Reviews

Christian & the 2120's "Moments"
There is essence of the American Southern Gothic in the music of Christian and the 2120’s, which is intriguing considering they’re based in Kalmar, Sweden. With a seemingly effortless ability to fall into jams and grooves that are sometimes bouncy and sometimes haunting, the 2120’s find a place in a long history of blending Rock ‘n’ Roll and blues.
The band has seen public success with a handful of their songs appearing in a plethora of television shows and films, including Sons of AnarchyShameless, and The Heat. On their latest album, Moments, the band celebrates these successes and the musical journey of moments that got them to where they are today. From tracks with real force and energy behind them (“Where the Sun Don’t Shine”, “Move On” and “Moments”) to slower, more poignant songs (“Shake For Me” and the meandering “Seeing Shadows”), Moments explores a range of bluesy rock.
Of the many striking elements of the album, perhaps the most notable is the use of lingering organ and guitar jams that weave in and out of songs and give the impression that Christian and the 2120’s would be an experience to see live. Tracks like “Have Mercy” and “Tough Love” drive this home. All the while, juxtaposition finds a home on the album; the optimistic nature of “Into the Light” plays nicely against the expansive love narrative of “Slowdance” and energy mixes and mingles throughout.
Kaitlin Ruether

Christian & the 2120's "Moments"

All the way from Kalmar, Sweden comes the next great band in your collection. Releasing their unique style of gritty blues rock, Christian & the 2120’s bring us their new hot album titled Moments. With twelve solid tracks to dig your musical teeth into, Christian & the 2120’s prepare a true feast of awesome sound.
Opening with sarcastic and catchy song Where The Sun Don’t Shine, Christian & the 2120’s make sure we know exactly what genre sandbox they play in. A simple guitar riff meets the matching bassline, and with suitable drums, this track doesn’t break any rock rules, but it doesn’t need to either. The album truly gains momentum when we reach the song Move On, this song picks up the pace, with in-your-face lyrics, and should be released as a single. Progressing in an exciting way, Move On is great musical journey, and it gets better the louder it is played.
Born To Run is an organ infused straight blues track. There is nothing unexpected hidden within this track, it shows all of its true colors on the first play through. Simple, catchy, a bit messy, but that is part of the charm. It feels like the song you would enjoy late at night at your favorite pub. The track has musical moments reminiscent of The Doors, and that in itself is a true compliment. Closing the album out is the track titled Moments, this song embraces all of its many influences, and in many ways acts like a rock music history lesson. Strong on The Rolling Stones vibe, this will be an instant favorite among the fans, but trying to separate it from most of the other tracks might be a bit challenging.
The album itself is filled with great moments and great songs, many of which are single worthy and better turned up loud, with the only real problem being the lack of true diversity within the songs. On one hand, if you like the tone of the first song, then you will enjoy the pace of the whole album; but on the other hand, if you are looking for an album with high peaks and deeper lows, this one might leave you wanting a bit.
7/10
Ryan Donnelly

tastyfanzine (UK)

Christian & the 2120s – “Move On”

Swedish blues rock/garage-rock band Christian & The 2120s was formed by Christian Smedström in 2008 and he soon joined forces with producer Kristoffer Ragnstam to release the debut album Nolo Contendere. Several cuts from the album made it onto big-time TV shows (Sons Of Anarchy, Shameless, CSI: Miami, and many more) and movies like Puncture and The Heat. 
Christian & The 2120s latest album, Moments, was released in mid-March and features Smedström on vocals and guitar, Ragnstam on drums and vocals, and Krister Selander on bass and vocals. John Thomas (Captain Beefheart And His Magic Band) guests on keyboards for 5 tracks and Swedish Grammy nominee Klas-Henrik Hörngren also plays the keyboards on select songs.
A highlight of the album is the driving retro-rocker “Move On”. It grooves with a simmering sway of cymbal scintillation and swishing drum beat. The distorted guitars grind with a smoky, emphatic push as Smedström sings sharply, “You should have known better / that time heals nothin’ / It just fades away.” The clink of shaken tambourine, wide swaths of guitar burn, echoed backing vocals, and trembling piano notes round out the vibrant, classic rock sound.

Jen Dan




Rocktimes  (D)


Christian & the 2120's "Moments"

