Mimas

Welcoming you in with whispery horns and light guitars Mimas sets the scene for an EP of six tales presented in song form. The foursome, based in Denmark, are all about the stories each track is an interesting, and usually, humerous tale.

'La Moustache' is highly entertaining with it's guitar strum a solid base for the melody and the repeating refrains of "growing a moustache in your apartment" starting a number of quirky, funny lines.

Hitting the song's theme with the perfect musical accompaniment 'Manflu' will have you chuckling. 'Sodapop' is a bit rougher with Sn?var Albertsson's vocals starting scratchy and strained; stuttering "diet soda a a a" before mixing them up with some intricate guitars and fiddly melodies. 'Rotting Rodents' brings intriguing melodies in it's intro with dynamic layers of contrasting sounds, topped by horns, before mellowing into Albertsson's full melodic lyrics.

Each song has a varied structure and sound; 'Vader' bops it's way in to a stomping beat with chanting lyrics coming from all angles; preparing you for more horns and another full bodied track. 'Touring' weaves it's way through guitars and vocals and final track 'Relationships' uses supporting pianos to drive emotions home.

And yet, all are still very clearly Mimas.

With 'Lifejackets', they have produced some highly appealing indie/post-rock that flows to your ears and lightly tickles the senses. Each song providing an intriguing tale to brighten your day.
- Roomthirteen

Denmark - part of Scandinavia, home to Danish bacon, winners of Euro'92 and Mimas, a quartet from Aarhus who's second full-length, 'Lifejackets' turns out to be an organic indie/post-rock delight that is captivating from the start. 'Application' slides in with quirky lyrics about web hits, whilst fiddly guitar work brings about a pleasing tone to the bands bare sound. Add to that a decent blend of harmonies and hand claps, and you're left with a superb opener.

The stuttering 'La Moustache' is lyrically intriguing and musically dynamic, with basic, pounding guitar strum acting as the base, which allows Snævar Albertsson's vocals to be more defined. Structurally the band are inspiring, as they build up to a conclusion that is dominated by bursting horns and superb melodies.

Elsewhere 'Rotting Rodents' is a radiant take on the post-rock genre, with blasting guitars phasing out into a delicate, laid-back Mimas. Whereas 'Sodapop' and 'SMOM' once again shows the bands fiddly guitar work that twinkles and adds a sense of beauty, especially to the former. Whilst the latter makes way for gorgeous horns and Albertsson's warming vocals.

The bands more delicate side comes out on 'Manflu', with its well-paced acoustic guitars, and breathing drums that produce an overall inspiring and elevating feel. The equally comforting 'Vader' serves as a rapturous folk-like number, that lives off the bands refreshing energy, and brings a strong sense of togetherness, definitely one of the highlights here.

Ultimately 'Lifejackets' is a superb achievement, its ability to (nearly) flow with ease and to hook you in from start to finish is refreshing. The bands open approach, and musicianship leaves you captivated, From the indie-pop sensibility of 'La Moustache' to the closing delicate piano notes of 'Relationship', Mimas have exceeded in expectations.
- Alter The Press

Danish trio Mimas’s second album positively revels in its own glorious instrumental interplay, floating serenely over the chasm between post-rock and indie in a way not seen since the heyday of US figureheads American Football. Languorous, intricately woven guitar sequences resonate beatifically over nimble bass melodies and deft percussion, gently nudged forward by gorgeous horn swells, group vocals and drifting smears of white noise. Engrossing as this sound is, what really separates the quartet from the pack is their refusal to conform to po-faced stereotype, flirting with neurotic white-boy funk on ‘Sodapop Stalkers’ and basking archly in such deep song concepts as ‘Manflu’ and ‘La Moustache Formidable’ (“Facial hair definitely gives me more confidence!”). Rarely has silliness been this affecting. Lee Gorman - I Heart AU

In Greek mythology, Mimas was a titan slain by Hercules. In astronomical circles, it is a moon of Saturn discovered by William Herschel. It’s also home to a crater named after Herschel that’s 130 km wide and gives said moon an uncanny resemblance to the Death Star circa A New Hope. Approximately 1.2 billion km away on a planet called Earth resides a group also known by the name Mimas, consisting of five males from the small Danish town of Aarhus. I don’t know about you, but I can’t see any obvious connection here. Perhaps the pock-marked and cratered visage of Herschel’s moon embodies the spiritual pummelling and soul corroding tribulations which gave life to the muse that so inspired this group. Thus, giving weight and an obscurely intelligent backbone to the melancholic canvas of which their sound comprises. Oh the folly of aimless conjecture.

