Slim Loris

Although Slim Loris hails from the land of Ikea and Abba, the Swedish quartet embraces a lot of universal influences, many of whom are of interest to my regular readers. We’re talking 1960s British Invasion, classic rock, and even another genre of music that’s close to my heart: 1990s alternative. That’s not to say that their sound sounds dated. Not at all. In fact, Slim Loris somehow combines the best parts of all of these things and rolls them into one modern-sounding, unstoppable record.

Love and Fear, the band’s sophomore release following 2011’s Down to Earth, finds the band in a good place, just coming off of a tour across the UK, including an appearance at Liverpool’s world-famous Cavern Club, last year. Album opener “Never Danced Sober” embraces a pop backbeat reminiscent of bands like the Searchers, while the rawer feel of “Higher” showcases the band’s introspective side. “Sparkling Sun” conjures some Revolver-era Beatles, “Violet Haze” features a sparkling, catchy guitar riff and playful lyrics, and “Better Than I” shows off the band’s CSNY-like harmonies, proving that there are no filler tracks on the album. Likewise, closer “Once” contains the requisite melancholic summation of thoughts and leaves the listener wanting more.

But it’s lead single “Down” that navigates the band from where they’ve been to where they’re going. The perfect amalgam of their influences and, in fact, the album as a whole, the track is everything that’s right about Slim Loris. Rarely does one hear a band that’s so polished and so poised to take on the titans of Top 40, but this album — especially “Down” — is bound to be one of best indie records of 2015. Do yourself a favor and take a listen, then brag about how you were bewitched by Love and Fear long before any of your hipster friends. - Popdose

Indie rock group Slim Loris recently released their third full-length album ‘Love and Fear’. The four-piece rock group hails from Stockholm, Sweden, and this latest album mixes influences as varied as 60s British rock to early 2000s post-grunge to create an inspired album that sounds both familiar and unique.

Slim Loris is comprised of Mattias Cederstam on lead vocals and bass, Leon Lindstrom on vocals and guitar, Jonas Ellenberg on drums and Robert Barrefelt on guitar. Production on the album was done by Pecka Hammarstedt of Olga Studios and Cedarstam. The album’s studio production is solid, clean and has a precision about it that indicates this group knew exactly the type of sound they wanted to convey.

The Swedish quartet’s sound can be described as a throwback classic British rock with the modern sensibilities of indie rockers like Arcade Fire and Black Rebel Motorcycle Club. Slim Loris also channels folksy American rock of bands like The Eagles and Crosby, Stills and Nash on songs like ‘Higher’ and ‘Going Home’.

The songs ‘Down’ and ‘Sparkling Sun’ have a sweeping present-day alt-rock sound similar to Muse or Oasis, and easily could become staples on the rotation of any alt-rock radio station.

Present throughout ‘Love and Fear’ is the band’s impressive lyrics. The writing is hopeful, melancholy and authentic at the same time. Slim Loris doesn’t just belt out sappy love songs or tired coming-of-age clichés, but instead pour youthful soul with a dash of dour optimism into their lyrics, which complements their brand of rock perfectly. Cedarstam’s delivers lyrics with the withered vocals of singers like Neil Young and Wilco’s Jeff Tweedy, lending warmth to the overall sound of the album.

If you listen to just one new artist this year, I definitely recommend Slim Loris. I would not be surprised at all if this group goes on to be very successful in the near future. The album ‘Love and Fear’ is available now in stores and online. - rant hollywood

Slim Loris? What's the first thing that comes to mind? Perhaps you might think of a tall lanky guy with long hair who is a real country boy, wears cowboy boots, and likes to sing about it. The last thing that might come to mind is that Slim Loris is really a mispronunciation of the nocturnal primate -- slender loris -- native to India and Sri Lanka. Once this is all figured out, you might wonder why the Swedish band, Slim Loris, whose members do not have any one named Slim or Loris, would want to choose this name for their troupe. For one of the members, the answer is very simple. It had a nice ring to it.

But at this point, you might want to know what exactly a slender loris looks like. And you might do a Google search and find that this small creature's head is dominated by two large brown eyes and a nose with a heart-shaped knob. The slender loris moves slowly, lives in trees, and eats insects. Occasionally, the slender loris soothes itself by washing with its own urine. The animal doesn't respond to stimuli with any great enthusiasm. But, a lot of people like this primate and have created a possible extinction problem for the species. What maybe the most profound impression about this night creature is that the slender loris appears to be detached. And the aloofness might be where the connection between slender loris, the animal, and Slim Loris, the band, might be noticed.

After spending some time with the group, you might find yourself liking the Stockholm band, Slim Loris. But, first you'll have to deal with songs focused on the Swedish melancholy. And again, the connection between the gloomy lyrics and the country's state of affairs might read like another dichotomy. Sweden is a peaceful place with a highly developed economy and ranks high as a competitive country. It has also done more than its share in solving environmental concerns compared to other developed nations. So why so sad? Maybe it's because they have only five hours of daylight in the winter and twenty in the summer. Or maybe, a country without economic problems and the cleanest air on the globe can become fertile ground for internal malaise.

After the band had spent six months in snow, pitch darkness and extreme cold, they put out a new album, entitled Future Echoes and Past Replays. They say the inspiration for the lyrics came from gray and mundane everyday thoughts. The music was arranged to use everything from acoustic guitars, fiddles, banjos, and even baking trays to get the sounds they were after. The sound is a Scandinavian version of Americana. And in Sweden the sound is nicknamed Scandicana. The track "Head on the Floor" is the lead singer's, Mattias Cederstam, life in a song. He says, "It's about being able to find some happiness in everyday boredom...." Most of the other tracks take on the same message. However, the songs do have some light at the end of the tunnel. For the lyrics indicate that someone will be there to help find the happiness buried under the ennui. They admit that Swedes are a bit special in the head. Perhaps like the sad, vulnerable nocturnal primate with the large brown eyes -- slender loris. - Huffington Post

weden is well recognized for exporting impressive pop acts, but there is a new genre on the rise. An amalgam of blues, folk, rock and country is typically referred to as Americana music, but when the artist influenced by such sounds is from a Scandinavian country, then the music gets a label of — what else — Scandicana.

Indie rock outfit Slim Loris is one such Stockholm-based artist bringing this new genre to the masses. Their third full-length album Love and Fear was released on May 19, and it is an interesting collection of '60s folk, British invasion-rock, '70s classic rock, and bluegrass. Band members Mattias Cederstam (vocals, bass), Robert Barrefelt (guitars), Leon Lindstrom (backing vocals, guitars), and Jonas Ellenberg (drums) paint their Scandinavian melancholy all over this album, sometimes glazing, sometimes with heavy strokes.

“Sparkling Sun” could easily have been a track found on a rock station in the ‘70s; if you close your eyes and listen for it, Cederstam’s voice somehow channels just the slightest iota of Ozzy. The album then immediately takes a slight right off the rock ‘n roll path with “Going Home,” a good example of the aforementioned glaze. Wonderfully twangy, this track has a bluegrass mentality tinged with lyrical sweetness.

Then there is the lead single “Down” that has pulsating upbeats that alternate with an almost a synthpop-like chorus. All tracks could easily be categorized into different genres, and yet they just as easily all make sense as a collection.

The band toured the U.K. in 2014 in support of their previous critically-acclaimed album Future Echoes and Past Replays. They then returned to the studio that winter and worked with producer Pecka Hammarstedt, and the result is a genre boundary-pushing contemporary canvas that will most likely make it on to a few “top albums of 2015” lists by the end of the year. - Axs

I really love that this rock quartet Slim Loris, hailing from Stockholm, has been described as a 60’s British invasion band. Though we’re already 15 years into a new century, it would be stellar to see more bands pop up that have been influenced by this legendary time. But if any music group is going to be the only one to do it, it should be Slim Loris. Slim Loris has everything going for them that an indie band needs to be successful. they come from Sweden (I don’t know why, but in my book that seems to help create the indie cred).

Slim Loris was born in 2009 and is the lovechild/brainchild of singer and bass player Mattias Cederstam and guitarist Robert Barrefelt. Not long after, the duo was joined by dummer Jonas Ellenberg and singer and guitarist Leon Lindström. From there, the foursome banged out a couple demos and demos turned into singles and albums and music videos (oh my!) and before they knew it, Slim Loris was touring the United Kingdom.

And now, they have given us this lovely music video of their number “Head on the Floor”, a personal favorite: https://www.youtube.com/watch?v=8IqjDZF-4Rs.

They also have this killer lead single that is worthy of a listen….or a billion: https://soundcloud.com/slimloris/down. “Down” is one of the many enthralling songs on their full-length album “Love and Fear” which was released just this month. - Collective Lifestyle

Time to delve into some moody pop inspired rock on Slim Loris’s Love and Fear…

Slim Loris is a Swedish pop inspired rock quartet that has been working together since 2009. The group was originally a duo with Mattias Cederstam on vocals and bass and Robert Barrefelt on guitar, but shortly thereafter they filled out there sound with the addition of drummer Jonas Ellenberg and vocalist and guitarist Leon Lindstrom. Although Sweden has become known for their sweet pop confections from the likes of Tove Lo and Max Martin (think “Baby One More Time” or almost any Top 40 pop hit if you’re pulling a blank), Slim Loris brought something a little different to the mix.

Inspired by the rocking sounds of the British Invasion in the 1960s, the quartet has brought a unique rocking edge to their music. After releasing a few EPs, the band released their debut album Down to Earth in 2010, on which they established a more melancholic sound that is a-typical of the brighter tones of invasion artists like The Beatles. In 2013, it was clear that the band’s unique blend of pop, melancholy, and rock was working when they achieved international acclaim for their Future echoes and past replays album. Now, after a year of touring Slim Loris is back with their third studio album Love and Fear, which is set to drop on May 19. True to practice, they’re delivering their personal blend of sounds to create something that is as evocative as it is addictive.

Read my review of Love and Fear under the cut!


Love and Fear kicks off with “Never Danced Sober,” a track resplendent with strings and a subtle drum line. The song is about losing yourself to the music and taking risks to find what you really desire. The sombre cut starts with a drink or two at the bar, before getting lost in the revelry. Cederstam’s vocals are wonderfully raspy as he sings of waking up the next day after a night of revelry and adventures while drunk. There is a sense of longing to the track, as the lyrics imply that the release comes from a drink and lowered inhibitions. A struggle we are all familiar with to some extent. After such a sobering topic (see what I did there?), “Higher” takes the band in a lighter direction production wise. Over a gentle instrumental track, Cederstam’s vocals soar higher than ever before as he sings about finally getting things right and achieving the ultimate high.

“Going Home” is another softer track, featuring airier strings and a hand played drums. The song’s production is enjoyable and sweet as the lover that Cederstam describes, but it is equally as dangerously entrancing as the vice described in the lyrics. The band dances around the theme, detailing an encounter with a lover and how to survive the experience. Love and Fear’s lead single “Down” is one of the standout moments on the album. Featuring a driving production that displays their pop origins as well as their rock melodic approach, Slim Loris sing about a woman who leads the band to their demise. The structure on the verses is particularly engaging, as Cederstam’s voice rises in pitch and his phrasing changes to reflex the nature of the relationship. Everything about “Down” is compelling, from the instrumental bridge filled with vocal improvisations to the thoughtful lyrics and engaging production. With just the lightest hints of something brighter, the track tells the story of a destruction that I would actually enjoy to experience firsthand. - Days with destiny

After the release of their debut album Down To Earth, an album that has received nothing but great acclaim in their native Sweden and abroad, this unmistakably country-influenced band have come up with another work of musical prowess. It’s no mistake that Future Echoes and Past Replays is highly anticipated by those in the know, after the great review given to them by Neufutur.com for works past (which have been used in a Swedish feature film incidentally). Now for what I hoped would be an exciting delve into their take on all things folk, rock and bluegrass – musical genres that have a sense of humanity only achieved by not going too far, or “bringin’ it home”.

My first impressions were instantly positive, for several reasons. It’s a generous offering of Eagles-esc American rock, close harmonies (sung in both English and Swiss) and a well put together arrangement of diverse instruments. Most of said instruments belong firmly in folk traditions but they branch out from time to time. When you hear too much of ill-thought-out commercial rock bands, writing “songs” purely for the money and to keep an increasingly shallow fan-base happy, a rock band that don’t try to be everything at once and can strip down the electric for good old acoustic can be refreshing to say the least.

It opens with the blissful Fear of Flying. It’s such a rich array of folk instruments played to a fast tempo that explodes colourfully for an album with a rather sombre cover. We are taken by surprise by the energy put into it and I instantly became reminded of a lot of great bands, mainly in the Americana tradition. Fear of Flying is a love song with genuine honesty about limitations. It’s happy and sad, chirpy and reserved, “It’s not your fault I fear to fly!”
This is not music you need to be in the right mood for; the style is timeless, with a constant use of multi-vocals to carry us above and beyond. The language barrier isn’t a problem either. Hero is a song distinctly about someone who leaves their community, seemingly to find themselves and the reaction of their friends. A song that is ambiguous but beautiful, the lyrics themselves are poignant to English audiences, “You’re leaving us in doubt as we fail to work you out”.

A nice surprise came with Head on the Floor. Its Bluegrass meets something we might hear in the current UK charts, from one of our many singer-songwriters; but this sticks out somehow. Perhaps it’s the backing vocals that are sang in Swiss, they accentuate a well-balanced and powerful chorus. The band mix things up and change tempos plenty of times, but there is as much Rock n’ Roll as anything else. Songs like Visions of Tomorrow grab you in their pained sincerity. I liked the way a mandolin crept into the song, it was a welcome arrival but didn’t change the songs Rock n’ Roll feel. The drum beat is simple and steady, as perhaps all good Rock n’ Roll drumming is.