Obwohl eine CD nur eine bespielte Seite hat, gibt es bei "Moments" dann doch so etwas wie zwei Seiten, denn die ersten sechs Songs tragen die Überschrift 'Berlin' und das folgende halbe Dutzend 'Los Angeles'. Christian & The 2120's waren für die Aufnahmen zu vorliegender Scheibe in den Paul Lincke Studios (Berlin) und dem Hard Drive Studio (Los Angeles). Okay, der Vollständigkeit halber muss erwähnt werden, dass auch noch das Studio Scola (Göteborg) erwähnt wird.
Im Kern ein Trio, hat sich der Bandleader Christian Smedström noch eine ganze Schar von weiteren Musikern in die entsprechenden Studios geholt. Unter anderem sind es John Thomas
(Captain Beefheart) und Klas-Henrik Hörngren»[...] Swedish grammy nominated of Klabbes Bank [...]«.
Christian & The 2120's klettern die Erfolgsleiter ohne eine Stufe nach unten zu betreten immer weiter nach oben und zwar ziemlich steil. Nach drei rezensierten Alben (Nolo Contendere06:43The Bunker Sessions) ist "Moments" so etwas wie ein Meilenstein innerhalb der Tonträger-Veröffentlichungen. Nur die Ende 2013 erschienene "Different Strokes/Different Folks" fehlt in der RockTimes-Sammlung.
Fast achtundvierzig Minuten sind das zeitliche Maß von zwölf Kompositionen, die alle auf das Konto von Christian Smedström gehen. "Moments" ist großartig. Diese Platte hat ein hohes Niveau, kann in allen Belangen überzeugen. "Moments" enthält ein Dutzend höllisch gute Nummern.
Das farbenfrohe Treiben geht schon mit dem Opener "Where The Sun Don't Shine" los. Keine Sorge, hier ist alles ins richtige Licht gesetzt. Knackige Riffs tanzen den Hochzeits-Boogie mit einem infizierenden Groove. Die Dynamik-Kurve hat seine Höhen und Tiefen, sprich, es werden tolle Breaks gesetzt und die Hookline ist brillant. Achtung! Dann ist da noch der Gast Rickard Hellgren. Der erste Teil seines Nachnamens ist Programm bei seinem eingestreuten Solo, das dem Song auch noch eine überraschende Wende gibt. Dieser Alleingang ist der einzige Auftritt des Deadheads-Gitarristen.
Wenn im Songtitel des ersten Tracks schon keine Sonne scheint, sieht man zumindest Schatten in "Seeing Shadows", mit fast sechs Minuten das längste Lied auf der Scheibe. Hier ist bereits erwähnter John Thomas mit von der Partie. Nach der Uptempo-CD-Eröffnung ist dieses Stück quasi das Gegenteil, denn man schwebt im balladesken Ambiente und was Pianist John Thomashier beiträgt, ist einfach fantastisch. Seine Tasten-Nuancierungen stehen im Vordergrund, geben dem Track sein jazzig-improvisiertes Gesicht. Hammer!
Die 'Los Angeles'-Seite beginnt mit "Catch The Train", eine heißen Mischung aus Rock'n'Roll der feinen Sortierung und einem Groove, der direkt in die Beine geht. Im Grundsatz kann man nicht davon sprechen, dass die beiden Seiten des Album unterschiedlich in ihrer musikalischen Auslage sind. Definitiv avancieren die fünf Stücke mit John Thomas ohne Zweifel zu Highlights. Ja, "Moments" ist eine der wenigen Platten, die von Anfang bis Ende keinen Durchhänger hat. Die emotionalen Aussagen sind vielschichtig. Jedes Lied wartet mit ein, zwei Überraschungen auf und die haben es in sich.
"Moments" zeigt auch, wie unterschiedlich und obendrein auch noch abwechslungsreich man den Groove auslegen kann. Mal ist der Bass dafür verantwortlich, dann die Gitarrenriffs oder die Keyboards und schließlich darf man in diesem Zusammenhang das Schlagzeug natürlich nicht vergessen.
"Moments" hat Ecken und Kanten, rauen Charme und sanfte Nischen. "Move On" rockt, bis der Wasserkessel pfeift. Hier ist es Klas-Henrik Hörngren mit seiner phasenweise psychedelischen Würzung, der neben klasse Backing Vocals Akzente setzt. "Slow Dance" ist kein Kuschelrock, sondern der Klammer-Blues nach Mitternacht in einer von nur noch wenigen Gästen besuchten Kneipe. Der Titelsong "Moments" macht dort weiter, wo "Where The Sun Don't Shine" aufhört und dann rühren Christian & The 2120's mit James Salter am Saxofon die Rolling Stones-Flüssigkeit um.
"Moments" ist klasse, greift nach den Sternen und kommt beim Hörer sehr gut an. Christian & The 2120's haben den ersten Gipfel ihrer Tonträger-Karriere erreicht.
Joakim Joe Brookes


Rootstime (BE)

Christian & the 2120's "Moments"


Christian & The 2120’s’ is een Zweedse pop/ rock band, die in 2008 rond singer-songwriter / gitarist en frontman Christian Smedström opgericht is. Smedström is een man die ook een rol heeft gespeeld in nog een aantal andere muzikale projecten. Ze zijn woonachtig in Ljungbyholm in het zuidwesten van Zweden. ‘The 2120’s’ zijn zanger / gitarist Christian Smedström, bassist Krister Seleander en drummer Kristoffer Ragnstam.
De groepsnaam ‘The 2120’s’ werd gekozen naar aanleiding van de viering van het platenlabel van de broers Phil & Leonard Chess, ‘Chess Records’ (opgericht in 1950), die gevestigd was op het adres 2120, Michigan Avenue in Chicago, US. In die Amerikaanse muziekscène was Smedström actief in de punk-, rock- en blues scene.
Terug in Zweden aangekomen begon hij met deze groep aan de opnamen van een eerste plaat die “Nolo Contendere” (2010). De zeer Amerikaanse klinkende rootsmuziek van deze formatie vormt ook de basis van hun tweede album “Different Stroker / Different Folks” (2013) waarop dit kwartet elf nieuwe, door Christian Smedström gecomponeerde songs heeft verzameld.
Hun recente en vierde studio album heet “Moments”, bestaat uit twee momenten / delen, gezien er op meerdere locaties is opgenomen. De Berlijn Sessie: in de Paul Lincke Studio’s in Berlijn en gemixt in de Studio Scola in Gothenburg, Zweden en de Los Angeles Sessie in de Rdk Audio, in Atlanta, US. 
Als je de afzonderlijke nummers overloopt, kan je ook soms over verassende “momenten” spreken. De opener van de ‘Berlin Sessie’ “Where The Sun Don’t Shine” is rauwe, wat gruizige garage rock, met een opvallende baslijn voor Krister Seleander. “Shake For Me” is een rustig nummer, met hier een opvallende rol voor pianist Klas-Henrik Hörngren. “Have Mercy” is psychedelisch en voor “What Else Is New”,is er de versterking van Joel Lundberg. In “Into The Light” zit er wat verassende TexMex in de intro verwoven en “Move On”, gedreven door het ritme van de bas, rockt. 
De sessie in LA opent met “Catch A Train”, strak en uptempo. Het ritme wordt door Ruairi Killcullen met handgeklap opgedreven. Let ook op de orgel grooves van John Thomas! “Slowdance” is door de zang van Smedström aanstekelig mooi en “Born To Run” lijkt wat op een race tussen Thomas’ orgel en de rest. Het nummer “Tough Love” is een nummer dat drijft op de zang, aangevuld met wat onopvallende orgel grooves en een minimale ritmesectie. “Seeing Shadows” kan zo voor een Film Noir dienen en “Moments”, de afsluiter van de Los Angeles Sessie (en titeltrack), is een rockend nummer met hoog radio gehalte. De uitstekende sax solo op het einde is van James Salter. 
“Moments” is te omschrijven als een concept album, waar het vooral om het geheel gaat. De sound wordt bepaald door de kleine details. Het is aan de luisteraar om deze te ontdekken en om mee op te gaan in de grooves. Hoe vaker je luistert, hoor meer je hoort en gaat ontdekken. Samengevat: “Apart en goed”, een album en band die je zeker moet ontdekken! 