Hands Will Carry, the debut endeavor of this Danish collective, clocks in just shy of thirty minutes and makes for a brief but interesting listening experience -- punctilious, yet effortlessly nonchalant, with crisp production to boot. Drenched in reverb, which gives an icy and spacious feeling, the CD is blessed with depth and enormity, suggestive of agoraphobia-inducing plains or forays into a supernal realm. These are songs of delicate texture, containing complex and contrasting movements within, a trait which reminds me of Sigur Rós peppered with a hint of Mew. The sound seems heavily compressed with a crisp sibilant aftertaste throughout, as if heard from afar on a frosty night. Perhaps it goes with the territory, i.e. a band from the upper stretches of the northern hemisphere endeavoring to infuse a geographical influence into their sound. In any case, I like it.

“Thought Discuss” is a fitting opener with breaks of phat fuzz & synth, bestrewed with contemplative picking & strings. Inevitably, I am lulled unto its bosom where I nuzzle fondly. Snævar Albertsson cuts a distinguished vocal with emotion inherent in each breath, an almost bruised voice that gently lifts above the tendrils of sound, like a sad lonely periscope, searching in vain for something unknown to us. Consisting of soothing melodic passages framed by plangent waves of fuzz, this is quintessential pukka post-rock. It consummates not by a coarse and thrashing noise finale, as one might expect, but rather a soft & delicate departure. It effortlessly steals away, with the grace of a feather drifting floor-wards. It fades like ruby tail-lights on an autumnal horizon.

“Apathy Under Wasted Sky” follows suit, shifting the mood from contemplative to something a little more upbeat. Marked by a quirky opening of catchy guitar/bass interplay, the track dissipates quickly into drifting ambient octave pedal phrasings. Vocally, it’s more of the same, except for the falsetto which feels slightly out of place in comparison to the other tracks. I do like the palm mute chopper effect that comes in around midway, like a Chinook circling a downtown Baghdad kafuffle. However, it meanders a little too long towards the end, offering no coup de grace or memorable milestone and lacking a certain something that which would merit greatness.

Behold “Englen” (Danish for angel); this is where the proverbial shit hits the fan and what a cracker it is. Sublime drifting guitars play like lost astronauts of inner-space, all of which culminate in a paroxysm of emotion. A mournful introspective shoe-gazer of sorts, "Englen" circumnavigates my brain, percolating into my very being and piercing my heart with shards of crystalline beauty. Nice. Exploding at seven minutes 52 seconds like a G8 Molotov cocktail finding a riot shield amidst a street mêlée, it pulls the rug out from beneath me and places a chair in an estimated point of contact in a descent therein, into which I land with a smile. The track ends with a mercurial teeth rattling outro akin to “Glósóli”, albeit not as fuzz drenched. Without doubt, this is the best track this EP has to offer. I have had this on constant replay of late; it definitely has a healthy shelf-life, in fact, the longevity of a shatter-proof ruler.

And finally, we reach the closing track. So far so good, but can Mimas smoothly complete the fellowship of four, take the cash and run? Initially, “Why In The World Not?” seems lackluster compared to the previous three. The melody and intricacies of earlier have been replaced by a distorted bombastic urgency which breaks one and a half minutes in upon a lone bass line. But it works perfectly, accentuated by delicious percussive fills and exceptional use of ‘la’ (the universal substitute for “I don’t know the words” for every drunken singsong along with ‘Sha’ & ‘Na’). The crescendo builds then fades to an a cappella ‘la’ outro which makes for a fitting finish to an impressive EP.