Norah brings it home again in a Bluegrass-Country ballad. It’s a sunny track but it’s not all blue skies, with the minor key abounding and lyrics about a girl who has run out of excuses for staying. It’s another touching effort by a group who clearly know what good country music sounds like and what to do to make it sound original. I would love to hear some renditions of traditional folk songs in the future, maybe from Ireland or the States.

Slim Loris, as I said, make use of more diverse instrumentation than their genre suggests. The piano abounds in this album but it doesn’t break its folk-rock momentum. In Awakening it is met with the distinct sound of an organ. Like every other song this only works to their advantage. As a band they don’t overreach themselves. This album is less melting-pot and more well-thought-out ensemble. It’s worth getting hold of for lovers of classic rock and folk alike; you won’t be let down. - followthesignal.com

Chances are good that you have no idea who Slim Loris is, but let me be the first to tell you that the new damn near perfect release from these Swedish indie Americana rockers, Future Echoes and Past Replays, is one of the best releases of 2013. It runs the gamut of emotions between euphoria and abject sadness - with a couple of humorous and bittersweet tracks tossed in for good measure - and is filled with great sonic variety. If you dig Americana, folk, and/or pop rock of any kind, you should enjoy this one.

The tracks are alternately lively and whimsical ("Fear of Flying"), subdued and introspective ("While I Breathe"), and sometimes downright spine-tingling ("Awakening"). Lyrically, singer/bassist/pianist Mattias Cederstam gives you the chills with lyrics like, "Happiness found its way past me/And I just let it be" on the Americana rock track "Visions of Tomorrow", and even makes you chuckle when he sings, "I am clean as a whistle/Clean as a whistle/Depending on where/The whistle has been" from "Clean as a Whistle". But when he sings, "You are the pride of my life/I will save/The memory of you till the last/But I'll forget you in the end" on the heartbreaking "I Will Forget", forget about it; you're going to get teary-eyed.

This album is one of the great unexpected moments of 2013. Get. This. Album. Now!

-Brian Palmer - Lemonade Entertainment

Opening with a thumping of drums, and a beat that goes beyond foot tapping (not to mention what sounds like kettle drums), you have a cracking opening to “Future Echoes and Past Replays” called “Fear of Flying”.

With a sound that is sitting somewhere in the indie rock (folk?) camp, but yelling out with the don’t label me vibe. The album has the hallmarks of easy listening, but the kind that refuses to be wallpaper. Describing themselves as having a pinch of melancholy and Americana, they have a great sound that could envelop you, yet you would want to see them perform in a small intimate venue.
Slim Loris
Formed in 2009 and this their second album; following on from 2011s debut “Down To Earth”, shows tremendous promise. From the kick start opening through to the piano-led “While I Breathe”; to what seems like a very anachronistic track that screams to me of a byegone era, but I cannot place what it reminds me of. With it’s highly orchestrated feel and vocals,
“Visions Of Tomorrow” has a rougher feel, more solid so to speak and again before you realise it your foot is tapping away. With the guitar work taking you straight off down an American highway with the wind in your hair, is this the stuff Tom Petty listens to?
“Clean As A Whistle” has the great lyric “Clean, clean as a whistle, depending on where the whistle has been”.
When I first listened I enjoyed it, but it took numerous listens for it to sink in; for the personal intimate side to take effect, and then the album became personal. And it is mainly this demand for it to be played and played that has lead to this late review, as the album was released back in May.
Slim Loris
It would be easier to try and draw comparisons to other folk rock bands that are doing the rounds at the moment, but these guys have something that sticks with you, something that drags you into their world. They move effortlessly from the simple [but effective] sound of “While I Breathe”, to the fuller sound of “Clean As A Whistle” or “Fear Of Flying”, drawing on a range of instruments as needed and to great effect.
Available from their Bandcamp page for $7 (go have a listen) or iTunes, this is more than a worthwhile purchase, and has accompanied me on numerous trips up and down the motorway! In fact if I had not had all the travelling, this review might have been on time, but I might not have had the chance to get so familiar with it. - rock-regeneration

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Swedish indie Americana rock group, Slim Loris, has made one of 2013s most surprising albums thus far. Euphoric, humorous and bittersweet, Future Echoes and Past Replays is a success. The band ensnares you with the lively and whimsical “Fear of Flying,” or the subdued and contemplative “While I Breathe,” and sometimes the power of the music they create is simply spine-tingling as in “Awakening”. Singer Mattias Cederstam muses “Happiness found its way past me/And I just let it be” on the Americana rock track “Visions of Tomorrow,” and brings out levity with lines like, “I am clean as a whistle/Clean as a whistle/Depending on where/The whistle has been” from “Clean as a Whistle.” There is something beautiful, honest and hypnotic on this album that comes out of left field and smacks you in the chest. - c-ville.com

Review Fix chats with Slim Loris Frontman Mattias Cederstam about the band’s new album “Future Echoes and Past Replays” as well as his goals for the future.

A sturdy collection of deep ballads and rockin’ tracks, “Future Echoes and Past Replays” tackles life, love and loss. Although the sound and message is similar to Mumford and Sons and the Lumineers, there are plenty of differences. Using electric instruments more often and mixing in banjo, flute, organ and piano, Slim Loris is essentially an all you can eat for your ears. The result is a deep sound that matches up with the depth of the lyrics perfectly.

Click the Link Below to Listen In:

Review Fix Exclusive: Interview With Slim Loris Frontman Mattias Cederstam - reviewfix.com/

Slim Loris hails from Stockholm, Sweden, but you’d never be able to tell based on their sound. They play folky Americana with Shins-esque indie-pop leanings, which should perk up the ears of any longtime reader of this blog. The best example is “Clean as a Whistle,” which blends a tambourine, banjo/acoustic guitar strum, and a Paul Simon-esque flute for an incredibly satisfying verse. The chorus kicks it up a notch, adding in a tom drum, a french horn, and perky background vocals that you will want to shout along with. It’s the sort of the song that makes me sit up and take notice.

But they’re not a one-trick pony: opener “Fear of Flying” is a jubilant indie-pop tune composed of hectic percussion, bouncy organ, steady guitar strum … and timpani. It sounds effortless, just like “Clean as a Whistle.” If you want even more than that, “I Will Forget” and “While I Breathe” are quiet tunes driven by slow, stately piano. In “Domestic,” a gorgeous female alto voice is introduced as a counterpoint to the male tenor vocals. The charm of Slim Loris is that all of these sounds cohabit Future Echoes and Past Replays without sounding disjointed or erratic. The band inhabits all of their sounds, making them sound natural.

The overall effect of Future Echoes is an impressive one: it can easily stand up beside other indie-pop albums from much more well-known bands. Not every track is a home run, but there are a ton of high-quality tracks. If you’re a fan of thoughtful indie-pop with lively arrangements but also a pensive side, I highly recommend checking out Slim Loris. - independentclauses.com/

From the quaint country of Sweden comes an organic sounding act of memorable proportions. ‘Slim Loris’ brands their own vivid picture of somber folk/rock balladry on their sophomore release Future Echoes and Past Replays.
I connect the music here to a self-portrait. You see a bit of yourself in it. The lyrics by ‘Slim Loris’ are vague and interpretable. This gives you a sense of wonder, considering no specific places are mentioned beside the place you would rather be. Lyrics such as;
I found myself with new ways of thinking,
where my interests have changed from daring to safe,
from grandeur to plain on the soft-mannered acoustic
While I Breathe paint a nice picture of loneliness. It sounds like a contradiction, but Slim Loris uses their ballads with respectful arrangements. They are a beautiful sadness sort of tone that elevates the album from just good to just downright fantastic. And what topic is more openly interpretable than loneliness? It can mean a loss of love and now being lonely. It could be the tale of a man who is on the verge of getting everything (thus changing the tone entirely). And of course, loneliness means something different for every person. Is it physical loneliness? Is it mental anguish? Is it atoning for deserved repercussions?
What Slim Loris lacks in original musicianship and energy, they make up for in lyrics that are more than just another aspect to the music. They are pivotal, endearing, and depressingly realistic. This is something we can all relate to, as life forces a hand we never wanted to have to lay down.
Visions of Tomorrow is your more traditional folk flair, accented by rightly mixed guitars and some pan-perfect drumming. Clean as a Whistle has a bit of this folk/punk energy that is sorely missing from the first half of the album and hell, the entire package. You sort of want the energy upped a bit, because the consistent laid-back folk swagger exhausts itself at some point. I Will Forget is graceful as a stand alone, but becomes a bit much considering it is a bit too much par for the course. This is what makes Awakening such an achievement. It is as if the song was named after the mood, because it is a respite from the somber straightforward balladry, and into a new more hopeful and encouraging direction.
Though lyrics like;
I grab onto whatever I can,
clinging on so hard it leaves a mark
and I leave this broken creature behind and just go-
help me carry…to be whole again…
are not exactly the positive non-gloomy aspirations one would be looking for. But this is the tone- it is reflected in the artwork, the title, and the overall aesthetic. Anything different would be ill-fitting.
Music does not need to be groundbreaking to be relevant. Slim Loris does what they do very well, and will hopefully continue to do so for years to come. Building a fan base the old fashioned way is perfectly acceptable. It is all about being honest, having fun with the music, and excelling at a brand of sound that is exciting and lovable. Putting your best foot forward would sum up Slim Loris rather perfectly. Though the ground is not being broken, it is being cherished and adored and appreciated with every little guitar lick and drum pop. - thenoisebeneaththeapple.com

There is a beauty in the latest release from Sweden’s Slim Loris, yet is not easily definable. At times it is the way that vocalist/bassist/pianist Mattias Cederstam’s slightly gravelly vocals slide across each song like a breeze drifting over water. In other moments it is the nature of the lyrics, which run the gamut from thought-provoking to happy, with stops in between at humorous and bittersweet, all of which give the album an inherent and undeniable meatiness. Sometimes it’s just the music itself, which is a pleasing combination of Americana, rock and folk, with tinges of pop and country thrown in for good measure. This is a well-crafted releases that begs for your attention so you can decide for yourself just how many different ways it is beautiful.

Cederstam & Co. introduce us to a range of emotions that get your attention. The opener, “Fear of Flying,” is lively, upbeat and just plain whimsical, and “Head on the Floor” is some enjoyable handclap-happy Americana that will make you want to join in the fun. The somber piano and strings ballad “While I Breathe” changes the pace a bit and “Awakening” has the sort of swelling rock and roll sound that well make the hair on your neck stand up as it deftly mirrors a moment of clarity and purpose in a person’s life.

Add to this the lyrical depth on this record and you have a powerhouse experience. Whether Cederstam says, “Happiness found its way past me/ And I just let it be” on the Americana rock track “Visions of Tomorrow,” or brings some levity to the album with lines like “I am clean as a whistle/ Clean as a whistle/ Depending on where/ The whistle has been” from “Clean as a Whistle,” there is a vulnerability on this record that is spectacular to behold. And on perhaps the album’s most stirring moment, when he sings, “You are the pride of my life/ I will save/ The memory of you till the last/ But I’ll forget you in the end” on the heartbreaking “I Will Forget,” it is next to impossible not to be moved by this sequence.

This is one hell of a record. You might not know who Slim Loris is, but you should take the time to get acquainted with them. Future Echoes and Past Replays is a delicate, rapturous look at the future and the past and how they all collide in the present — and it is an album you will not soon forget. - stereosubversion.com

After the release of their debut album Down To Earth, an album that has received nothing but great acclaim in their native Sweden and abroad, this unmistakably country-influenced band have come up with another work of musical prowess. It’s no mistake that Future Echoes and Past Replays is highly anticipated by those in the know, after the great review given to them by Neufutur.com for works past (which have been used in a Swedish feature film incidentally). Now for what I hoped would be an exciting delve into their take on all things folk, rock and bluegrass – musical genres that have a sense of humanity only achieved by not going too far, or “bringin’ it home”.

My first impressions were instantly positive, for several reasons. It’s a generous offering of Eagles-esc American rock, close harmonies (sung in both English and Swiss) and a well put together arrangement of diverse instruments. Most of said instruments belong firmly in folk traditions but they branch out from time to time. When you hear too much of ill-thought-out commercial rock bands, writing “songs” purely for the money and to keep an increasingly shallow fan-base happy, a rock band that don’t try to be everything at once and can strip down the electric for good old acoustic can be refreshing to say the least.

It opens with the blissful Fear of Flying. It’s such a rich array of folk instruments played to a fast tempo that explodes colourfully for an album with a rather sombre cover. We are taken by surprise by the energy put into it and I instantly became reminded of a lot of great bands, mainly in the Americana tradition. Fear of Flying is a love song with genuine honesty about limitations. It’s happy and sad, chirpy and reserved, “It’s not your fault I fear to fly!”

This is not music you need to be in the right mood for; the style is timeless, with a constant use of multi-vocals to carry us above and beyond. The language barrier isn’t a problem either. Hero is a song distinctly about someone who leaves their community, seemingly to find themselves and the reaction of their friends. A song that is ambiguous but beautiful, the lyrics themselves are poignant to English audiences, “You’re leaving us in doubt as we fail to work you out”.

A nice surprise came with Head on the Floor. Its Bluegrass meets something we might hear in the current UK charts, from one of our many singer-songwriters; but this sticks out somehow. Perhaps it’s the backing vocals that are sang in Swiss, they accentuate a well-balanced and powerful chorus. The band mix things up and change tempos plenty of times, but there is as much Rock n’ Roll as anything else. Songs like Visions of Tomorrow grab you in their pained sincerity. I liked the way a mandolin crept into the song, it was a welcome arrival but didn’t change the songs Rock n’ Roll feel. The drum beat is simple and steady, as perhaps all good Rock n’ Roll drumming is.