Eric Schuurmans



Bluesrootscorner  (NL)

Christian & the 2120's "Moments"


Voor degene die Christian & the 2120’s nog niet kennen. De band is in 2008 opgericht omdat bandleider Christian Smedström wel eens buiten de gebaande paadjes van de rock wilde musiceren.
Het wierp zijn vruchten direct af nadat in 2010 het album Nolo Contendere het licht zag. Diverse songs zoals Evil Ways, Some People, Bringer of Heartache, It Ain’t Cool, Troubled Soul en 06:43 vonden hun weg naar Hollywood. Zij werden gebruikt in de tv-shows Sons of Aanchy, CSI Miami, Shameless, The good wife, Backstrom en MTV’s Death Valley en in films zoals Punture, Shanghai calling, Concrete Blondes en natuurlijk The Heat met Sandra Bullock.
Drie albums, twee EP’s en twee singles later is er nu het album Moments. Aangezien het album The Bunker Sessions in Nederland wat meer aandacht kreeg, verwacht ik dat Moments dit gaat overtreffen.
Het album is op twee locaties opgenomen. De eerste zes nummers in Berlijn en zes andere in Los Angeles. De basis van de band bestaat uit Christian zelf (gitaar/zang), Kristoffer Ragnstam(drums/zang/gitaar/Keyboard/percussie) en Kirster Seleander (bass). Hiernaast wordt er ook gebruik gemaakt van diverse muzikanten waaronder Klas-Henrik Hörgren op de toetsen in de Berlijnse sessies en John Thomas (Captain Beefhearts Magic Band) in vijf nummers van de LA sessies.
De titel Moments is als het leven, dat bestaat ook uit momenten, het vervolmaken van je dromen, zoals Christian dat ook deed met het opnemen van het album op de plekken waar hij dat graag wilde. Zo steken de nummers ook in elkaar, een mooie basis met onverwachte momenten er in. Zoals in de nummers de toetsen soms zeer onverwachts in een nummer opduiken, onvoorspelbare muziek dus. De opener Where the sun don’t shine, een beetje gruizige rock met een heerlijke freewheelende bas van Kirster, doet wat sinister aan en zou zo maar weer in een film kunnen opduiken. Shake for me is een rustig nummer bijna in de sfeer van JJ Cale en daar duiken de toetsen onverwachts en iel op, geeft een mooie sound aan dit nummer. De mooiste nummers van de Berlijnse sessies zijn voor mij What else is new enMove on, gedreven door het ritme van de bass, vet aangezet, een beetje zoals wij dat kennen van My Baby, prachtig. De sessie in LA, begint met Catch the train zoals de eerste sessie eindigt, strakke ritme sectie aangevuld met handgeklap en met, daar is ie weer, het orgeltje, volume hoog en knallen! De stem van Christian houdt soms het midden tussen Daniel Norgren en Ralph de Jongh en dat maakt het nummer Though love ook zo mooi, een nummer dat drijft op de zang met opvulling van het orgel en minimale ritmesectie. De afsluiter en titeltrack het prachtige Moments heeft een hoog Stones gehalte met een lekkere saxophoon solo van James Salter. Verwacht op het album geen lange gitaarsolo’s. Het is de totale sound die het doet, alle instrumenten hebben zo hun momenten om ergens in te vallen. Zoals bij een film die je enkele keren bekijkt en steeds andere dingen waar neemt, zo geldt dat ook voor deze cd. Een lekkere verrassende cd dus.
Jan Van Eck

Musicreviews  (D)


Christian & the 2120's "Moments"