As a debut release, Hands Will Carry exudes precocious flair & talent. Admittedly, it takes time to reveal it’s hidden self, but the CD does grow on you like a slow dawn with repeated visitations. According to their biography, this was originally released in June ’05, and seeing as it’s over two years old, the LP will be worth waiting for I'll wager. Mimas have gracefully polished and embossed their sound through extensive touring both home & abroad. Now, they need to separate the wheat from the chaff to become in a Nietzschean sense what they are.

If I were wearing a hat, I'd probably take it off to them. In all, an accomplished effort & a teasing insight into what tricks they may have up their collective sleeve for their imminent release penciled in for early 2008. Watch this space. - The Silent Ballet

This mini-album from Danish post-rockers Mimas has a nice vibe throughout, portraying shifting landscapes and sombre moods. Vocally, Mimas has a unique shrill and adds a human quality to the sometimes cold-blooded genre, whilst the addition of trumpet and violin to a couple of tracks give the songs an uplifting feel, reminiscent of the Dirty Three. A handy record to stick on in the early hours when all you want to do is to lay back and think of Europe!

76%

Suzi Ireland - Spill

Danish quartet Mimas on the other hand as equally adept as they are at leaving you emotionally drained approach the task with a little more tenderness. Formed four years ago it wasn’t until last year that following a few years cutting their teeth on the live circuit that they decided to hole themselves in the confines of a studio to lay down their mercurial mood swinging pop onto tape - the result being the 28 minute ’Hands will carry’ set. Mimas’ sound is more native to that of neighbouring Iceland - the glacial cathedral-esque currents that underpin its sweetly volatile lilting calm are very much moulded and fashioned with a lingering degree of early Sigur Ros releases in mind, making full use of the space ’Thought Discuss’ softly unravels from a feint sparsely drawn whisper to never quite reaching the godspeed like apocalyptic turbulence it so often threatens to erupt in, instead it cautiously flickers and flirts as though blighted by its own hurt to tattoo you with its tragic head bowed sense of despair which itself imparts an innate desire on your part to throw around it your arms in a conciliatory gesture as were. Trace in some heart stabbing Morricone sequences, a genteelness rarely heard outside of Low and a precision like eye and ear for majesty more in common with Kaada and you have yourself a tearfully gorgeous gem of a cut. www.wcsrecords.com - Losing Today

Heads up all you indie kids that fell in love with post-rock because Mimas have gone and made you the album of the year. As beautifully uplifting as Sigur Ros, as technically stunning as Do Make Say Think, as dynamic and engaging as Explosions in the Sky. Mimas manage to accomplish this whilst maintaining an energetic accessible sound that is instantly lovable and so obviously their own.

From the moment the guitars ease in through the opening bass drone of “Treehouse” you feel that you are listening to something special, something different. Then tortured yet somehow playful sounding vocals add intensity and depth before drifting away into a slick off kilter guitar line. As the song swells and begins to build again the whole band start to sing along, while horns fill in the gaps, you can feel the goosebumps raising as the song really takes off… But this is just the begining.

Treehouse is followed by the magnificent “Mac, get your gear” Which, after breaking into a dancefloor friendly “na na na” chant, features one of the most euphoric crescendos i’ve ever had the pleasure of experiencing. Then “Dads” begins all strutting and funky, taking a life of its own, before reducing itself down to ambient sounds and a trumpet. Only to build again in a different direction using playful lyrics like root notes, allowing your own thoughts to grow from them entwined with the music. It is truly something to behold, you really need the static noise of “Fangs” for breathing space, to contemplate where you have just been taken.

Rising from this comes “Why in the world not?” which existing fans will know from the excellent Hands Will Carry EP. Sometimes when a band re-records material they manage to lose the something that made you fall in love with it in the first place. Not on this record. Now its even more intense, its even more beautiful, obviously benefitting from its frequent live outings. This is the case with all the songs that have been re-recorded for the album. “Cats On Fire” imparticularly stands out. The intricate guitars sound crisper, the bass warmer and when it takes off it sounds even bigger. Its a song that you can’t help but fall in love with.