Norah brings it home again in a Bluegrass-Country ballad. It’s a sunny track but it’s not all blue skies, with the minor key abounding and lyrics about a girl who has run out of excuses for staying. It’s another touching effort by a group who clearly know what good country music sounds like and what to do to make it sound original. I would love to hear some renditions of traditional folk songs in the future, maybe from Ireland or the States.

Slim Loris, as I said, make use of more diverse instrumentation than their genre suggests. The piano abounds in this album but it doesn’t break its folk-rock momentum. In Awakening it is met with the distinct sound of an organ. Like every other song this only works to their advantage. As a band they don’t overreach themselves. This album is less melting-pot and more well-thought-out ensemble. It’s worth getting hold of for lovers of classic rock and folk alike; you won’t be let down. - jdtait.co.uk

Swedish band Slim Loris just released their sophomore album on May 19, the follow-up to their full length debut, “Down to Earth,” in 2011. “Future Echoes and Past Replays” is a mix of indie, pop, rock, folk, and that certain sound that seems to come exclusively from Swedish or European bands in general. With most music, I tend to be taken in mostly by the lyrics and message of a song, and I was intrigued by the album title “Future Echoes and Past Replays” when I first heard it. There is something profound and slightly melancholic about the title, and I thought that depth might carry over into their songwriting. I was not disappointed with the thoughtful lyrics and intricate melodies that I found in Slim Loris.

The album starts off with “Fear Of Flying,” a song with a super catchy instrumental riff and drum beat that serves as a great introduction to Slim Loris. The third track, “Domestic,” has a pretty intense, kind of dark and urgent sound to it. One of my favorite things in songs is a great duet between male and female vocalists, and front-man Mattias Cederstam’s voice blends beautifully with the female vocals on this track.

“While I Breathe” is a beautiful piano ballad that seems to be about the anxiety of really growing up and discovering yourself, which is something I find myself relating to very much in the past few years. “Restless and bored, yet comfortably pleased with it all” describes perfectly how it can feel to have that hesitant desire to break out of the simple familiarity of young adulthood and family expectations and become your own person.

“Awakening” and “In Silence” are two of my personal favorites on “Future Echoes and Past Replays,” and the main appeal in these two tracks are in the sound of the music. This album is filled with glorious sounds, from soft to intense, and from instrumentals involving piano to violin, banjo, and even the less conventional flute. The songs range from themes of loss and regret to love and hope, and each formula works just as well as the last for Slim Loris. - confrontmagazine

Melancholy: A deep, pensive and long-lasting sadness. Sad, gloomy or depressed. That is the exact word that describes this band.

Slim Loris. Named after a mispronounced animal. Swedish pop rock group. I would say that sound like Mumford and Sons, and they do, the similarities are definitely there, but they also bring more life than the old classic rock band, Mumford and Sons. They're a bit more captivating and interesting.

Slim Loris recently released a new full length entitled Future Echoes and Past Replays. The name itself is mind numbing and thought provoking. That paired with the album artwork of a lonesome guitar against a single tree in the vast emptiness and enormity of nature made the album seem slightly frightening and intimidating. Like a lost soul trying to find its way in this world. I believed I was in for a deep realization of the meaning of life, that I was going to have an important epiphany during the middle of playing the record.



I must say, the first track was totally unexpected. It was jumpy, not exactly cheerful but happy. It was bright and uplifting. It was not what I was getting prepared for. It was a good track, just not exactly in line with the context of the album. Whatever, I guess it was just a simple little fluke, considering the rest of the tracks were more thought provoking and full of sorrow.

Everything about this record was simple, and I think it was this simplicity that produced such a heartfelt work of art. The percussion was rhythmic and solid, but not bold, it kept the beat going but was nothing special in itself. The vocals were somewhere between raspy and pure, not too scrawny but not smooth either. The instrumentals were repetitive and filled with short melodic lines. However, when combined all together, they mixed intricately and somehow, it all seemed to mesh well. Nothing was bold, nothing stood out, no risks were taken but that was perfectly fine. The tambourine added a rhythmic feel but very structured with a touch of playfulness. The banjo added a folk feeling.



Domestic: A western country feel with a female accompaniment. Her voice was sweet like candy but the male's voice was spicy and rough, so they didn't mesh well. A more suitable female voice would've been better.

While I Breathe: mellow and slow, it was a piano ballad but once again, my one criticism lies in the vocals. The voice was too harsh to be a soft ballad, instead I had more of an impression that it was 3 drunk men chanting together at a bar. It was special though.

I Will Forget: Favourite track off the entire record. It was very reminscent of old times, soft, calming and thought provoking. Great for those nights when nostalgia hits. - http://indecentxposure.com/

If you’re really into the indie pop/rock genre and you like talking about bands that your friends probably have never heard about, then Slim Loris’s newest album, Future Echoes and Past Replays, is a record you have to pick up.

Slim Loris’s sound is best defined as indie pop-rock combined with a rather melancholy atmosphere. Each song is a gentle experience as the vocals and instrumental melodies slowly guide the listener through the album. It’s a great collection to listen to as you watch the rain through your window on an overcast summer’s day, or if you’re trying to get to second base with your girlfriend in the back seat of your parents’ car - point being is that the overall feeling in Future Echoes and Past Replays is incredibly warm and welcoming. While a lot of the songs are soft on the ear, they are never boring as the various instrumental melodies keep the whole album moving smoothly.

Instrumentally speaking you can’t deny the talent found within this Swedish duo. The piano pieces done by Mattias Cederstam accompanied by his vocals are graceful. The track “While I Breathe” is a perfect example of this unity, creating a rich and powerful musical piece for the listener. I can’t say if the lyrics hold any personal meaning for Mattias, but judging from how he sings them it would certainly seem that he’s emotionally invested. That’s probably why I like this album so much. I’m not a huge fan of soft rock bands; however, when something is so honestly written, it’s hard not to sit back and experience the music.
- lithiummagazine

Sound: Marking their third album; "Future Echoes And Past Replays" presents a maturing and a whetting of the fine sword that is Slim Loris' distinct sound. From the first song, "Fear Of Flying," you can tell EXACTLY the sound that they're going for; Mumford and Sons... with balls. Generally, I would write this off as imitation, but it is catchy, upbeat and has a confidence within itself. Mattias Cederstam's vocal and organ parts are perfectly complimented by Robert Barrefelt's guitar counterpoint, creating a harmonious chorus that will stay in your head all day.

This song proves to be an excellent introduction to an album that provides an delectable combination of American folk, indie rock and small additions of Nordic folk elements. It serves as only a taste of things to come.

The album proceeds to be a very catchy, variable piece of work that is rarely boring. "Domestic" immediately throws you left of field with a western-sounding piece which with its pentatonic embellishments and accompanying female countermelodies, creates a fascinating mental image of a couple discussing their relationship's dissolution while in a saloon breaking bottles over each other's heads.

But then it happens; "While I Breathe," the ballad. Every album needs them, and sadly, this is where it loses points; it suddenly becomes methodical. There is no hook to this at all; it feels stagnant and contrived. The chord progression is typical and the melody is nothing special. Should this deter you? Not at all! The following songs are still catchy and fun to listen to. "In Silence" scream Beatles right out at you, but once again, it's a cross-Mumford and Sons/Beatles jam that you just can't help but listen to.

While the second half isn't as memorable as the first (another reason for deducting a point), a notable mention to "Clean As A Whistle," which should definitely be made a single. A chorus that has you immediately singing with it after the first impression is a hard task indeed, and its almost Biffy Clyro/Weezer-like quality to it gives it an almost innocent boppy nature. An enticing, fresh sound from this duo from Stockholm. Based on the sound alone, I would recommend it as a perfect summer album. // 7

Lyrics and Singing: The lyrics aren't deep. The lyrics won't have you scratching your head, searching through a dictionary. But simply put; Cederstam's lyrics suit the music. "Domestic"'s "You used to laugh at all my jokes, and you never turned me down when I got close/your new dress code is comfortable, you're never late to point out faults I make" COULD be seen as amateur on face value, but when the female counter of "You used to bring me flowers for no reason, we used to talk for hours without end..." occurs, you suddenly realise that this piece is done in conversation, rather than tacky writing.

The lyrics are contextual to the music; they're catchy, they're simple and they're easy to repeat after first listen to the song. Cederstam's melodies have the right combination of hook as well as a "hey, I wouldn't have done it that way... But it's cool and I like it" kind of feel to them. The background chanting - possibly something in Swedish - in "Head On The Floor" has a strangely dichotomous jolly, however melancholy feel to them, which keeps on adding to the interest of this truly unique band.

I will concede to finding fault simply in the fact that Cederstam doesn't exert much of a range or heavy use of embellishment. But that can hardly really matter; his range suits and his occasional gruff inflections do exist, however subtle they may be, and musically - especially in a style such as this - they're meant to be subtle. // 9

Impression: I like this album. I like it a lot. However, it's one of those albums that you find yourself liking it because you have nothing to hate about it. This is hardly a bad thing; it just means that the enjoyment creeps up on you and even if you wouldn't imagine yourself liking it, you might end up that way. So this album functions as a great piece of work while treading on a razor's edge; it's fun, it's catchy, it's doesn't fall into any annoying territory and it isn't repetitive.

My initial description of Mumford and Sons, but with more balls - more gusto, more confidence, and less inhibition, comes from their marriage of the American folk influence with their Swedish heritage. This band is like walking into a grocery store as soon as they open, grabbing a whole lettuce and eating it on the spot; it's nothing new, but the originality doesn't matter; it's a matter of how fresh it all is. This album is contextual to what's seen as cool music, but it goes one step further as well, it presents to you things that you haven't heard befo - http://www.ultimate-guitar.com/

Slim Loris is what happens when great music marries reality and gives birth to songs.
The band's latest (May 19th) release, Future Echoes & Past Replays, is a 12 song
pop-rock/Americana playhouse that gives you a reason to not only love Slim Loris, but
also respect indie musicians who make great tunes.

Getting into the album, there's a certain regal-like air that sweeps across the plains of
your eardrums, and you will quickly hear Slim Loris' influences. The band does a great
job of blending the old and new sounds of the rock n' roll, folk, americana and pop
genres into one compilation of tracks, giving Future Echoes & Past Replays a sort of
Mumford & Sons meets The Avett Brothers feel.

One of my favorite songs on this project is "Visions of Tomorrow" because of the vintage
sixties sound that Slim Loris sends crashing through the speakers, paying great tribute to
the bands before them. The combination of Robert Barrefelt, Mattias Cederstam, Jonas
Ellenberg, Leon Lindström makes for an awesome sound, as these musicians exemplify
what it means to be a cohesive band. Their album is evidence of this fact.

Don't expect a Top 40 radio hit here. As a matter of fact, this one is strictly for those who
appreciate artists/bands who speak to the lovers of independent music. I could easily see
Slim Loris gracing the stages at U.S. based music festivals like SXSW, Bonaroo, and
Coachella, performing every song from this new Future Echoes & Past Replays album. If
you appreciate great songwriting and musicianship, then go check these guys out. - IAE Magazine

Future Echoes and Past Replays is the surprising, emotional, and melancholic result of fusing Americana, sixties pop/rock and Swedish musicianship. It’s safe to say I fell in love with this album before I’d even finished the opening track ‘Fear Of Flying’. ‘Fear Of Flying’ is a love song and the accented vocals are beautifully pained, utterly convincing and the over all tone is melancholic without slipping into the realm of self pitying or self loathing. Track two, ‘Head On The Floor’, is an acoustic guitar over laid with background claps until the drums fill the remaining space and unlike the love song, it tells the story about lovers across distance. One of the reasons this track is so great is that it’s not sappy and it isn’t an new interpretation of Motley Crue’s ‘You’re All I Need’. Instead, it’s a tale of truth that acknowledges that these things just are and cannot be changed.

‘Awakening’ is the longest track (about five minutes 30 seconds) and when it finishes, you’re left wanting an extra chorus or 30 seconds to just revel in the songs brilliance. The organ, lyrics deep sense of understanding, coupled with a drops of hope and the vocals lift this song out above the rest. Each of the songs on the record comes alive. They are insecure, gentle, bombastic and ‘I Will Forget’ is even fatalistic in its attitude. Future Echoes and Past Replays wraps up with the heart wrenching ‘October In White’, which superbly brings together the overall feeling of the album, embracing the emotion and planting it firmly within the ‘album as an art form’ concept. The record is the perfect length, any longer and would be ruin the atmosphere and any shorter and it would leaving you feeling cheated. - http://ventsmagazine.com/

I’m not sure if “Swedish melancholy” is a happier form of melancholy than the melancholy from other places, but Slim Loris self branded form of melancholy certainly sounds a little more hopeful. That being said, Future Echoes and Past Replays, the newest from the Stokholm, Sweden duo made up of vocalist/bassist Mattias Cederstam and guitarist Robert Barrefelt isn’t necessarily a trip to happy land as far as the lyrical goes. In fact there are times when it’s just downright mopey, but that’s alright because there is an authenticity here that makes for some truly contemplative listening. With rich earthy Americana folk down tight, featuring organ, banjos, hand-claps and a mixed bag of other organic instruments, Slim Loris delivers in sound something that is truly unique yet still very comfortable, sounding at times like a chapter out of an old school Oklahoma back porch stomp.

“Fear Of Flying” kicks off out of the gate and immediately casts a special charm with its light banjo pick and organ fill. It’s an upbeat little tune that reminds me of the favorite feelings brought to the surface while listening to Arcade Fire or Neutral Milk Hotel at their goofiest and most fancy-free. “Head on the Floor” is a little more straight ahead folk and a real sweet tune while “Domestic” takes a bit of a darker stride before getting all buttery when the female vocals kick in. Then again, a band could be playing hardened love songs about lynching the wrong bad guy and I’d still become a puddle over some well placed, well harmonized lady vocals. It is the pure and simple approach to these tunes that makes Future Echoes so easy to digest, be it the single kick drum and gentle flute drive of “Clean as a Whistle” or the beautiful heartbreak of “I Will Forget”, there is something very heart on the cuff and lovely about this album.