Zwei Jahre nach den ganz und gar nicht unterirdischen „Bunker Sessions“ und der auf 300 Stück limitierten „Three Makes One“-LP sind die 2120’s mit einem neuen Album in voller Länge am Start. Diesmal wieder als CHRISTIAN & THE 2120’s. Was an der Musik nichts ändert, die eine konsequente Weiterentwicklung des Vorangegangenen ist.
Knochentrockener Blues, Wüstenstimmung – vor allem bei „Into The Light“, einem Großstadt-Lied! -, steiniger Rock, ein bisschen STONES hier, ein wenig Tom Petty dort („Catch A Train“) und zum Schluss eine großartige Verbeugung vor Lou Reed und VELVET UNDERGROUND. Mit eigenen Mitteln und nie als Copycats unterwegs. Christian Smedström ist ein eigenständiger Sänger mit recht heller, leicht nasaler Stimme, die über genügend street credibility verfügt, um adäquat durchs gesamte Programm zu führen. 
Eine wesentliche Stärke des Albums ist die instrumentale Ökonomie; wie in einem Howard Hawks-Film findet sich nichts Überflüssiges. Gitarre, Bass und prägnante Percussion sorgen für die kargen, druckvollen, höchst effizienten Grundsounds, Klavier und vor allem die (Hammond)-Orgel entzünden darauf schillernde, psychedelische Feuerwerke. Man muss kein DOORS-Fan sein, um es genießen zu können, schadet aber auch nicht. Das klaustrophobische, eindringliche „Seeing Shadows“ schafft es allerdings mühelos die DOORS aus dem Whisky a Go Go ins heutige L.A. zu holen, ohne dass Smedström je nach Jim Morrison klingt. It’s the spirit, Baby.
Das Album unterteilt sich – nach Lage der Aufnahme- und Produktionsorte – in eine Berlin- und eine Los Angeles-Seite. Musikalisch besitzen beide Städte eine hohe Intensität und unterscheiden sich nicht allzu sehr voneinander. Inbrünstige, gespenstische Balladen gibt es hier wie dort („Into The Light“, „Slowdance“), in Berlin läuft das hämmernde „Move On“ zum Abschied, in Los Angeles das Rolling Undergroundige „Moments“. Gesurft wird ebenfalls in beiden Städten (und sei es außen an der U-Bahn). Dirty-Ass-Blues mit einer Prise Rock’n’Roll ist sowieso überall Pflicht. 


FAZIT: Bada Bing. Musik aus der Bar deines Vertrauens, wo abwechselnd die Sopranos und die Sons Of Anarchy am Tresen sitzen. Die Musik der 2120’S hat viel vom Soundtrack unseres Lebens, ist Erinnerung und Reminiszenz, und wird nicht ohne Grund gerne in Film und Fernsehen eingesetzt. „Moments“ erweckt vielfältige Bilder, von Sümpfen, Wüsten, Highways und Großstädten bei Nacht. Klanglich ein Genuss. Drehregler hoch. Bis die Schatten an den Wänden tanzen und eine definitive Frage beantwortet wird: „End of the tunnel, will you be there?“. 

Jochen König


Hooked on Music (D)


Warum kompliziert wenn's auch einfach geht. Manchmal reichen auch ein oder zwei Gitarrenakkorde, um sich musikalisch zu positionieren. Christian And The 2120's reduzieren ihr Anliegen auf simple und laute Boogie- und Blues-Strukturen, die sich in ihrer wuchtigen Dringlichkeit rotzfrech in den Vordergrund drängen. Auf "Moments" regiert die Ärmel-hochgekrempelt-und-ran-an-den Speck Mentalität.
Rau und ruppig knallen die Songs vor die Wand, werfen ihre flatternden Hallfahnen von links nach rechts, von oben nach unten und wirbeln einem um die Ohren. Die Band ergötzt sich an ihrer eigenen Lust, während sie sich in einen psychedelischen Rausch hineinsteigert. Vieles erinnert an die ziellos jammende Stones, manches an zugekiffte Doors, einiges an adrenalintrunkene Stooges. Der Großteil poltert gitarrenlastig durch die Flure. Hin und wieder kommt ein gern gesehener Gast ins Zimmer, stellt die Pulle auf den Amp, bläst ein alarmierendes Saxophonsolo oder knallt freudetrunken aufs Klavier. Ein wilder Spaß.
Doch auf Dauer trudelt die Session auch ein bisschen langweilig dahin, weil die Spannung der Musiker sich nicht fortwährend Eins zu Eins auf die Zuhörerschaft übertragen lässt. Doch in der passenden Gemütslage kann einen die schwedische Ruppigkeit schon erfreuen und um den Finger wickeln. Wahrscheinlich am besten wenn man mit der Band Auge in Auge in einem Raum steht und die Lautstärke einen erfasst und schüttelt. Ja, dann wird's wohl klappen. Solange sich also die Ecken und Kanten der 2120's reibungslos in das angestrebte Gesamtbild fügen, bleiben diese speziellen Momente durchaus greifbar und fühlbar. Ansonsten könnte aus dem einfachsten Entwurf auch ein uninteressantes Zerrbild werden.

Frank Ipach


Rootstime (B)


With their album "Different Strokes / Different Folks" we had the Swedish roots rock group Christian & The 2120's' here in November 2013, who already received a first time on the floor. 
This four-piece group of musicians around singer, songwriter and guitarist Christian Smedström is apparently very active because there has recently been a CD of 'The 2120’s in the pipeline.

This time it's about a seven-track EP which entitled "The Bunker Sessions" .
Anders Göransson plays piano and keyboards, while Krister Selander, Tobbe Bövik on bass and drums provide the accompanying rhythm section.

Six of the seven tracks are composed by Christian Smedström and the only cover song is the great "Send Me Your Pillow", a song from the repertoire of John Lee Hooker and this could be heard for the first time on his vinyl record "The Big Soul" from 1963.

'The 2120's' can be best defined as blues rockers and they took their musical inspiration from genre-icons like Chuck Berry, "The Ramones ',' The Rolling Stones, John Lee Hooker and some harder rock sound of 'AC / DC' .
 Because loud it is here, ”The Bunker Sessions", including in the firmly rocking opening track "Dance, Dance, Dance", a song that was already on their previous album in a slightly different version.

Then follows the bluesy rock song "Same Old Story" and just not as loud is the howling song ”The Wolf". "Them Southern Women" sends us a bit more in the direction of the guitar blues of someone like John Lee Hooker, and is therefore the appropriate prelude to his own "Send Me Your Pillow", but first we must turn it up far louder and bring on "Smile At Trouble"
The first quieter song we just have to wait until the end of this CD, where "The 2120's' gives us a seven minute epic entitled" Troubled Soul "offer.


