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┌────────┐
────┤ Info ├─────────────────────────────────────────────────────────────────
└────────┘
Artist | The Legends
Title | Nightshift
Genre | Indie Format | Album
Source | CDDA Time | 43:55
Label | Labrador Records Store | 2017
Catalog | LAB161 Rip | 2017
Bitrate | 256 kbps Size | 84.92 MB
Freq | 44.1 kHz Encoder | Lame 3.98.4
┌────────┐
────┤ Tracks ├─────────────────────────────────────────────────────────────────
└────────┘
01. Cash 3:12
02. There Is A Light That Soon Goes Out 3:42
03. Summer In The City (Living Is For Somebody Else) 2:41
04. Riding The Waves 2:58
05. In Love With Myself (Feat. Elin Berlin) 2:46
06. Diamonds 2:03
07. Say What? 2:30
08. Space Jam 2:37
09. Motorway 1:47
10. The Phone Call (Feat. Kristina Borg) 2:50
11. Automan 1:45
12. Midnight Sun 3:15
13. Roses 3:48
14. Cocaine (Feat. Maria Usbeck) 2:45
15. City Lights 2:53
16. Messages (Feat. Rose Suau) 2:23
┌────────┐
────┤ Notes ├─────────────────────────────────────────────────────────────────
└────────┘
The Legends are one of several indie pop projects masterminded by Swedish
producer/musician Johan Angergard, whose other bands include the Acid House
Kings, Eternal Death, Djustin and Club 8. Initially conceived as a fuzzy,
gutsy indie pop act (something like a rougher, fierier version of the Acid
House Kings), the group made its live debut in 2003 as an opening act for
The Radio Dept. Their first EP, "There And Back Again", was released on
Labrador one year later, and was quickly followed up by the full-length "Up
Against The Legends". Angergard took The Legends in a new direction for
their sophomore effort; 2005's "Public Radio" found the Legends dipping
into a reverb-swathed sound modeled after post-punk acts like The Cure and
New Order.
The Legends have taken so many left turns in their long and sporadic career
that it's all but impossible in 2017 to recognize them as the same band
that recorded the noise pop classic "Up Against The Legends" in 2003. Under
the stewardship of Angergard, the band has done 80s new wave, slick synth
pop, breezy indie pop, and, on 2015's "It's Love", the kind of modern
synth-led R&B that threatened to take over the indie world. Now, on
"Nightshift", Angergard has gone full Moroder, suiting up and playing his
keyboards like he was driving a car at night through rain-slicked streets.
Not exactly the same way that bands like Chromatics and Electric Youth did
for the Drive soundtrack, but it wouldn't be a shock if he made a quick
study of that influential artifact at some point along the way.
Along with the squelchy synth tones, fat bass notes, robotic drums, and
glossy washes of sound, he feeds his vocals through vocoders and processing
to give it that nice alien feel. Guest vocalists Elin Berlin of Eternal
Death, Red Sleeping Beauty's Kristina Borg, and Maria Usbeck all show up to
duet with Angergard and provide some sweetness to go along with his
machine-driven vocals. It may not sound like the most original direction
for the project - maybe even a little cliched - but there are mitigating
factors. First and foremost is Angergard's knack for writing hooks. It
doesn't matter what style he tries out, the songs are always there and
"Nightshift" is filled with memorable tunes, cute little chord changes, and
lyrics that hint at the alienation the synths make clear.
He's also a master at absorbing sounds and influences and making them seem
like his own ideas. So when he jacks the Jonzun Crew (or is it Newcleus?)
on "Space Jam", he gives it a melodic twist that makes it pure Angergard.
Even when he strays a little off course, like on "Cocaine", which sounds
like Lorde on downers, there's enough of his own personality and skill to
make it work. Only the cover of the Chainsmokers' "Roses" doesn't succeed,
and that's mostly because you can't polish something that refuses to be
polished. Remove that song and the album instantly improves. Cut the
album's running order a bit - at 16 songs and 44 minutes it does begin to
drag a bit at the end - and it would be a very good record. As is it, it's
good and fun, and stands as yet another example of just how easy it is for
Angergard to drop into a style and make it his.
┌────────┐
────┤ Group ├─────────────────────────────────────────────────────────────────
└────────┘