THÅSTRÖM MANNEN SOM BLEV EN GRIS ALBUM MNW RELEASE: APRIL 23, 2002 REVIEW: JUNE 4, 2002

There are at least two generations of Swedish punk rockers hitting the charts right now, some of them in Sweden, a few abroad. Backyard Babies, Hellacopters and more recently The Hives belong to the younger breed, re-enacting the rock myth and posing for their dollars worth.
They are all indebted, in one way or another, to the almost mythic stage persona of Joakim Thåström from the first generation. The sound and the fury of his first and Sweden’s foremost punk band Ebba Grön have never been forgotten, although Thåström has at times been keen to leave his past behind and get rid of his celebrity status.
It is easy to see the differences between these generations now. While the youngsters are in their first phase of uncontrolled, explosive behaviour, Thåström has already been through that - as well as his ballad period and his experimental dabbling with the industrial band Peace, Love and Pitbulls. Recently he has finally returned home to the Swedish language, proper rock music and the contemplative mind of the ageing musician.
Yeah, that’s right. Although Chips Kiesbye from Sator at times helps Thåström to create mighty walls of noise, the calmer parts of ”Mannen som blev en gris” take precedence on the album. ”Kaospassageraren” and ”Släpp aldrig in dom” sound like they were written on bad days on paper napkins in one of the third rate Chinese restaurants Thåström likes to frequent to be left alone by fans. A slow tempo and the use of a church organ underlines the confusion of the lyrics: Whatever happened? How did I get like this?
As on his previous album, Thåström sometimes competes for the position as Sweden's greatest gothic musician. The intro to ”Hål” would have no problem fitting onto any Tiamat album, and the mood of the songs is definitely of the darker variety, unless you consider Thåström's rants of moving to Warzaw and reading the bible for his kids in ”Höghus-sång” as sensible and optimistic.

MATTIAS HUSS