These Swedish guys have the blues and rock music quite mastered, and their Northern European ancestry seeps nowhere through the seven tracks on "The Bunker Sessions", this EP is hopefully the harbinger of a new full- cd of this band. "Shake it, baby very soon and experience them live in the Benelux."




Scott's Music Reviews (DK)

Three Makes One


I have never heard of this band before and I am still on the wall about this new three piece Swedish band, which features Christian Smedström from The Awesome Machine. The opening track is a sort of bluesy rock and roll number with some nice slide guitar parts and a pretty catchy chorus trying to get you to Dance! Same Old Story is a down and dirty foot stompin’ blues song as well. The Wolf is a short no-nonsense track in the same vein as the first. No real guitar solos or jams in either of these tracks. Them Southern Women (Malmö?) has a really cool groove and guitar riff. Smile at Trouble is a bit heavier and has some more interesting guitar and I like the effect added on the voice and some piano by Anders. Troubled Soul ends side A and has a more laid back feel and Fender Rhodes piano to give it a bit of a spacey feel. Cool track and by far the longest and most interesting on the side.

Side B has quite a few different musicians playing on the record and a bit more variety. Send my your Pillow is a blues shuffle of sorts with piano again and some slide guitar and double tracked guitar (since Christian sings and plays all the guitar). Evil Ways is a slower track again with some slide guitar and quite a different sound production as they have now switched studio. The sound is a bit more raw, which I think is a good thing for this kind of music. Pin your Soul starts slowly and then builds up and the piano and organ kick in later as it takes off. Chasin’ the Tail features Ms Johanna on backing vocals and again joel joins in with some piano to compliment Krister on bass and Krstoffer on drums. Tobbe plays drums on most of the tracks on side A. God says Nothing closes out this record and this is a slow mellow spacey track with a couple of loud outbursts and not like anything else on the record, which is good as a few too many of the songs are quite close in style..  After repeated listenings, I have really enjoyed the record and you probably will to, if you like blues…




Musikreviews (D)
The Bunker Sessions

Although "Christian" has disappeared from the band name, it still is the same Swedish band whose previous EP "06:43" colleague Thoralf Koss has discussed HERE. A single, two -length album - "Nolo Contedere" (2010), "Different Strokes/Different Folks" (2013 ) - and two EPs have THE 2120's now published, numerous songs have been used in (actually not small) films, nevertheless, the albums in this country as a download only relatively easy to get. But should not discourage anyone to go on the search. It's worth it.


Almost recorded "live" in the studio The Bunker Sessions present what Christian Smedström and his fellow musicians can perfectly: play snotty blues, with rough edges, earthy and powerful. THE 2120's convince six original compositions and JOHN LEE HOOKER cover a long ("Send Me Your Pillow").


This has sometimes the raw power of the early punk, just like the JOHN LEE HOOKER - piece, but is also not boring when it times over the longer distance is like the furious conclusion "Troubled Soul", the almost exceptional length with just over seven minutes it possesses. NEIL YOUNG- references that were still to be heard at "06:43", under the table, it can be "Troubled Soul" guess how the DOORS would sound today if the psychedelic blues highway taken to Gothenburg into the 21st century would have moved on.


CONCLUSION: Too bad that after 27 minutes the end of the road is reached. "Let it roll, baby, roll," one whispers after the last note, because THE 2120's show not only that they have mastered the short form, but can chauffeured over a longer duration between heaven and hell back and forth the battered soul. Made for sweaty jams. That makes Scandinavia as home of the blues with bad-ass good atmosphere, already showed the MOJO MAKERS from Denmark. THE 2120's place with her impressive by 2014er output. Quiet more of it. 


Jochen König 





The Bunker Sessions

No reason to panic. "The Bunker Sessions" indeed appear under the band name The 2120's, but it always is yet to Christian & The 2120 's . Christian Smedström is still the band head and stock up on "Send Me Your Pillow" (John Lee Hooker) composed all the songs .

Looking back at the debut album Nolo Contedere, the band is able to report great success. Songs of the plate can be found in such films as "The Heat" with Sandra Bullock, "Puncture" featuring Chris Evans, "Shanghai Calling" or the TV series "Shameless" again. "CSI Miami", "Sons Of Anarchy" and "Death Valley" are other programs in which music from Christian & The 2120's shows up. When is the information sheet to the plate, that is a "live recording in the studio with only a few overdubs with backing vocals and a few guitar licks," then one can fully agree with the concerning the sound .

"The Bunker Sessions" shows how bluesy pulsing the blood in your veins. Since you can not complain at all ... The 2120's have the groove serving of heart shaped guitar tones and make the plate with seven numbers to an earthy pleasures of rock art, however, is allowed, despite the damn short twenty-seven minutes total playing time, even the soul. The slow blues heard here about how the spices to an excellent dish. The mix of down home blues and which were noted ideas make "The Bunker Sessions" to a high-quality album.

The permeability of a Christian Smedström greets and transfers to splendid way to the other musicians in the group. These are: Krister Jonsson on bass and Selander Tobbe Bövik (drums). The Blues cylinders are drilled in the last three tracks by keyboardist Anders Göransson.

After six danceable blues numbers follows something very special. With sparkling keys cascade is dedicated to the combo of finger snapping and jazzy binoculars the very relaxed blues without showing even a sign of problems. Since the bottleneck first agrees to the yearning melody. Later, the sliding of the metal tube violent, with the rhythm section remains almost stoic when infecting Groove overclocking. Thus concludes "The Bunker Sessions" in a different way the gates of listening pleasure.

This disc deserves a tip, if only, if only they would not have fallen so short. But still, every song has that little bit extra- feeling. Several passages in the piece are always worthwhile, only the start key must be used more frequently. The album is also available as a vinyl edition with four bonus tracks from " Nolo Contedere " .