While there is most definitely a sad quality to some of the lyrics, the songs themselves are somehow romanticized by the purity of the music, as though putting these sad thoughts to music was transformative, and ultimately cathartic.
Slim Loris may suffer from easy to make comparisons to bands such as Mumford and Sons or even Frightened Rabbit, but I’m not getting those references so much as understanding the heart opening transport of a banjo and acoustic guitar strummed in a particular way or the joyous quality of well written pop songs with a Celtic edge. Many bands have done this and done it well but Slim Loris have a little something different going on, as if they’ve taken bits of spirit from the best roots folk bands out there and stamped their name all over it.

Playing the delicate balance between good feeling positivity and world weathered melancholy, Slim Loris most definitely come out on top as being a damned good band and Future Echoes and Past Replays is most definitely a hard album to put down. - allwhatsrock.com/

Slim Loris perhaps has crafted a winning combination of songwriting paired with emotional tour de force production with their album, Future Echoes and Past Replays. The sounds are upbeat, reflective and packed with rich lyrics. The opening song, "Fear of Flying," is a high powered guitar masterpiece that sinks into the listener's ears with ease.

Vocalist Mattias Cederstam's voice meshes well with the backdrop provided by his fellow band members. "Head On The Floor," is more subdued, and less high-powered; but is still just as striking. Here, Slim Loris, wants the focus to be on the picture presented by the writings. The song is interesting in that the band members back up Cederstam as he speaks of a woman who has found solace on the floor.

"While I Breathe," is a somber, piano driven ballad that is heartfelt. Cederstam appears on this song to be engrossed in what is being said. The listener will undoubtedly feel his wholehearted sincerity and genuine, rawness in vocal tone. "Visions of Tomorrow," is an introspection of what has blown by the lead singer - happiness. Happiness has escaped the character of the song, and he is now reflecting on how he got to this point. "Clean as a Whistle," is full of percussion, as Cederstam has a sense of the melody and fine tunes his sound perfectly for it. "Awakening," emanates a mature effervescence of indie rock. It is the apotheosis of what an coffee house song should exude. More so than any other song on the album, there is a haunting sloe of responsive remorse. The finale, "October in White," fashions itself as radio-friendly harmony similar to many artists of the 90s - Edwin McCain, Shawn Mullins and even Blues Traveler.

Formed back in 2009, Slim Loris, from Stockholm, Sweden has found a satisfying way of presenting a pensive, dispirited, and soul-searching musical brew. Future Echoes and Past Replays, lives up to its title, obtaining more of a tangible headway than the band's debut, Down To Earth.

Final Grade: A - examiner.com

Slim Loris are an alternative indie/folk rock band from Stockholm, Sweden. They say about themselves: “Slim Loris blends Indie Pop/Rock with Americana and a pinch of Swedish melancholy.” The band consists of just two members; Mattias Cederstam (vocals, bass, piano) and Robert Barrefelt (guitars). But when the band play live Jonas Ellenberg (drums) and Leon Lindström (guitars and vocals) join the group. The band formed in 2009 from the remnants of two indie acts and released a collection of demos entitled Amateur Night at the Asylum the year after.

In 2011, Slim Loris’ debut album Down To Earth was released led by the first single Low, showing the band’s fine-tuned song writing skills and classic rock sense of melody. Now Slim Loris are releasing their follow up album entitled Future Echoes and Past Replays which is an album with a mature, emotionally charged sound showing progression in the band’s song-writing and production. The new record is due to be released on May 19.


Swedish band, Slim Loris
To get an idea of Slim Loris’ sound think of Del Amitri, Ryan Adams and City and Colour. Now take all the best bits from these artists and you have a good description of Slim Loris’ music. They are a bit alternative rock, country and folk all rolled into one. Cederstam’s vocals are gravelly, husky yet surprisingly pleasant.

Future Echoes and Past Replays starts off as an upbeat album musically while the lyrics are quite dark, these things juxtapose each other making it an immediately interesting album – it’s not all airy fairy and pleasantries here. The album does get even darker and by the third track Domestic, the record has taken a turn. Track one Fear of Flying is very Del Amitri-esque while track two Head On The Floor is more folk inspired with the banjo being a prominent instrument from the first second. Track three Domestic is a fantastic track which has some blues influences seeping through. It also features a woman’s voice which really adds something to the song, it’s definitely one of the best songs on the record. The brilliant blues inspired guitar riff at the beginning sets a more melancholy sound than previous tracks. The spot-on harmonies and call and response type lyrics of “You used to laugh at all my jokes and you’d never turn me down but now you’re closed/Your new dress code is comfortable but you’re never late/You point out all the faults I make/And you’ll stay right here with me…You used to bring me flowers for no reason/We’d talk for hours without end/Now you are just sat there staring at the screen, expecting to get waited on…” are absorbing. You are instantly captivated – it’s like you’re placed into an argument as the middle man. While I Breathe, In Silence and I Will Forget are the ballads of the album.

Visions of Tomorrow is another wonderful song which sums up the title of the record. It’s a song all about regrets. It’s about wondering what you could have done better, it’s quite sad in its own way. The lyrics “Happiness found its way passed me, found a way to flee/Loneliness has walked right next to me and now it’s all I see/It’s all I’ll ever be/And everything I’ve lost is all I’ve ever known has made me turn my head…to the place where I once walked and what I should have done/It’s made me turn my head around…” demonstrates the past regrets held and the strong willingness to change, to stop there being any more regrets. It’s a real eye-opener of a song, just listen carefully to the lyrics and you’ll see a whole other side to this track.

Clean As A Whistle builds the album back up from the slightly depressing songs in the middle ground of the record, it’s a fun song. It has strong folk influences from the beginning. Clean As A Whistle is a relatively bouncy number in comparison to the previous tracks. Norah is very much like the beginning of a Ryan Adams song. It’s more country than the other songs on the album. It’s a really pleasant song with a lot of different layers allowing you to become fully immersed in it. The verses are quite stripped back and the vocals are croaky, passionately sung and almost as if Cederstam is choked up with emotion.

Awakening is the last song on album. Awakening is full of emotion. The first lyrics are sung with cracked vocals, “All a mess inside/My thoughts have left me/Not knowing what’s in or out/I grab hold of whatever I can/Clinging on so hard/It leaves a mark inside my hands.” The chorus “I will follow you whenever/To crawl from me/Despite of my fear/I will leave this broken creature far behind and go/Just help me carry my mental load…” introduces an intriguingly vulnerable character. These intense lyrics combined with the softly played piano really tugs at the heart strings. It’s a raw song where vulnerable feelings are being expressed. It’s a masterpiece of emotions. The song slowly builds but the emotion behind the song is not comprised.

Slim Loris’ Future Echoes and Past Replays is a brilliant album full of passion, emo - rockingrepublic.

This week Swedish band Slim Loris release their second album, Future Echoes And Past Replays, and it's an album that showcases a band of immense talent and potential. With twelve tracks ranging from haunting ballads to stylish folk numbers it caters for a wide audience and should be superbly received.

It'd be a difficult task to definitively slap a genre tag onto Slim Loris; they are an eclectic blend of country and rock - with a sprinkling of pop - perhaps not dissimilar in some ways to Mumford And Sons. They certainly bear some resemblance to fellow Nordic musicians Of Monsters And Men, but the cool, chilling and distinct lead vocals of Matthias Cederstam stand in a league of their own.

The album addresses life's most poignant issues - love and the apparent loss that can be associated with it. It's a lyrically sublime collection of tracks, but it's the truly genuine and, I suppose, serene nature of Cederstam's voice that ripples across the sound waves.

In "Domestic" he declares "In your darkest hour you will find that I'm there to fight the battle out", whilst in "Head On The Floor" we're told "She brings beauty to my ordinary day, bringing life into an otherwise steady stream of hate". The vocals are deeply haunting and effortlessly genuine.

Throughout the album a variety of different instruments are introduced to good effect, helping to elicit a contradictory range of emotions. Banjos, fiddles and electric guitars add to the bumpy, folky tracks such as "Norah" and "Clean As A Whistle", whilst a lingering background organ rather chills the listener in "Awakening".

From the first cheery number, "Fear Of Flying", through to the heartfelt ballad "October In White" the listener is treated to a masterpiece of musicianship. Indeed when the album finishes it's difficult not to feel more than a little deflated that there's no more to gorge on. And what better critique is there than that?

It's my sincere hope that this album gets the exposure it so richly deserves. With a bit of luck Slim Loris should become a more permanent fixture in our musical lives.
- http://libel.co.nz/

Slim Loris is an indie alternative band from Stockholm that mixes 60s pop-rock with American folk music. Future Echoes and Past Replays is their new album. They remind me of Mumford and Sons. They have this gritty, banjo playing, southern kind of style to them, which is pretty cool with them being from Stockholm and all.
This listen was actually exclusive since the album doesn’t come out until May 19th, but I can tell you now it’s definitely worth the buy. It is a little emotionally charged, but in a good way. It reminded me of the blues at certain times. Their music is so soothing, especially if you’re in that kind of mood. Even if you’re not in that kind of mood and you just want to listen to the music, you’ll still find it relaxing.

It’s just something about the melodies and the lead singer’s voice that just makes you chill. It’s so serene. Listening to this album makes you think about that moment where you’re at a concert and everybody’s in the zone. Then next thing you know, lighters are in the air, people are swaying back and forth, and everyone’s just having a good time. - areyouthereason.com/

The simplicity and natural expressiveness of the new album from Slim Loris is rewarding stuff, Mattias Cederstam has a vocal capacity to conjure the most meticulous of Alt-Folk melancholy. ‘Future Echoes and Past Replays’ will certainly take a little time to digest, the delicate tones and unpretentious use of piano/strings highlight some uncomfortable revelations relating to human nature – A precious and notable collection of poignant song-caft. I’ve chosen to feature track three ‘Domestic’ from the new album, a steely guitar riff rumbles along at a colossal pace, there’s deep vocal interplay adopting a subtle chord twist, pause and be excused for an exultant celebration immersed in this wild hypnotic guitar loop – A near-faultless choice for track of the week (If I say so myself), a record totally devoid of any useless artist pomposity. In fact I will rephrase that, ‘Future Echoes and Past Replays’ ensures the bitterness of melancholy has never sounded so sweet. - mojophenia.com/

Bands like Mumford and Sons and the Lumineers have captivated the world the past few years, with an organic sound and down to earth lyrics. In the same vein, Sweden-based Slim Loris, with a powerful vocal presence and deep musicianship have turned the Americana/Pop genre on its head. Incorporating more instruments and deeper emotions in their new album “Future Echoes and Past Replays,” they are a band that has the market cornered in terms of ingenuity and creativity.

If there were a joke that started with “What do you get when you throw Mumford and Sons, Billy Joel and The Fray in a Blender,” the finish would be “Slim Loris.” Fortunately for your ears, it wouldn’t be a joke. These guys are for real.

A sturdy collection of deep ballads and rockin’ tracks, “Future Echoes and Past Replays” tackles life, love and loss. Although the sound and message is similar to Mumford and Sons and the Lumineers, there are plenty of differences. Using electric instruments more often and mixing in banjo, flute, organ and piano, Slim Loris is essentially an all you can eat for your ears. The result is a deep sound that matches up with the depth of the lyrics perfectly.

Mattias Cederstam’s voice does an ample job of compelling, but even in the grittier and fun songs, he’s able to capture the mood. In “Awakening” you sincerely feel his pain. The lengthy piano solo to start the track gives it a Marc Cohen/Bruce Hornsby type of feel, but the heart on the sleeve approach gives it something more. In “Clean as a Whistle,” you get a much different vocal approach as Cederstram is mellow, but just as charismatic.

Although many of the tracks have emotional beginnings, some are witty and even more laid back. Make no mistake, this band is serious about their craft, but they are seriously solid. Never pedantic, Slim Loris is simply one of the best bands to come out of Sweden in years. This has a lot to do with Cederstam’s vocals.

Robert Barrefelt and Leon Lindström’s guitar work has just as much to do with the success of many of the tracks. “Domestic” could have been a simple vocal duet, but is fueled by an excellent and devilish guitar riff that captures the urgency of the lyrics. “Visions of Tomorrow” is a step away from the band’s signature sound, as the electric guitar riff in the beginning feels like something out of an Eagles song from the mid-70s.

But like any good band, you can’t forget about the drums. Jonas Ellenberg is more than solid here, but he does have a few songs he makes his own. The quick beat in “Fear of Flying” is fun, but the drum work (with an honorable mention to the cool organ progressions) make the track special. The country twang on “Nora” is also better developed thanks to Ellenberg’s percussion work.

Through a slew of instruments and compassionate and real lyrics, Slim Loris proves that there is nothing thin about their sound. Sometimes melancholic, sometimes sincere, but always engaging and emphatic, Slim Loris begs your ears to open up and listen closely. - reviewfix.com

Are you read for a slice of Americana?

Rock, that is.

Slim Loris may hail from Sweden, but their music screams/rocks/cranks out like any American outfit you’ve heard from its most formative years. From the moment their new CD begins, ‘Future Echoes and Past Replays’, it is clear that this is to be a musical thrill ride that is just as infectious and upbeat as you would like it to be. ‘Fear of Flying’ offers up that catchy rock that everyone can relate to and if you’re not singing along to it, you will by the time you press rewind. Yes. It’s that catchy. And through twelve tracks, this song is just one of the catchy songs that will remind you of other more prominent bands and make you think that this band may very well become one of those mentioned in the same breath sooner than later. Lyrics this forthright and open are easily accessible and by the time they go back to their roots with ‘Norah’, you should know that you’ve made the right choice in taking a chance on this trans-Atlantic band.

