Caesars - Strawberry Weed reviews
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| Spin |
 Caesars drummer Nino Keller could carry an album all by himself: From the violent eruptions on "Fools Parade" to the funky, sample-worthy breakdowns in "Boo Boo Go Goo," the nimble showoff never falters. However, the Swedish quartet -- best known for "Jerk It Out," featured in an iPod ad a few years ago -- also churns out concise, addictive tunes that wrap fierce emotions in soaring old-fashioned '60s garage pop. Wistful yet brawny, "Turn It Off" legitimately evokes the pre-rock-opera Who at their smoldering best....full text |
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| Allmusic |
| Side B outweighs Side A on the Caesars' fifth album, which features the band's familiar mix of garage rock guitars and power pop melodies. This is the first Caesars release in years not to feature "Jerk It Out," the Farfisa-fueled song that orchestrated iPod commercials through the mid-2000s, and only a few songs here (including the Swedish single "No Tomorrow") feature contributions from that retro instrument. Instead, the band places an emphasis on guitar hooks, most of which are pleasantly rough around the edges but fail to flaunt much staying power. That's the problem with Strawberry Weed; it's an entirely enjoyable album that lacks a high-caliber "Jerk It Out" equivalent. Had the Caesars existed during the '60s -- a decade that this album so consciously emulates -- Strawberry Weed would've been overshadowed by the band's influences, from the Sonics to the 13th Floor Elevators....full text |
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| Popmatters |
| Thirty years ago, it would have been entirely conceivable that Caesars would have hailed from some college town in Middle America, bratty Iowans or Michiganders hawking fresh, ragged garage-rock with a distinct chip on their shoulders. It’s a statement to the globalized reality of this fledgling century, then, that they come not from Bloomington, Indiana, but from Borlänge, Sweden. Several generations of required English instruction in Swedish schools, along with consistent interaction with Anglophonic pop culture, has served to bridge much of the fundamental disconnect between the chilly Nordic social-democracy and our North American monoculture. Sharing a common vernacular has allowed a whole generation of musical acts to find some limited success in this hemisphere, from the Hives to Mando Diao to Jens Lekman (to say nothing of ABBA and Ace of Base, though perhaps many Swedes would prefer that we did say nothing of them). From an indie rock point of view, at least, Sweden is basically another hip American college town....full text |
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