"Them Southern Girl " is predictable from the title. The sheet music for this track were dipped in Southern Barbequesoße and come out with a great guitar work and a shuffeligen rhythm. The backing vocals from the Bass Man Krister Jonsson Selander are not to be sneezed and Christian Smedströms voice was distorted phased discreet. Class !

As a soloist, he makes a very good figure and despite a somewhat dusty disk sounds the songs with hypnotic Boogie are independent and modern. Party time even with John Lee Hooker's "Send Me Your Pillow". Here Anders Göransson switches to piano and honky tonk sounds dance. The 2120's put the Hooker Boogie almost in archaic realm and enter even with a cover song from Durftmarken own .

Despite the short playing time of "The Bunker Sessions" and shortening the band's name to The 2120 's Christian Smedström & Co. remain faithful and supply from an inspiring Blues Rock. Hats off! 

Joachim 'Joe' Brookes



VanEckBlues  (NL)

The Bunker Sessions

The 2120 's are formed by Christian Smedström-vocals/guitar, Tobbe Bövik-drums/percussion and Krister Selander Johnsson-bass/backing vocals on the CD played on three songs also Anders Göransson along on piano/keys.The opener "Dance dance dance (V2)" blasts equal firmly with thumping bass and driving drums intersected by bright guitars and vocals reminiscent of the punk rock time and she pumps "Same old story" good by, this is not music for wimps, just turn the amp nice and open and go."The Wolf" the pace is somewhat lower but still pretty solid with nice tempo changes and then proceed with tasty boogie in "Them southern women" with some short solos on guitar, it remains "Smile at trouble", "Send me your pillow" (cover of John Lee Hooker), and the quiet "Troubled Soul" three songs where the piano/keys upon are met.Do not expect long solos on this 26-minute EP, you will not miss it the songs are well written, a nice mix of boogie and rock you, as said before, propel the pace and wall of sound.It's nice to see that some bands where two guitarists need to get as this trio same full sound and hence also says a lot about the rhythm section
.


Jan van Eck




Rootstime (B)
Different Strokes/Different Folks

Christian & The 2120's is a Swedish pop and rock group which was set up by singer and songwriter Christian Smedström, a man who has also played a role in several other musical projects. The other permanent members of the band in Ljungbyholm in southwestern Sweden resident group 'The 2120' are guitarist - pianist Joel Lundberg, guitarist and drummer Kristoffer Ragnstam and Esben Willems.The group was chosen following a prolonged stay of frontman Christian Smedström in the studio of record label Chess Records 'which is established at 2120 Michigan Avenue in Chicago, USA. In the American music scene, he was active in the punk , rock and blues world .He started back in Sweden arrived with the group to record a first album called "Nolo Contendere" was given the title and above could count. Domestically the necessary approval The very American sounding roots music of this formation is now the basis of their second album "Different Strokes/Different Folks" which this quartet eleven new songs composed by Christian Smedström collected.Opening track "Ten" we have to encounter on the attached video. Following this, some more experimental sounds in the song " Til The End Of Time" and "The Rolling Stones" inspired rock songs like "All Messed Up", "Dance, Dance, Dance" and "Easy On You". Our favorite songs from "Different Strokes/Different Folks" its "Fall Behind", the catchy put "Sunday", the ballad "Waterline" and especially the extremely poppy and hit potential song "Fade Away".The only less positive criticism we can express this record is related to the rather messy production so the sound may not fully come into its own. But it is also just the room for improvement in the next album of Christian & The 2120 's. 


Rocktimes (D)

06:43

As can be seen from a news article on the band's homepage , the EP "06:43" intended only for the German market. After Nolo Conte Dere left a lasting impression, one can only wonder what Christian & The 2120 's have after one year as on the pan.

More specifically, this Silberling, however, no record of the entire band. One could rather say that the front man of a solo career is on the way. With just a little support from Esben Willems and Thomas Pontén Christian Smedström has eight songs (including seven original compositions) will be played on its own. With "Cckmp" covert the protagonist of a
Steve Earle number.
The Swede was up to the upper edge lower lip still in the blues, which he presented to us very versatile. Respect for the feat to have almost everything alone was added. With the use of different guitars it can Smedström rock or takes us to the famous Mississippi Delta and rises in the very interesting board with the wonderfully groovy title track "06:43".  Electric Guitar and Acoustic are consistent and in the background you can hear some fine psychedelic elements. Rhythmically it rocks relaxed somewhat restrained. Class track!
Why did the EP given that title, he is the only white person. The songs were recorded during the spring of 2011. Fingerpicking and Bottleneck much use determine "Crash & Burn". The Smedström vocals including harmonies sound really good and towards the end is geslidet quite furious. Again, a track with which he can score.
"Mr. Cabdriver" goes fully into the Fußwippe. The electric guitar sounds nice distorted. From time to strengthen handclaps rhythm. Great idea ! Smedström embarks on the psychedelic hypnotic path and perhaps it may sound so similar when Neil Young would be subjected to the 12 - stroke engines. When hearty drum interlude, the listener's ears perk up.
"Cckmp" ("Cocaine Can not Kill My Pain"), written by Steve Earle is tightly clasped by Smedstöms hands of 12 -strokes. Again, he uses the metal tube on, makes the piece for a slow blues and especially here one is convinced, which is a good slide guitarist of the man. Here, the Swede waived spectacular. The fascination is created by the simplicity.
In "Feels The Same" particularly like the therefore coming with effects electric guitar and "Everyday mantra" is for me the crown jewel of the EP. Compressed to two and a half minutes sprout the old Fleetwood Mac and the seventies from the ground. Versatile goes to Smedström with psychedelic currents on the plate. The sound always different.
In the last two numbers Thomas Pontén and Esben Willems mix with. Especially the former, he can in "Secondhand Jesus " much room for development on the mandolin . The handclaps reminiscent of a tango. Other rhythm donor does not exist. Great uptempo track. Finally there will be "Working For The Man", in which Esben Willems Drums and Percussion takes over. Again provides Smedström its very good guitar work and demonstrate his singing fits perfectly with the rural blues.
Since you can not complain... "06:43 " is a fine thing and sweetens the wait for a new disc. Then maybe back to the 2120's . Interesting is certainly still the information that all eight tracks of this EP will not be included on the appearing late 2012 album "Different Strokes/Different Folks ".