Only together since 2009, the band formed from two separate independent acts, releasing a demo – Amateur Night at the Asylum – in 2010. The following year, Slim Loris released their debut album which set the stage for their proper birth. The first single, ‘Low’, showcased their pop rock sensibilities and led to reviews by mainstream press that proclaimed them worthy of all the attention. Now, with the release of ‘Future Echoes and Past Replays’ later this month, - celebrityviplounge.com

So now for a small break from thrash metal; Slim Loris is an inspiring Americana musician from Sweden (because Swedish Americana is a thing now). Keeping in line with the Two Guys Metal Reviews philosophy that "Swedish is always better" Slim Loris creates fascinating soundscapes that enrapt the listen with their melancholy beauty. It is this melancholy beauty that dominates songs like In Silence with its endlessly repeated piano part. I am distinctly reminded of Jack White at times, the songs have the same earthy quality and really reach into the listeners soul. They make full use of the musics hidden magic for an end result that is like an endless pool of music, at once never ending, but also wonderfully simple. In short, if you're looking for a wonderful young folk artist to check out and fall in love with then Slim Loris is there for you. His new album Future Echoes and Past Replays is a wonderful testament to the power of modern folk. - twoguysmetalreviews.blogspot.fr

Swedish band Slim Loris are preparing to release Future Echoes and Past Replays.
Slim Loris takes British Invasion era pop and slaps it upside the head with their own style of Americana-rock to create something truly inspiring.
In 2011, Slim Loris released their first full length album which received great reviews from sites such Billboard Discoveries and Neufutur.com.
“Slim Loris cuts nothing less than a shambling masterpiece.” –Neufutur.com
Future Echoes and Past Replays is the natural evolution of a band who continuously gets better at crafting great songs. These twelve songs are strong enough to stand on their own but together they form a moving piece of art.

I thought about listing my favorite tracks but then it was taking me too long to decide which ones were my favorite so its safe to assume I like all of them.
Unfortunately you will have to wait until May 19th to grab this album (but feel free to click play above and listen).

Read more at http://www.midtnmusic.com/slim-loris-review/#5q8ZyX5jP5HkH78h.99 - Middle Tennessee Music

It’s too easy to say that Slim Loris are the Swedish Mumford & Sons (minus like 9 guys) but it’s fun to say. It’s kind of true but mainly not.The music of Slim Loris is uniquely riding its own rails up the lonesome highway of American rock by way of Sweden.

Mattias Cederstam, Robert Barrefelt
I take this album out to the back deck for a solid turn. At first note, I hear banjos, a little got done wrong on the prairie and a bit of the accusatory heartbreak ballad that makes the band’s latest release Future Echoes and Past Replays a satisfying auditory journey.
In what I imagine would be a tastefully streamlined studio in Stockholm, Robert Barrefelt and Mattias Cederstam have steadily maintained their identity as the source of landscapey music, conjuring lonely dunes, wind-chapped streets and corners of coffee shops where thoughts are stewed over and dissected.
I had a few friends over this weekend and we put on Slim Loris. Listened to their 2011 debut album Down to Earth. Then I put on this latest record and everyone paused at moments to hear a track or two. That’s a big deal for a group that doesn’t pause to listen to each other. It’s kind of like an auction block/stock exchange floor deal with my no-indoor-having-voices friends.
We all agree that they expertly create a true modern country sound. Remnants of Emmylou Harris-like spins music wise paired with an attuned sense of lyrics, Future Echoes braids together many points of view in a non-overly produced organic result.
Future Echoes and Past Replays is part coolest barn dance you’ve ever been to and proof that balladeering is not a lost art.
Future Echoes is ambitious and quiet, sincere and focused. And utterly a good time, despite the promise of a “pinch of Swedish melancholy.” I don’t know what that means. I’m quite lifted up by Slim-Loris and fully prepared to dance. - rockworldmagazine

Slim Loris is here to mix the cloud with sun. An Americana indie band, they’ve pulled all the plugs on expectation. Instead of playing purveyor to chipper lyrics commonly associated with indie pop, they spike their performance with emotional sobriety. This does nothing to stop me from hitting repeat!

I’m glad I came to know them upon their second release, Future Echoes and Past Replays. You can learn a lot about a band from their second album. A follow-up delivery means they’ve had a chance to mellow down/grow up and garner a group identity. It’s when their true colours start to show.

Slim Loris’ shades are nothing short of striking. This Swedish band has a high musical IQ. With wisdom comes sadness, but I don’t begrudge them for that.

I like them. Those three words hardly do my feelings justice, but it’s all I’m left with! They give me rainy days overcast with rainbows, sad smiles, peaceful goodbyes, sweat from the earth and hugs from the heart.

If craving nutritious soul-food, press play immediately.

Slim Loris – Fear of Flying (Audio) - biggerthanbeyonce.com

Under the Gun Review is pleased to bring you this exclusive interview with Stockholm, Sweden’s pop rock troupe, Slim Loris.

The band has a brand new album coming out next month, entitled Future Echoes and Past Replays, and they took some time to speak with us about it. We also discussed some of their plans for the near future and a lot about Sweden, so read through the break to familiarize yourself with Slim Loris and be on the lookout in the coming weeks for our review of Future Echoes and Past Replays.

It seems that none of the members in the band are named Loris, so where does the name come from?
True, there’s no Loris in the band, and no Slim either. At the time when we were looking for a name someone told me a story about this program they had watched about this cute, weird looking animal called Slender Loris. However, the person telling the story couldn’t quite remember the name and referred to it as Slim Loris. I thought it had a nice ring to it and decided to name the band after a mispronounced animal.

You have a brand new album releasing this next month. What influences had come into your life since your last album that you feel played an important role on this effort?
Both Robert, our guitar player and Jonas, our drummer have become dads for the first time in the last year so obviously that’s been a huge inspiration for them and given them a new view on life and music. When it comes to the lyrics, I’ve always gotten most of my inspiration from the grey and mundane everyday life and the thoughts that go around in your head during that time. While my bandmates have been experiencing big life changing events between the albums I’ve had a very uneventful time where I’ve been able to explore those thoughts in detail which has made me grow as a lyricist.

How would you compare Future Echoes and Past Replays to the work on Down To Earth in terms of progression and quality of musicianship?
On Down To Earth we were going for a very genuine sound; sort of a “live in the studio” thing. This time around we wanted keep that foundation but dress the songs in a bigger suit and create more atmosphere around them. We’ve worked a lot harder on the arrangements and used everything from banjos to baking trays to get the sound we were after. Also we’ve brought in a few more guest musicians that have really taken the songs to a new level. We set out with the idea to make a big production sound intimate and I think we came quite close to the sound we were looking for on Future Echoes and Past Replays.

Being from Sweden, how has the “Americana” sub-genre tag come into play with your music? Any specific influences that have led to that?
I suppose years of listening to a lot of American music and watching American films have subconsciously altered our minds. Also Swedish and American folk music has a lot in common in terms of instrumentation with fiddles and acoustic guitars and mandolins etc, even if the Swedish version is a bit colder and more melancholic. There is a scene over here with bands like us playing a Scandinavian version of Americana. It even has its own name: Scandicana.

Are there any specific songs on the new album that hold more personal weight for you than others?
All songs are written from a very personal perspective but there’s two that stand out a bit more. For Robert, the song “October in White” has a very special meaning. He got married last October and at the wedding when his vows were read it struck me how much they sounded like lyrics to a song. Around that time we had been working on a song based on a guitar piece he had written. I was struggling a bit to come up with the right lyrics for it so I decided to abandon my usual lyrical themes and suggested to base it around his vows, which he was happy to do, and that became “October in White.”

For me it would be the song “Head on the Floor,” which is basically my life in a song. It’s about being able to find some happiness in everyday boredom and about having someone there to help you find that happiness. The lyrics are both in English and Swedish as a reflection of my home life where it’s a constant mix of the languages since my wife is British.

To expand on that, I’ve always kind of been curious about this with bands that aren’t from the US, and I’m admittedly somewhat ignorant to the subject. Is there a particular reason that you choose to write and record your music in English? And how does that affect your local fanbase that may not know or speak English?
Growing up in Sweden we’ve always had the English language around us. The majority of the music being played is from the US or UK or from Swedes singing in English. We don’t dub our films and TV programs either so most stuff we watch on TV is in English too, with subtitles fair enough, but still enough to pick up quite a bit. Almost all music that has inspired us is written in English so it actually feels more natural to sing in English than Swedish. Singing in Swed - underthegunreview.net

Slim Loris: “Visions of Tomorrow”

We already made one pretty sharp turn with My Woshin Mashin, so let’s keep up the total lack of direction and head over to Slim Loris territory.

You know that saying “If it walks like a duck, quacks like a duck, looks like a duck, it must be a duck”? Well, Slim Loris is here to prove us all wrong.

The band looks and sounds like a homegrown, national treasure of bona fide Americana. The guitars twang in all the right places and the drums play all the right beats. This is where a band’s creation of an atmosphere and a different world offered to the listener comes into play. But though Slim Loris is straight up Easy Rider music, the dudes are from Sweden.

The band’s second album is titled Future Echoes and Past Replays and is set to drop on May 19. “Visions of Tomorrow” is a perfect example of the American classic-rock sound and ’60s stylings of the band’s music. Instead of being futuristic with embellished production, “Visions of Tomorrow” is simple and effective, and Slim Loris flawlessly captures the sound of a geographic region in the music.

Take a listen and be prepared to throw that duck theory out the window.
- http://dailytrojan.com/

Future Echoes and Past Replays is a brilliantly wordy, yet entirely literal title for the Swedish band’s second album. Each song addresses a feeling or melancholic episode within the life of Mattias Cederstam and all are set to folky plucking and soft simple dynamics that are upbeat but never hoedown upbeat.

There is no ambiguity about the lyrics either. Often Cedrstam is discussing about heartache and difficult choice, so you don’t have to process the deepest recesses of your mind in order to decipher the message. In this way, the album has those prototypical pop ethics that make it so approachable and marketable.

Being highly motivated by the aspects of music that make it so mainstream, it’s also noticeable that Slim Loris try wherever they can to differentiate this offering from the releases of bands that they may sound so similar to, like Mumford & Sons. Both bands have similar production values in that they produce crisp notes and catchy riffs, but Future Echoes and Past Replays is far less convoluted in terms of instrumentation – possibly linking the record closer to the origins of folk - and Slim Loris are also more inclined to experiment with varying time signatures and their own techniques of arrangement. - music-news.com

down-to-earth adj. 1. Realistic; sensible. 2. a. Not pretentious or affected; straightforward. b. Not overly ornate; simple in style.

Down to Earth is a perfect title for Slim Loris’ most recent release. From each guitar pluck, to each note on the piano, to their poetic lyrics each track comes with ease. Their voices are beautiful and the harmonies, melodies, and lyrics mesh so well together.

Mattias Cederstam (bass, vocals, keys), Robert Barrefelt (guitar, backup vocals), and Jonas Ellenberg (drums) formed Slim Loris, an alternative band from Stockholm, Sweden in 2009 and have been making beautiful music ever since.

From the moment I awoke I was on my way
Couldn’t wait to leave this everyday,
life i’ve been granted my way through
same old stories no excitement nothing new

Out of the city lights and into the stillness
With my baby by my side
Out of the city lights and into the stillness
With all our worries left behind.

When listening to “Into the Stillness” one might imagine driving out of the city into the country with the one they love next to them in the passenger seat. As if that person is all you need to be happy. A violin is played throughout the upbeat song which makes this song transcend into country and bluegrass music. One could imaging dancing to the song with their loved one.

“At the End of Our Tears” sounds like a melancholy breakup song. It’s more acoustic than some of their other songs. It starts with Cederstam playing the piano and singing his heart out about wanting to go back to the good part of a relationship, having no more tears to cry, and saying goodbye to someone you once loved. In this song, you really can hear the depth of Cederstam’s voice, it’s gorgeous.

If you are looking for feel good, alternative music, that will keep you guessing then look no further then Slim Loris. You will not be disappointed. Each track is unique and sure to keep you coming back for more!

Rating: 4.5/5 Stars! - http://www.indiemusicreviewer.com

Slim Loris
Down to Earth
(Self released)
Sweden

This band is from Scandinavia but they have a sound that recalls the Los Angeles singer/songwriter scene circa the mid 1970s. Singer Mattias Cederstam has a voice and a writing style that makes Down to Earth sound like it was created in an era when performers like Jackson Browne and Poco were first exploring country/rock sounds. Most of that feeling comes directly from Cederstam's voice but the band also uses fiddle here and there to augment their organic vibe. Songs like "Break Even or Lose" demonstrate the band's ability to craft extremely catchy songs out of understated hooks, something they do throughout the album. Band's site - antimusic.com

3-piece band Slim Loris out of Stockholm, Sweden surprised us at PEV with their response to our “how did you guys get started” question. Lead singer Mattias Cederstam told us “Slim Loris started out as a fun waste of time between me and Robert and it was only about a year ago when we started working on our album ‘Down to Earth’ that it became our main focus so it feels like we´re still in the starting process.” Doesn’t seem too shocking of a response… until you sample “Down to Earth” – a mature record with musical sensibility and enticing folk rock charm. It sounds like an effort from a road-tested band of songwriting veterans, not like a band just getting started. Sample it now at the band’s bandcamp site (slimloris.bandcamp.com) and you’ll soon find among your iTunes library.