“Dr Phil’s Retirement” see’s Mimas reach their most aggressive, check out the roar a couple of minutes in… They fit and lurch through telling the rest of the story and its perfectly tempered with ”Keep Quiet” one of the many highlights of the album. Layering simple jigsaw puzzle guitars, it is restrained and beautiful, leading into a tender heartfelt singalong and a crushing ending that could grace any movie’s credits.

Mimas say on their myspace page that they are gentle lovers, and I for one believe them, they never rush you to a climax. Throughout ”The Worries” they allow time for the melody to come alive, breath, and then bore its way into your brain before really taking hold of you.

They have made an album that is both epic in its sound, and its scale, yet full of beautifully accessible pop charm. Its dense, but not a challenge to listen to, but that is not to say it isn’t challenging if you take the time to delve deeper into the songs. The Worries is a cohesive piece of music from start to finish, technically astute, with no weak points, hell, i’m pretty sure every note on it is perfect. It bridges the gap between post-rock and pop perfectly, in such a way that I am comfortable recomending it to both my hipster friends and my crazy Aunt. Unusually for a post rock band in 2008 they boast a sound that is recognisable as their own, they are adding real life to what is becoming a tired and generic genre and they are doing it with a smile on their face.

Simply put, ”The Worries” is a masterpiece that i cannot do justice with my words, just buy it and prepare to fall in love.

10/10
- The 405, Will Cook

There's something sumptuously different about Scandinavian indie compared to British and American stuff. Epic isn't the word. There is a shimmer of dolorous gossamer to their pop sensibility (anti-Abba, I like to think). Recent indie pop greats have included The Shout Out Louds and The Kissaway Trail. In the past, we’ve had the dreamy likes of Mew, Kings of Convenience and Kent.

In the post-rock scheme of things, we have Múm, Sigur Rós, and now also coming from Denmark, Mimas are a source of new delight. It seems they’re named after one of Saturn’s moons, which is fitting for a band that dazzle so.

As I type, I’ve got a panoramic vista of a honey-mellow perfect sunset against the clearest of blue skies, and the music marries my view to perfection. It breaks the post-rock mold, as it's largely bright and dramatically rushing in rather than gathering delicate mood or gloom. Bittersweet interspersed with sunny melodicism. Music motors along, sweeping you off your feet else it elegantly wanders wonderingly. It's understated as opposed to that cliched gentle-silent-bam!-explosive-loud thing as perfected by the likes of Mogwai.

This isn't your typical post-rock. There are jazzy skits, tender trumpet solo moments, and the vocals have fervour and verve rather than any self-pitying. We'll ignore the moment on track three (Dads) where the singer shouts the word ARM pits! over and over, inexplicably, and declare this album a salve to all bad feeling, a soul soother, flowing through you like amber liquid.

4/5 - God's In The TV, Miss Fliss

In ancient Greek mythology, Mimas was a giant – very fitting for these massive sounding Danes.

The Worries blossoms with blissful pop moments, other-worldly riffs and bizarre lyrics (try “The friends, they smell even worse, even worse than my armpits/Armpits, armpits, the worries!” for size). Each of the 9 tracks flow into each other creating an album that sounds like a single piece of work (very much like cLOUDEAD’s self titled album), not songs jumbled together on a CD.

Highlights are provided by the undeniably epic Why In The World Not? which after 2 minutes of brilliant Russian Circles meet Sigur Ros wizardry fades away to a simple bass line and the soft noise of a radio/TV, the searing closing riff to Cats on Fire with it’s crashing drums and heartbreaking vocals and the climax of the final track ‘Beneath The Glad Sunbeam’ building from melodic delayed guitars to Jesus And The Mary Chain-esque noise before fading back to luscious guitars.

Overall The Worries is hard to fault but it’s not without it’s disappointments – Fangs stumbles along atmospherically but never really takes the listener anywhere, parts of the vocals lack dynamism, However these moments are few, and far between. On the whole The Worries is full of charm and character that’s lacking in most emerging bands in 2008 and soul thats been lost in established post-rock acts. - AudioScribbler, Richard James