Joachim 'Joe' Brookes


Musikreviews (D)

06:43

CHRISTIAN SMEDSTRÖM, who with his band's name at the same time the seat of his favorite labels Chess Records: homage ( address 2120 Michigan Avenue in Chicago), must be immediately after "Mr. Cabdriver" as the Swedish answer to NEIL YOUNG and after "Cckmp" described as the Swedish edition of JOHN LEE HOOKER .


Yes , not only the Christian, but also his guitar has the total Blues - and both live that belong on the EP "06:43" out. Unfortunately, this EP is probably just an appetizer for the planned European tour. After his first album, "Nolo Contedere" another album, not only as just so touches on on this EP in about all varieties of Sweden, without the right to live out this hope also follows shortly.


The eight tracks that are a bit too short in my opinion and give you a taste of the many different musical currents of Smedström really make you want more. And when to "Working For The Man" also appears a mandolin and off the blues one serving contributes Country, then you may well be excited to see what this musical maverick has gained such to offer yet .


"06:43" opened purely instrumental music journey with a blues guitar as we have learned to appreciate them at least since CHRIS REAS late work "Blue Guitar". "Crash & Burn" then pushes it to the very catchy song with a slight DYLAN feeling.


With "Secondhand Jesus" then gets the textual side of Smedström a special charm when this superficial God Geiere makes itself that grabs hold with all its superficialities one and not let go - like a Jesus - cup from the one his cold coffee drinks. Tasty is not both!


But is "06:43" a good taste of hopefully soon-coming "exploits" this Swedish talent that carries the blues in it.


CONCLUSION : Gorgeous blues-rock in the too-short fast run! 


Thoralf Koss



Hooked on Music (D)

Nolo Contendere


It rumbles and rattles, the sound is crunchy, it's as if it came from a ramshackle garage in a Swedish backyard. Although large parts of Sweden may seem quite tranquil, Swedish musicians know how to hit the nail on the head and understand thoroughly how to officially rock. The young Swedes CHRISTIAN & The 2120's demonstrated in their latest album, "Nolo Contendere", an audible soft-spot for classic rock and its tattered offshoot blues-rock.

Christian Smedström's 12-song collection could be called classical roots-rock. A bubbling brew, it seems rooted knee-deep in the seventies. The guitars fire erratically and the drums thunder violently, with psychedelic moments evoked by various reverb effects and an intoxicating piano. This is all a little reminiscent of the humid south of France wine cellar where the ROLLING STONES recorded their "Exile on Main Street" sessions. Then one thinks a bit of ZZ TOP, or even of the more recent, so seductive musicians MORELAND and ARBUCKLE. Greasy, sweaty and in short sleeves. Completely transparent, free, open, away from the usual restrictive conventions, focusing on the blues, but simply going out, the main thing is that it's fun, someone out there will like this stuff.

Yes sir, Mr. Smedström, this weird melange really does it for me. What? "Nolo Contendere"? You're putting the blame on yourself, Mr. Smedström? I nevertheless accuse you of having recorded this album so that the pure enjoyment of playing and a fresh carefree musicality is not to be dismissed out of hand. Well, now what?

Frank Ipach


Rocktimes (D)
Nolo Contendere


Once again Sweden! The musician and songwriter Christian Smedström has already left behind several bands. Before founding Christian & The 2120's, Christian was active in groups such as Full Metal Jacketz, The Awesome Machine and On Parole. The number 2120 is a nod to the record label Chess Records, which had its address at 2120 Michigan road in Chicago.

The directors Adam and Mark Kassen have chosen a track from the debut album "Nolo Contendere" for their film "Puncture" and the song "Some People" clearly impressed the advertising people of Chevrolet, as they used the number in a commercial. Smedström was already on tour in Germany when he performed a street concert in front of the U.S. Embassy in Berlin with Thomas Ponthenauch. 

However, Christian & The 2120's make their own best advertisement, as "Nolo Contendere" is an album of unseemly attraction. Dirty, relaxed, sweaty, playful, rough, angular and and and. What more could you ask for from a catchy offering such as this? Not much, because Smedström clearly absorbed the music of at least John Lee Hooker, R.L. Burnside and the Rolling Stones. About that, one can certainly agree with the press release. Personally, I would like to add Skip James to that list.

One can't imagine a nicer path to hell. "Gone To Hell" is one of the quieter moments on the record and in the way it's been recorded,  the band is simply likeable. The piano jingles and together with the acoustic guitar, they set the theme. Smedström sings with a soft voice, almost whispering with Kristoffer Ragnstam giving restrained rhythmic beats on the skins. 

The combo can play rustic rock as well. For example, the opener "What Else Is New" already opens the hearts of the listeners. Here the electric guitars are active with Joel Lundberg on his piano somewhat in the background, but when he shines, his support is just great. Out of the depths grumbles the bass in "Evil Ways", as well as slightly distorted sounding vocals from the songwriter. A nice effect, just like the excellent use of slide guitar. The skins enter! Here, just like in the first piece, the guys love to draw up the tempo and volume. 