We asked Cederstam, aforementioned guitarist Robert Barrefelt and drummer Jonas Ellenberg to get more into “Down to Earth”; they say “We wanted to create a very organic and vintage sound on the album so that the listener feels like they are there in the room with us. It´s a mix of the energy from sixties pop/rock but with a bit more melancholic or even somber note to it.” While “Down to Earth” is a fantastic album, there is some sad news here: Slim Loris is currently focusing on shows in Sweden… so we’ll have to wait a bit longer to catch them here in the states. Patience readers! For now, get to know Slim Loris a little better by diving into the XXQ’s.
XXQs: Slim Loris

PensEyeView.com (PEV): How would you describe your sound and what do you feel makes you stand out over the others in your genre?

Mattias Cederstam (MC): Our sound definitely originates from the sixties pop/rock scene but we listen to all kinds of music and let that influence our sound as well. There are quite a bit of Americana in it and we try to incorporate a bit of our Swedish heritage in there as well which is what hopefully makes us stand out.

PEV: Calling Stockholm, Sweden home, what kind of music where the members of the band into growing up? Do you remember your first concert?

MC: My dad gave me a couple of Beatles albums for my 6th birthday so that´s where it all started for me. When I first met Robert, our guitar player, in school he was heavily into Pearl Jam. Our drummer Jonas has always been a big reggae fan and our latest addition Leon grew up with the music of Prince. My first proper concert however was something completely different, Metallica playing Stockholm stadium.

PEV: What was it like trying to break into the music scene in your hometown, when you first started out as a band? What was your first show like together as a band?

MC: Slim Loris started out as a fun waste of time between me and Robert and it was only about a year ago when we started working on our album “Down to earth” that it became our main focus so it feels like we´re still in the starting process. Our first show went surprisingly well. Beginners luck maybe but all of us have played quite a lot of shows in the past with other bands which helped.

PEV: What can fans expect from a live Slim Loris show?

MC: Music at its purest form. We´re not a band of big gestures and explosive stage shows, we let our music do the talking and work on finding the right feeling where you get absorbed by it.

PEV: What is the first thing that comes to mind when you step on stage?

MC: A mix of anxiety, nervousness and a focus on the first line of the first song. If it start of well there rest just tend to happen by it self.

PEV: What do you think of mainstream music today – as in what’s being played on the radio/TV?

MC: Some very good and some not so good. I love the fact that an artist like Bon Iver can get the attention he has but there are also to much soulless music out there made just to sell.

PEV: What was the underlining inspiration for your music? Where do get your best ideas for songs?

MC: Everyday life. I tend to get most of my ideas for songs when I try the least like - PensEyeView

I have never been this excited about a folk band. Ever.

Slim Loris comes shattering the folk band-bland out of Stockholm, Sweden with an earthy, alternative rock that defies classification. Perhaps that is the natural result of combining the talents of Matthias Cederstam, Robert Barrefelt, and Jonas Ellenburg, two of whom were involved in other indie groups before forming Slim Loris in 2009.

Down to Earth, the band’s first full-length album, is a rich collection of folk that hits notes of everything from ballad to indie rock—as often as not blurring the line between them with the draw of a bowstring.

The opening track, “Low,” has an ambiance reminiscent of “Lovesong” by The Cure and is sure to draw listeners in with its emotional tension and swift, tambourine-peppered beat. Before long you are into the stuff of lore: “Into the Stillness,” which rings Celtic with its sweet violin harmonies and plucks along to a quick rhythm, shows off the band’s traditional Swedish flavor and is perhaps the most authentic folk track of the album. Even its lyrics recall a ballad: “From the moment I awoke I was on my way…”

The main body is composed of tracks like “At the End of Our Tears” and “Blackstones,” which reflect a more melancholy side with soft piano, clean acoustics, and wistful string accompaniment. But even with those sorrowful undertones, the album contains pleasant outliers. “Break Even or Lose,” for example, is audio sunshine by the riverside: guitar riffs glitter like a Beatles song and the vocal harmonies feel as good dipping your feet in the water on a hot summer’s day. “Useless,” meanwhile, near the end, gets listeners grooving to electric guitar that tends toward rock.

The only disappointment of Down to Earth is that after twelve tracks, it’s over. - darlingdork.com

The Artist I recently checked out the latest CD from Swedish band Slim Loris entitled Down to Earth released in 2012.

The band The playing abilities of this 4 piece band are pretty solid across the board. I would say they possess intermediate playing abilities and above average writing abilities. Timing seems to be spot on within the Celtic-Indie-alternative rock grooves. Bareefelt's voice is effective as he delivers many solid vocal performances that match the indie style of music perfectly. The music Upbeat, funny, interesting, thought provoking, melodic and highly entertaining. Musical textures reminiscent of iJack Johnson, Matchbox 20, Rob Thomas and even Kenny Loggins – anything indie and fun. If you like those kinds of artists you will no doubt get a kick out of this CD. The songs Above average songs. Very simple yet effective, conservative, highly original, and passionate It strikes the prefect balance between alternative and just a dash of Indie folk. These guys are clearly being themselves as songwriters & this is what comes out of the other end. My favorite song on the CD is the "Waiting for Something" The vibe Great vibe. Perfect for late night college parties, coffeehouses, or even magazine shops. The production delivers a lot of musical variety. Honorable mentions go out to amazing vocal delivery from Robert Barrefelt. I give him hi marks for not being afraid to let it all hang out emotionally At the end of the day the voice never lies, and I honestly believe he feels these songs as he sings them. Slim Loris is not trying to be some popish artist striving for mass appeal – he’s just being himself. The CD refuses to try to hard – that’s what makes it so amazing The good Very likeable, marketable record – amazing songs, fun to listen to. The bad Nothing to report. The ugly Nothing to report.

The verdict Down to Earth by Slim Loris is a rock solid CD. The songwriting is clearly above average. The production gets it’s point across. Again the most amazing thing about this CD is the vocal front and the emotions delivered by them. Slim Loris is a premier band. Fans of earthy Alternative-College Rock will love this CD no doubt.
- www.indieshark.com

Artist: Slim Loris
Album: Down to Earth
Label: Independent Artist
Website: http://www.myspace.com/slimloris
Genre: Folk-Pop-Alternative Rock
Sounds Like: America, The Counting Crows, Train
Technical Grade: 9/10
Production/ Musicianship Grade: 9/10
Commercial Value: 9/10
Overall Talent Level: 8/10
Songwriting Skills: 10/10
Performance Skill: 10/10
Best Songs: Low, Into the Stillness, Did I ever, At the end of our Tears
Weakness: Cover Art, CD Title

CD REVIEW:

Stockholm, Sweden based “Slim Loris” just released their debut CD entitled Down to Earth in 2011. The band consists of 2 core members: Robert Barrefelt (Guitar) and Matthias Cederstam (Bass, Guitar, Piano, and Organ). Other members include Jonas Ellenberg (Drums and Percussion), Leon Lindstrom (Backing Vocals) and Adrian Jones (String). Reading from their bio: Slim Loris that mixes sixties pop/rock with a bit of Americana and a pinch of Sweden.

The CD kicks gets off the ground nicely with “Low” a smooth flowing intro piece that serves up slamming psychedelic rock groove against driving rock rhythm, effective harmonies and soulful melody from Barrefelt. Track 2 “Waiting for Something” keeps thing moving in the right direction with heartfelt vocal delivery from Barrefelt with steady flowing rhythm against impressive piano and guitar ambience making for an impressive follow-up ballad. Track 3 “Into the Stillness” is an impressive Celtic ditty that dishes out impressive fiddles, well placed vocal harmonies against thought provoking lyrical content against a grand slam chorus. The musicianship of everyone involved is above the bar. I would classify this music as Modern-day Folk-Rock-Pop with psychedelic elements of the music popular in the 60’d and 70’s. Music is reminiscent of classic America, Bob Dylan, The Counting Crows, The Rembrandts and even Train. Besides the 4 piece standard along the way you will notice lush instrumentation with things like impressive solo guitar, well placed Hammond Organ, Fiddles, Percussion, String movements, and lush harmonies layered everywhere. Now turning our attention over to singer Barrefelt - as for his vocal abilities well – he’s spot on! His voice goes down smooth and fills the space peacefully and unobtrusively with a timber that is simply infectious. I might add he takes some impressive vocal risks indicating to me a confident vocal ability. All songs are extremely well crafted and consistent across the board. This CD from “Slim Loris” delivers 12 solid tracks all providing musical enjoyment filled with strong musical variety and diversity. The music has everything you would expect from a world class musical production. From rocking “Useless” to heartfelt “Ain’t Nothing Like it Used to Be” to gripping “At the end of our Tears” compelling ”Did I ever” to melodic “Break even or Loose” and passionate “Light Come Shining” this CD has something for just about everyone. The CD ends with Track 12 “She Won’t Believe” the perfect finale statement for a CD of this caliber.

It’s hard to find any noticeable weaknesses with this CD, however I’m not a fan of the cover art. Overall it’s a grainy photograph that comes across as looking a bit amateurish and fails to make any sort of meaningful connection to me. The title of the album Down to Earth also misses the mark as I see no obvious correlation between the music the title. I guess just don’t get the marketability angles of any of the aforementioned items. I might add all of the above are extremely critical opportunities for the artist to make an emotional connection with a potential listener - falling short and in need of upgrade.

From start to finish Down to Earth by Slim Loris is an impressive collection of music from these Swedish lads. The songwriting – world class, all consistent musical experiences, each one possessing a unique personality, flair and signature groove. Note for note, song for song there isn’t really weak piece on this entire catalog. The writing and playing abilities of this band are rock solid. The melodies and harmonies are well crafted and the lyrical content is packed to the hilt with good old fashioned folk-rock swagger. Get a piece of it while you can! - www.indiemusicdigest.com

You get that feeling sometimes when you hear a song… That feeling when you realize that the song or artist goes a lot deeper than the generic independent artist.
“Down to Earth” from Slim Loris is one CD that goes deeper than a generic indie artist with respect to the powerful songs, lyrical content and messages within. The result though is far from a self-indulgent ego trip for it, instead, is a moving and elegiac artistic statement from start to finish. This is not dark-trippy Celtic folk rock, instead these Swedish lads could be viewed as a band delivering more than metal jewelry. This is clearly evident in songs like “Low” and “Into the Stillness.” These songs methodically up the ante to a very respectable level of artistic craftsmanship and brilliant creativity. Equally as imperative the music is commercially viable, but amazingly witty, and a bit eccentric nonetheless with a fresh earthy sound. In a nutshell this is Bob Dylan meets The Counting Crows meets Train. Not every square inch is filled with a vocal delivery under duress – but musical space that allows the music to breathe. This is music is comparable to a musical vacation of sorts for the mind, body and soul, with music that can be described as a thought a provoking, emotionally charged and very passionate.
I would imagine in time, we will hear more from this very talented band from Stockholm. Slim Loris is one artist that clearly gives you a musical snapshot that is highly original, unique, uplifting and dare I say folky-poppy-brilliant. Most American girls will die for them no doubt.
Rating: 4/5 - www.rocknrollview.com

Over the years we’ve seen rock and even earthy Pop slowly erode into over-commercialized, corporate puppet shows providing music that is extremely sing songy, predictable, popish and highly corporate. I hereby call this new breed of music “Poser Rock” and I want to personally thank all the corporate giants for successfully transforming “Sex Drugs & Rock n Roll” into “Yoga, Vitamins, and Cheesy Pop” Of course millions of musical lemmings don’t know the difference, but not everyone is amused. Talking to many music fans out there the response is overwhelming. Give me something new, something raw, something that’s pushes the envelope with a fresh sound that doesn’t leave it soul at the door. Something that doesn’t sound like Ke$sha or Katy Perry or Travis McCoy
So across my desk slides the new CD by Stockholm Sweden’s own Slim Llris entitled “Down to Earth.” What I heard put a smile on my face. It’s a nice easy flowing record that delivers solid songwriting with a nice folkish-rock feel. These guys remind me of a modern day Train, Jack Johnson, Rob Thomas, with maybe a hint of Tom Petty and the Heartbreakers and even Counting Crows. You will also hear a side of Power Pop, Americana, Classic Rock and even Folk. If you like the above bands you should definitely check out this CD. My favorite track is probably “Low” CD is available on CD BABY & can be downloaded on I – Tunes.
“Down to Earth” by Slim Loris is clearly a solid release with many feel good rock grooves with a pleasant rock driven guitar sound that is a pleasure to listen to. It’s a record that gives us a fresh glimpse at an amazing band from Sweden and takes us back a few years – before everything started sounding like – well Ke$sha or Katy Perry or Travis McCoy. - skopemag.com

Most would agree most popular artists out there have something truly special to give to their fans. This goes above the typical attributes like raw talent, amazing songs, nice voice, or even a very marketable look, sound and image. There's something truly infectious at the core of these artists that simply makes us feel good when we listen to them. Whatever "it" is - they all seem to have "it".

Today I listened to the latest CD from Swedish 4 piece folk band (Down to Earth - 2011). The band has 2 core members: Robert Barrefelt (Guitar) and Matthias Cederstam (Bass, Guitar, Piano, Organ). Venturing to their website it is a very professional presentation showing this is their debut release - and it doesn't disappoint in any way, shape or form. From start to finish this CD from Slim Loris is very pleasurable and in many ways amazing. It has a very soothing Earthy-Folk-Acoustical quality to it and even dabbles in Celtic Folk, Pop Rock and even Acoustic Alternative Rock. Any fans of any of these musical styles will enjoy this latest release from Slim Loris. It's clearly marketed for those who like a male singer with a mystique of say a Flogging Molly, Jack Johnson, or even Rob Thomas. I get the impression Slim Loris is rolling with what he knows as performers and writers. In other words they hit the mark remarkably well just being who they are. Favorite tracks include Track 1 (Low), Track 2 (Waiting for Something), Track 12 (She Won't Believe) All have amazing feel. Within each one of these compositions Slim Loris finds their Celtic soul and delivers their best musical mojo. The band is spot on and just makes the whole CD even more enjoyable with hints on Mandolin, Fiddles, Drums, Bass, Organ, Percussion and Strings. The overall vibe is upbeat and positive.

