you’ll enjoy Twin Piloda…though you’ll probably come away none the wiser as to what a Twin Piloda actually is. I wish I could help you, but the press materials are keeping stubbornly mum on the issue.

George Zahora

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ZEITGEIST ZINE, SCOTLAND

“Eek! This is a bit unfortunate what with me raving over the Moonbabies elsewhere. ‘Cos Måns is their live bass player, and if I was planning on saying anything unpleasant I’m sure it would get passed on.

Thankfully, this is absolutely fantastic. Although they are similarities, Måns takes things into an almost dancey vibe.
There’s hints of the appalling Beck, but with none of his po-faced uber-irony. I doubt anyone heard the Kim Fowley & Ben Vaughn collaborations of a few years back, but if you did, imagine that with better vocals. And when Måns ditches the synths and takes it down home, you end up with some truly beautiful music, “Lepergirl” being a song that is truly timeless. It could have fitted comfortably on the first CSN album.

Although the general tone of the CD tends to be resolutely downbeat, listen carefully enough and there’s a perpetual glimer of hope shining through all the songs. Something we all need in times of need. Now if you’ll excuse me I have to listen to “Nemo (Only You)” one more time.”

Stuart Hamilton

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BROKEN FACE

“Twin Piloda” is the interesting debut album from Malmö, Sweden based singer/songwriter Måns Wieslander indulging in what he does best: writing great songs. A large proportion of the album emphasises on nothing but Wieslander’s dark voice and his appropriate front-porch plucking on guitar but there is quite a few other things going on here as well.

Like the fantastic “Ivan G” that adds deeply seductive loops to the melodic folk pop structures sounding like Folk Implosion at the top of their game. “Free Toys” and the timelessly pretty “Indian Ladder” is soft spoken and genuinely mellow pieces with a great ear and eye for detail with a simplicity that adds to its memorability. “Still Afraid of You” is another highlight, simple but effective folk pop hooks latches onto something very familiar, but still beguiling in the same way as Mark Eitzel uses to conquer the saddest and most despairing corners of the world. The closing “Nemo (Only you)” is the perfect summer hymn for those of you living on Lonely Street. This is great music that works particularly well during rainy days.

Mats Gustavsson

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ARBETET, 28-07-00

“Melancholy the reigning mood in a bunch of songs where Wieslander shows the courage of writing shrewd and slightly introvert songs, producing them together with MOONBABIES´ Ola Frick as pieces of art-installations; dark, dramatic sculptures that does´nt apologize for themselves.
An exciting, demanding & headstrong record.”

Jörgen Olsson

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SYDSVENSKAN 2000-07-11 ***1/2 out of *****

“STRONG MELODIES AND BRILLIANT POP”

“The leader of Elevator Adam takes the full step away from the powerpop that once was his starting-point and elixir harsh and almost raggedly beatiful collection of roughly sketched songs. The attitude is reminiscent to that of Lou Barlow (Sebadoh) when he chooses to act as the Folk Implosion, Måns also mixes folksongs whose idiom is ancient and well attempted, with the raw at home with? punk you can accomplish with some good ideas and a few loops.

The songs are often orbiting around one single idea or theme; Wieslander holds back, rests in a singular mood, works carefully and patiently and gives the music time to sink in; it´s the hypnotic rather than the hysterical that he aspires.

And the melodies, whether he sings them or embroiders them on acoustic guitar, are strong enough to reach the wanted effect. Illium is one of the most captivating songs I´ve heard in a long time, and the enthralling Free toys is absolutely brilliant popmusic with an acoustic folk-tone.”

Håkan Engström

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ETTNOLLETT

“This is the most interesting debut album of the Swedish summer.”

Nicke Boström

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POPÖGA

“10 tracks of classic pop”
“Like a toned-down Evan Dando with Tears for fears seeds of love in his headphones (errhmm)”XTC in lo-fi land”

Urban Århammar