At five and a half minutes, "Pin Your Soul" is the longest track on "Nolo Contendere". Here it goes to some desolate places and the psychedelic feeling really comes to fruition. Moving towards the end, the number enters a slide-festival accompanied by spacey noises. "Freefall" is a wonderful rootsy singer/songwriter ballad, something very pleasant in the context of the other offerings. Then allow Christian & The 2120's to once again rock to the blues, Lundberg's groovy organ playing fitting in quite well here. "Bringer Of Heartache (And Such)" is one of my favorites from the disc.

"The Last Kiss" is alive with the stylish ambiance of the opener and this growing momentum found in many of the tracks, which may now be considered one of the hallmarks of the 2120's. Clearly in the blues, but also in "It Ain't Cool", typical Stones-uh-uhs are put in.

"Nolo Contendere" is a really good album with lots of slide guitar and even in this debut there is a clearly visible independent touch by front man Christian Smedström. The record can be purchased from Cactus Rock Records, established in December 2010. Their philosophy can be seen on their homepage: "Our bands and artists come from the southwestern United States, Germany and Europe. For them we undertake the exclusive mail order sales for Germany and Europe."

This album should provide suitably large sales.

Joachim 'Joe' Brookes'



Närkes Allahanda (SWE)

Live


At times it's sheer perfection
Christian & the 2120's
Live at heart, Örebro, 16/9

It's Friday night in Örebro and it's really 'fredagsmys' in town park greenhouses where Christian and & 2120's will make their second gig at the two-day festival Live at heart .

I do not really know how Christian and & 2120's should be described or explained. On his blog the frontman Christian Smedström call himself "The Captain of Boogaloo", and the songs that the band has produced are diverse and sprawling for both grunge, rock, blues and garage side.
"This feels a little like a home party, except that you do not know anybody" says Christian Smedström initially. For it is indeed. We are, unfortunately, a very small group of people gathered in front of the stage inside the greenhouse. First, I am worried, but after listening so intently on the music that I can barely breathe I change myself and think the show is so positive intimate that it only turned to Christian and & 2120's advantage.
The band is not quite full strength and playing more stripped and naked than they usually do. Best of tonight 's love song "Fade away" as dots that gut feeling, you know. "Every one need some loving. Every one need someone who cares . Every one need some loving otherwise you just fade away" echoing between the greenhouse glass walls. It's pure perfection and Christian Smedström song touches every little cell in my body . Although "Evil ways" belong to one of the evening's best songs and is also a song that has been played in the American TV series Sons of Anarchy, which Christian and the 2120 's describes itself as a milestone.
For winter planning Christian & the 2120's to release their second full length album. One tip is to keep your eyes and ears open for it.

MALIN PERSSON




Kassel-zeitung (D)

Nolo Contendere



Sweden is in many areas unknown to us. Unfortunately, this is the case even with contemporary, popular music. Now here's one from Västra Götaland in the southwestern corner of the country. And they're really quite good. Roots-music, knowing all the tricks: blues, boogie, rock and folk. It steams out of the speakers, so that you will check whether there's an alligator grumbling under your bed. The path through forests, swamps and marsh is pure adventure; the pathfinder class - Christian & The 2120's!

The path leads through 12 original songs. For Christian, he has begun in Chicago. There, at 2120 Michigan Avenue, resided the record company Chess Records. Here he practiced with numerous artists who have had lasting influence on the musical history of the world. Mr. Smedström named his band after this address. And this article has all the great bands here. So let's go ahead:

Here we go galloping across the moor. What Else Is New is a song about the common differences and different commonalities, which dreams can yield. The instrumentation uses quick, short beats right to the point. Christian: guitar, baritone guitar, vocals; as well as Tobbe Bövik: drums; Joel Lundberg: Bass and Keyboard. Welcome to the swamp! Now it gets much more difficult. But with more power. Evil Ways uses a distorted bass, loud guitar solo and a forceful drum beat. The adventurous path isn't always paved.

Gone to Hell begins with a sterling honky-tonk-piano. The piece is almost humble: gentle, reasonable, nice. Such melodies make hell lose its horrors. With (stop) Chasin The Tail the band picks up speed again. Again, this distorted sound, like from an older electric-blues recording can be heard. Christian intersperses some guitar slides. Ms. Johanna supports the song with worthwhile background vocals. She Said Burn ignites a wild fire in the moor. Here neither fireflies nor wisps can glow. Here it's the bush that burns. In the refrain "Who do you love", the piano pounds in the best Velvet Underground fashion. By three minutes, fifteen seconds, everything has burned off - but the heat remains.

It follows with Freefall, the manpower-intensive piece of the album Nolo Vontendere. A quiet, nearly folk piece, it offers  harmony-vocals and a mandolin (Thomas Ponthen). Christian once again plays slide guitar. Okay, the forces have been collected up again for a return to rock. Bringer Of Headache (and such) shines with edgy riffs and improvisation.

Pin Your Soul is no Voodoo hymn, but rather crisp, swinging rock. The piano sounds as if it's being played with mallets. For awhile only the bass drum beats, but then it explodes. At 5:38, it's the longest song on the CD.

And once again this magnificent bar piano. The Last Kiss is a ballad with a very distinctive bass line. The guitar holds back for a long time, returning to leave behind a strong scent of strength. And now the super cool tribute to the boogie. It Ain't Cool forms a very strong impression. The choir is inspired by "Sympathy for the Devil", but here it's in another category. It would have been great if it were allowed to be 10 minutes longer. Some People will win you over through the enthusiasm of the band. Impressive independent music has come from the original inspirations, and there's no reason why this should be heard only in the Swedish forests. The final song God Says Nothing Back, rising like an early morning fog on a summer day, completes Christian & The 2120s album, leaving an overall well-sounding artistic impression. The first short successful visit in this land has ended. More should follow in the fall. This is great! (D.M.A and Misty Music)

Lüder Kriete




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