I see Slim Loris as a diamond in the rough. As time goes by we will hear more from this talented European group. I am eager to hear what his next release will sound like. In close most famous artists out there have "it" I'm not so sure what it but Slim Loris has whatever "it" may be.

Michael Morrison  (UK) Scotland
Edited by Cyrus Rhodes
Rating: 10/10 - http://www.musicemissions.com

Another indie release to give you your dose of "Swedish melancholy" rock and roll, Slim Loris channels influences from rock/pop's past (The Byrds, Simon and Garfunkel) with modern alt rock fare (Muse, Radiohead), achieving stellar results. Their full-length CD "Down to Earth" contains the standout single "Low", which, although it sounds like it could have been written and recorded in the 60's, is by no means a nostalgia trip. This is just Grade A songwriting from an exciting young act. The video seems to be an indie "live from the basement" scenario, which works, although I hope to see something higher budget from these chaps soon. - K-Rag Internet Radio

Oftentimes when I write reviews, I find that where a band hails has absolutely nothing to do with how they sound. Slim Loris, a Swedish export, is a perfect example of this. The style of music that they foster during Down To Earth takes influences from England, the United States, and countless different eras of rock.
Low is the initial salvo on this disc, and it immediately hits listeners between the eyes.
Into The Stillness is an early gem for Slim Loris, owing much to the band’s instrumental capacity. Limiting themselves to less than three minutes, Slim Loris cuts nothing less than a shambling masterpiece. Even with the track’s twists and turns, the guitars, bass, and drums (and fiddle) unite to make a cohesive effort. Taken together, the twelve tracks on Down To Earth do much the same – whether touching on psychedelic, sixties pop, or a contemporary alternative sound (Lucero, Muse, and Franz Ferdinand all come to mind) – the band weaves threads through the title. I find the band’s eclectic blend of styles reminiscent to the tack taken by World Inferno / Friendship Society and Defiance, Ohio; Blackstones hits as many markers, styles, genres, and influences as a band would touch upon on a whole album. The band’s constancy makes this a cornerstone of the album.

The band’s website allows listeners to pay (pretty much) any cost for Down To Earth; while the band’s minimum is $5, I believe that those lucky enough to happen upon the band will pay much more. Keep an ear to the ground about Down To Earth, and make it a point to see them live whenever the opportunity arises.

Top Tracks: Waiting For Something, At The End of Our Tears

Rating: 8.7/10 - Neufutur Magazine

Oftentimes when I write reviews, I find that where a band hails has absolutely nothing to do with how they sound. Slim Loris, a Swedish export, is a perfect example of this. The style of music that they foster during Down To Earth takes influences from England, the United States, and countless different eras of rock.
Low is the initial salvo on this disc, and it immediately hits listeners between the eyes.
Into The Stillness is an early gem for Slim Loris, owing much to the band’s instrumental capacity. Limiting themselves to less than three minutes, Slim Loris cuts nothing less than a shambling masterpiece. Even with the track’s twists and turns, the guitars, bass, and drums (and fiddle) unite to make a cohesive effort. Taken together, the twelve tracks on Down To Earth do much the same – whether touching on psychedelic, sixties pop, or a contemporary alternative sound (Lucero, Muse, and Franz Ferdinand all come to mind) – the band weaves threads through the title. I find the band’s eclectic blend of styles reminiscent to the tack taken by World Inferno / Friendship Society and Defiance, Ohio; Blackstones hits as many markers, styles, genres, and influences as a band would touch upon on a whole album. The band’s constancy makes this a cornerstone of the album.

The band’s website allows listeners to pay (pretty much) any cost for Down To Earth; while the band’s minimum is $5, I believe that those lucky enough to happen upon the band will pay much more. Keep an ear to the ground about Down To Earth, and make it a point to see them live whenever the opportunity arises.

Top Tracks: Waiting For Something, At The End of Our Tears

Rating: 8.7/10 - Neufutur Magazine

Slim Loris is an alternative rock band from Stockholm, Sweden. The band consists of Matthias Cederstem on lead vocals, bass and keys, Robert Barrefelt on backing vocals and guitar, and Jonas Ellenberg on drums and percussion. Much like Muse, they have a big sound for a 3-piece, although Slim Loris’s sound is less modern alternative, more-so a very vintage 60's rock and roll sound inspired by The Doors (L.A. Woman era), the Yardbirds, Crosby, Stills, Nash & Young, the Kinks, the Grateful Dead and Simon & Garfunkel, although the band have been compared to Interpol and Radiohead as well.
The band’s 2011 CD release is called “Down to Earth”, and it’s a solid set of tracks. “Low” is the definite hit of the album, and intelligently, the band made it track #1. The keys sound as if Ray Manzarek had dropped by the studio for a jam, and the crisp acoustics sound gorgeous. Cederstem sounds as sombre as can be, and I’d liken his voice closely to Paul Julian Banks from Interpol. “Waiting for Something” has an interesting bass progression that makes me wonder how Matthias Cederstem could play and sing it at the same time. Sparse guitars, emotional pianos and tight drumming make this track another solid one. “Into the Stillness” is full-on Americana/indie similar to O’Death, and the tempo is a welcome change. A fiddle is even thrown into the mix. Must listen tracks on the album are the soul-infused “Light Comes Shining”, with it’s peaceful, healing energy and inspired psychedelia, as well as the heaviest track on the release, “Blackstones”.
For you classic rock, chamber pop and melancholy music fans out there, check out “Down to Earth” by Slim Loris.
- http://rockisrock.wordpress.com

Slim Loris is a band from Stockholm, Sweden that mixes sixties pop/rock with Indie, Americana and a pinch of Swedish melancholy. The band formed in 2009 from the remnants of two indie acts, and quickly released a debut CD entitled "Amateur Night at the Asylum".

2011 saw Slim Loris refining their song-writing and releasing the emotionally charged full length album “Down to Earth”. It's a of mix traditional and modern styles that creates a pattern of unadulterated indie music. Fans of the Smiths or Interpol will love this. Slim Loris create beautiful, melodic songs with emotional vocals that address love, inner tranquillity and consciousness and possess a charismatic singer capable of captivating any fan of Indie music. All in all, this is a solid and well crafted pop-indie effort with bits and pieces of shuddering phased guitar riffs that indicate a sparing post-rock aesthetic. Check it out!
- most-deaf.blogspot.com

Slim Loris' Down to Earth creeps up on you like a late night winter frost. Haunting piano arrangements descend upon the sparse recordings as the lead singer warms the atmosphere with his heartfelt words. these Swedes play a sobering blend of piano pop and melancholy British rock that welcomes you into its wistful spirit with touching and achingly emotional songs.
Some nice subtle dynamics show themselves after a few spins and there is very nice writing, singing and playing throughout. I like the Beatles like "Low" with it's jangly melody and sweet vocals and the stripped down "Did I Ever". My favorite track is "Break Even or Lose" with an organ drenched breakdown reminiscent of a 60's rock song with harmonies to boot. The Sweet Loris crew is definitely giving it their all and obviously have a lot to give. The band has the potential to knock you on your bootstraps with both gusto and grace. This is something that comes hand and hand with discovering your true artistic voice.

Slim Loris reminds me of the wonderfully downtrodin' band Blue Merle, and are close to finding that powerful interjection of color and life that can turn emotional folk rock into a transcendent musical experience. You can see glimpses of this on "Light Come Shining". They have a tremendous amount of positive things going for them in terms of their style, substance and presentation and if this release is a sign of things to come... I certainly expect great things.
- Working rhythms

Slim Loris' Down to Earth creeps up on you like a late night winter frost. Haunting piano arrangements descend upon the sparse recordings as the lead singer warms the atmosphere with his heartfelt words. these Swedes play a sobering blend of piano pop and melancholy British rock that welcomes you into its wistful spirit with touching and achingly emotional songs.
Some nice subtle dynamics show themselves after a few spins and there is very nice writing, singing and playing throughout. I like the Beatles like "Low" with it's jangly melody and sweet vocals and the stripped down "Did I Ever". My favorite track is "Break Even or Lose" with an organ drenched breakdown reminiscent of a 60's rock song with harmonies to boot. The Sweet Loris crew is definitely giving it their all and obviously have a lot to give. The band has the potential to knock you on your bootstraps with both gusto and grace. This is something that comes hand and hand with discovering your true artistic voice.

Slim Loris reminds me of the wonderfully downtrodin' band Blue Merle, and are close to finding that powerful interjection of color and life that can turn emotional folk rock into a transcendent musical experience. You can see glimpses of this on "Light Come Shining". They have a tremendous amount of positive things going for them in terms of their style, substance and presentation and if this release is a sign of things to come... I certainly expect great things.
- Working rhythms

Slim Loris

Slim Loris is Swedish Rock, New Wave, Indie Band.
Slight similarity with Mike and Mechanics, or maybe Crowded House.
It's fact that they tide their influences to 60's scene, which became Main Alternative scene in Europe,
And raised very much Wave of new Garage Rock bands with some exceptional names. Slim Moris are more Pop oriented, there's a general 60's vibe
Like if you power Mamas and Papas you can get as close as possible.
Other side is Britpop like Levellers, or before Mentioned Crowded House.
Stockholm could be European Music Capital that gave many interesting acts to the music world and it's always interesting to hear what's going there.
Let's mention The Hives or Peter Bjorn and John as an Example
So always eager to hear What's coming from that side, That's the case with Slim Loris, We want more!
http://www.facebook.com/pages/Slim-Loris/214253388610637

8/10
********

Mr Kite - rtv-buzz - NYC indie rock blog

What’s most notable from early listens of “Down To Earth”, is its uncompromising yet controlled energy levels. “Low” kicks things off with some abrasive and aggressive onbeat organ playing by Mattias that compliments his melodic vocal line. You can almost imagine him showboating by playing a few of the notes with his feet.

On “Waiting For Something” Robert sprinkles-in a jazzy guitar riff and some luscious acoustic strumming. Mattias’ investigative vocal phrasing come into play here, more than ever. The track is slow and intense. Very remiscent of R.E.M.

The piano based ballad “Ain’t Nothing Like It Used To Be” forges a deliciously played string and keyboard arrangement. The sound of authentically played, acoustic and electric instruments, is a typical trait of Slim Loris. Giving their sonority a geniune unambiguos richness. And above all, distancing them from most modern bands, who so heavily rely on VST instruments, audio loops and samples.

If there was any prior doubt, “Did I Ever” confirms that Slim Loris write neat uncontaminated melodies combined with intense and picturesque lyrics.

“Light Come Shining” is a cut above the rest of the album. An incessant, driving guitar line, dominates the song, while a walking bassline backed up by Jonas’ steady drumming slowly fires up the engine room. Mattias masterfully sustains the melody and chorus line.
Curiosly, the two best tracks on the album are back to back, as “At The End Of Our Tears” comes up straight away. Another ballad that highlights the beautiful string arrangements and impassioned voice of Mattias, while the rest of the band carefully dose their instruments to deliver an appropiate atmosphere.

“Days Of Waste” features the distinguished jingle-jangle guitar sound and the “live-in-a-room” sound mix, which prevails on most of the album.

I could easily go on describing the final three songs on this 12-track album, which stick much to the same successful sound idiom used on the other songs, but you could be spending this precious time better, in shooting over to Bandcamp and downloading the “Down To Earth” album straight away.

Slim Loris are a great band, with every member being equally important. The perceived lack of egos is admirable in and of itself, but it also makes for a sonically interesting album. With all the instrumental parts given equal play, in places the ambience is low-key without ever being tepidly quiet; in others it rocks energetically, without being in your face. The band sound like they’re playing live, in the same room with you, and here, thanks must obviously go to a solid sound production mix. - jamsphere.com

Slim Loris is a 3-piece rock n’ roll/folk rock band who come from a place famous for having a great music scene – Stockholm, Sweden. Their music is simultaneously upbeat yet melancholy, familiar yet fresh. They pay tribute to the 60's musical movements, the early 90's alternative peak, as well as the modern rock approach of bands such as The Black Keys, and some Americana for good measure. “Down to Earth” is the title of their latest release, and they sound seasoned here. Where the band excels is in their vocal harmonies and distinctly sombre arrangements, both on guitar and the very classic organ sound.

The album opens very strongly with “Low”, with a tightly wound rock n’ roll beat and arrangement that could very well have been an out-take from the fantastic Doors album “LA Woman”. The organ lifts the song high up, as the vocals croon “You’re getting too low for me”. “Waiting for Something” leads us into more sullen territory with the haunting chorus lines “Waiting for something to change my day. To take me far away. All the world around me it would seem is as dying as my dreams”. Admit it. You’ve felt like that before, possibly even as recent as…yesterday! It’s here that Slim Loris really prove themselves as communicators, and very “human” artists. In a strange way this song is similar to “Lost in Hollywood” by System of a Down, who crafted similarly haunting harmonies to support their own brilliant lyrics.

“Into the Stillness” brings us more of an indie rock/Americana vibe, even alt country. These guys are versatile, and yet they maintain the same vibe throughout. The addition of strings and a thumping bass line support the feeling of acceptance quite well. “Ain’t Nothing Like It Used To Be” is most definitely a song of mourning, of being afraid to progress in ones life or move on from a sense of loss. With piano and strings guiding the composition, the drums come in at just the right moment to bring some momentum to the emotion.
Other highlights from “Down to Earth” are “At The End of Our Tears” – possibly the most beautiful track on this release, “Blackstones” – an epic, sprawling folk rock piece, and “Light Come Through”, a seemingly Interpol-inspired slow burner, although the lyrics are more positive to be sure.

The production on “Down to Earth” makes the album sound like a major label release, and it’s no wonder these guys were reviewed by Billboard recently. Expect to hear the name Slim Loris to start floating around in rock, folk rock and Americana circles very soon. I would highly recommend Slim Loris for fans of Interpol, early era Radiohead, Simon & Garfunkel, and Woven Hand. - Independentmusicpromotions.com

There is a long tradition of bands trying to update the British Invasion sixties pop sound. Usually, it is more tribute than reinvention and while that can pose as an interesting listen for anyone on a nostalgia bender, it is not particularly innovative. What Stockholm´s Slim Loris has accomplished on their full-length, ”Down to Earth” is a somber turn to the usually poppy sound. The addition of Americana licks in their music adds an extra level of comfort, particularly on the album´s opener, ”Low”, which is the highlight of the album. On the track, the trio manages to find the perfect confluence of rock `n roll´s greatest attributes: a sense of down home security, but still managing upbeat rhythms while tackling somberness. The rest of the album floats on a similar vein, but none as strongly as ”Low” The band does best with a little kick and should continue to take it there.
- Billboard Discoveries

Junior’s Cave Golden Isles Online Magazine is a huge fan of big bold sounds, catchy hooks, strong vocals, and melodic tunes, and Slim Loris delivers on all count. What we are enjoying the most about this band is how their music tends to incorporate various genres into brilliant tunes one after the other. Mattias and Robert of Slim Loris spoke to our publication about the band’s music and their personal and professional journey of bringing their music to the masses. Here is their story.

- Junior’s Cave Golden Isles Online Magazine

"Robert Barrefelt and Mattias Cederstam are making timeless popmusic with emotion and depth. Beautiful melancholy."
Christer B. Jarlås on the "best right now" list from summer 2010 (translated from swedish) - rootsy.nu

Slim Loris are a Swedish indie rock quartet consisting of Mattias Cederstam on vocals and bass, Robert Barrefelt and Leon Lindstrom on guitars and Jonas Ellenberg on drums. In 2011, they released their debut album, Down to Earth. While in 2013, they released the follow up Future Echoes and Past Replays and toured extensively, including a performance at the legendary Cavern Club in Liverpool. They released their newest album Love and Fear on May 19th.

“Never Danced Sober” is the opening track. It’s a folky number and the verses sound like Bon Iver, but it has a chorus that wouldn’t sound out of place on a 60’s pop song. It’s an interesting and unique sound.

Tracks like “Sparkling Sun” and “Down” have a rockier feel. Once again, there’s a definite influence from retro rockers such as The Beatles and The Kinks though Slim Loris have managed to make things sound modern by adding in hooky riffs and overdriven guitars.

Songs such as “Kings and Queens” and “Violet Haze” keep a much more indie folk sound. It’s great to hear the band are able to put their own spin on each of these sounds, having them both coexist on the album.

All in all, Slim Loris are a band who have managed to take their influences and create something refreshing and interesting. Whether you’re a fan of 60’s pop or indie folk, these guys have something that will interest you. - puremzine

Stockholm, Sweden’s Slim Loris have followed up 2013′s Future Echoes and Past Replays with their newest album, Love and Fear, which became available just last month. Previously a duo primarily, Slim Loris have become a full, four-piece band in a more permanent capacity, with plans to tour and write even more music in the near future.

We had the chance to speak with the band and we took time to discuss Love and Fear, the changes in Slim Loris since their last release, and much more, so read through our conversation below and stream the band’s newest album at the end.

I can’t believe it’s been two years, but I interviewed you guys in 2013. Besides the new album, which we’ll talk about soon, any major changes for the band?

I know, it sure doesn´t feel like two years since last. The major changes have mainly been in our personal lives. Two years older and a more settled life now I suppose. Both Robert and Leon have become dads in the last few months so it´s been a busy time for them trying to balance family, work and music, but they´ve been doing a really good job at it.

Have any of you been working on anything outside of Slim Loris since we last spoke?

I´ve played bass with a singer-songwriter called Maria Ribeiro and her band for a few gigs. It´s also through her we got in touch with producer Pecka Hammarstedt who ended up co-producing and mixing Love and Fear. Jonas, our drummer, is a massive reggae fan. It shines through occasionally in Slim Loris like on the track “Going Home” but outside the band he does full-on reggae with lyrics in Swedish. He did a video for one of his songs last year where I few Slim Loris members act as extras. [You can check out some of it here] for anyone interested.

When your last album released, had you already started working on Love and Fear or did that come later?

The writing is a constant work in progress. Ideas for songs can pop up at the most unexpected times like when sat watching some boring TV program and thoughts wander off or when in the studio recording and in between takes you just fiddle about a bit and something comes up. While working on recording an album all these new ideas get put on hold so when the album is finally done, after what´s for us usually 6 months or so, there is in best case a lot of new ideas laying around to start work on and after our last album fortunately that was the case.

How would you say Love and Fear differs from Future Echoes and Past Replays? Is there anything specifically you did differently this time around as far as the sound you wanted to focus on or the way it was recorded?

We did change quite a lot this time ’round. After doing two albums of acoustic-driven songs that had a live and organic feel to them we wanted to do a bit more produced sound. There is still fair few acoustic elements on there but the majority of the songs are more electric and vibrant. Also we have produced our previous albums ourselves and this time we wanted to see what a fresh set of ears could bring. I met producer Pecka Hammarstedt when dong a session as a bass player and instantly knew he was the man for the job. He has the same basic thoughts about music as us but new and brilliant ideas about how to get there. In the end he ended up producing 4 songs and mixing the whole album for us. He definitely added a new dimension to our sound.

And as far as your influences, had anything come into your lives since writing and recording the last album that you feel might have played a part in how this one developed, either musically or lyrically?

We do listen to a lot of different stuff and inspiration can change from day to day really so depending on what I´m into at the minute it reflects the sound of the songs I´m writing. Robert once told me that he´s learnt to never know what to expect whenever I show him a new idea. I think I went back to a lot of the 90s music I used to listen to like Blur, Primal Scream and Massive Attack. I like their way of mixing genres and I think that can be heard in our new songs.

And speaking of the lyrics, what kind of themes would you say are present throughout the record, and are there any tracks in particular that are especially personal or important for you?

I´ve always liked to write about stuff that goes on in our everyday life and this album is no exception. However, since all four members of the band have kids now that has somehow found its way into the lyrics. Not that I specifically planned to write about it, it just sort of happened by itself. Like “Kings and Queens,” that came off a conversation during a rehearsal about how our kids all are addicted to technology. Another song is “A House of Our Own,” where I started messing around with an idea about what it was like being a teenager wishing to leave home but it ended up being about parents wishing for the day their kids move out.

So you’ve become more of a full band since the last album, right?

On previous albums we´ve been a duo in the studio (with the help of a few others) and a four-piece live band, but this time it´s been more of a four-piece band all the way even in the studio, so all four of us have contributed a lot in the recording process. Also, we´ve had a handful of guest musicians, like a small brass section on two of the songs. When recording with our producer he tried every idea that came to mind during the recordings and whomever felt the urge played the part so a lot of different instruments and sounds ended up on the album – some played by him as well.

The cover image is weirdly fantastic. Where was that image shot at and where’d that idea come from?

Thank you. We´ve very happy with it. It’s the creation of a photographer called Mikael Ribeiro. I play bass with him and his wife Maria’s band from time to time and it was on the way back home from a gig that the idea came to life. Basically we wanted a photo that looked about a hundred years old but where you´ve thrown in an element that didn´t belong there at all. He found this hotel/conference center place out in the country side where they had a few rooms in 19th century style for us to shoot in. Originally we were going to be all four of us in the picture but Leon and Jonas couldn’t make it on the scheduled day so instead he dressed them up as Victorian royalties and shot their pictures in advance to use as paintings on the wall behind us.

slim loris cover

What was it about “Down” that made you want to choose it as the album’s lead single?

It wasn’t a unanimous call ’cause we all had different favorites but in the end I think “Down” is the song that shows off our new sound in the best way and I like leading with an uptempo song.

Do you have any plans for a music video on the way?

We have been planning for it for the last few months with a very talented director. He is a dear friend of ours and he did our last video, “Head on the Floor,” that we´re very happy with. He is a brilliant director but unfortunately for us a lot of other people have realized that too so he is extremely busy right now, but I hope it will happen later this summer.

And what about a tour? Will Slim Loris be hitting the road this summer or later on this year?

That’s the plan. We´ve warmed up with a couple of gigs here in Stockholm now so we are getting ready to go out on the road. We´re looking to go back to the UK again and have had an offer to go to Spain in the Autumn but nothing booked definite yet.

Anything else coming up for you guys this year that you can reveal or would like to talk about?

Basically it will be all about promoting Love and Fear as much as possible. Hopefully with lots of playing live, ’cause that’s what we love doing. We´re also looking to write more songs and keep evolving as a group. Love and Fear has been the start of something new and we´re eager to take it even further. - Under the Gun

Love and Fear is the new 11-song album from Stockholm’s indie rock quartet, Slim Loris. The quartet features Mattias Cederstam on both lead vocals and bass, Robert Barrefelt on lead guitar, Leon Lindström on rhythm and backing vocals, and Jonas Ellenberg playing drums.

Leading off with a jangly “Never Danced Sober,” we get Cederstam’s bass up front and Lindström’s perfectly placed harmony vocal. “Higher” follows with Barrefelt starting a simple riff and Cederstam’s acoustic and passionate singing. The chorus just floats with plucked notes, that riff again and Ellenberg’s understated simple beat.

Only two tunes in and you realize you are in very good hands here with excellent songs and truly rich, smart arrangements. We get another riff to hang our ears on with “Violet Haze” and a schnuky, sexy snare beat. Again the mix of harmony vocals here is perfect, making the chorus poignant and like a great Ambrosia lost-love tune. “Down” opens with those harmonies into a ploppy plink of swirling tom tom beat and stark verses. “Kings and Queens” is a sea shanty of a slightly off-tune piano, acoustic, that deceptive snare from Ellenberg and maybe what is the Cederstam’s best vocal on this collection with a horn backing lifted from Tom Waits.

Love and Fear ends with “A House of Our Own,” Barrefelt chunking along with quick horns on a pretty upbeat tune (I was reminded of Madness here) the lyric returning to the title refrain and “Once,” the last tune, with single notes slicing behind those once again great harmonies on a killer lament where we do get some heavier vocal drama, high swipe of drums and cymbals and Barrefelt even managing more distorted moments. A great song on an album full of great songs. - short and sweet nyc

Swedish band, Slim Loris released “Love and Fear” on May 19, 2015. The general sound is a mixture of several familiarities. It’s interesting to listen to a group that I would characterize as a sponge, as they have clearly absorbed influences from many different time periods as well as genres. There are clear pieces of 60’s rock ‘n’ roll, coupled with an indie folk vibe and a slight hint of pop. The distinction even further presents itself in the form of guitar solos, rich harmonies, and well-crafted tracks. The combination of these influences gives us a unique listening experience as we journey through “Love and Fear.”

The album opens with “Never Danced Sober,” which quickly introduces you to a rich bass line and the warm vibrato of Mattias Cederstam. The mood is relaxed, providing the means to really pay attention to the nuances within the instrumentation of the song. Lyrically, I really enjoy the poeticism in the chorus: “But I have worn too many faces; I seem to be a stranger to myself.” The song is a fantastic introduction to the rest of the album, as it only broadens and widens from here. We are then taken into “Higher,” which leans, even more so, on the acoustic guitar, allowing the vocals room to soar passionately over it. Slim Loris uses the chorus’ repetition of the word “higher” to emulate an airy feeling. The electric guitar is simply notated, but it resonates with the theme of the song, blending everything together extremely well. With these two tracks opening the album, I was excited to see what was still to come.

“Going Home” sways to the folk side of the game, mixing things up, once again. The acoustic guitar is beautifully played, and the harmonies shine through in the chorus, elevating the level of emotion in the song. “Better Than I” is another folksy tune. It’s romantic and well written, with harmonies featuring a female voice. The female vocals are a wonderful addition to the sound, providing the middle of the album with a quirkier side. “King And Queens” sits somewhere between folk, country, and blues, as a horn section steals the show. The vocals are purposely rather gritty, and they are controlled extremely well. It sounds great. Cederstam continuously shows the range of his vocal abilities by demonstrating the smoother side, the rougher side, as well as a very solid vibrato.

“Sparkling Sun” takes on a much more rock ‘n’ roll vibe, as the catchy riff is the first thing you latch onto as you listen. The vocals are more distorted and the band begins to show dimension and their vastly dynamic musicianship. “Down” exhibits a great indie rock vibe, complete with rich and full harmonies, along with a driving and constant beat, keeping the song moving forward. These are my favorite harmonies on the album, and while they sweeten up the tone, the song remains a force on the record. “Violet Haze” comes back to a 60’s rock ‘n’ roll sound. The under produced sound is refreshing and transitive. I appreciate the real drum sound, and the slightly distorted guitars.

The part of the album I most enjoy are the last three tracks, including, “World,” “A House Of Our Own,” and “Once.” “World” and “Once” are a little more understated, but exhibit powerful elements such as guitar solos and pleasurable melodies. With that being said, “A House Of Our Own” is the true album standout for me. It combines all of the best parts of the album in one song. It’s driving, uses the horn section, and remains upbeat with the catchiest melody on the album. It’s reminiscent of old school rock ‘n’ roll, yet has a modern quality that keeps the track fresh and fun. This is the song that I believe would best translate to the stage. The backing harmonies are almost church choir sounding, at times, and the drums are tightly played, yet remain intriguing and unpredictable. The breakdown is strong and a tad bit funky. While “A House Of Our Own” is the true star for me, I truly did enjoy the whole album, and would recommend it to anyone looking for a fresh take on a 60’s rock sound, with a lovely little twist. - Pancakesandwhiskey