Mats Grönmark has a background in Hellon, 
Eve and the Last Waltz and Burek V, the 
latter has been called ”The lo-fi-kings of Stockholm”. 
And his solo-debut just might be called lo-fi too.
Or country, or electronica, or indie, or... well, you can 
hear me go on tearing myself up. His music is that 
hard to pin-down. So winding and frustrating and so
welcomely hard to define.
A popmelody is crossed by a funky soul-bass, some 
punk is hidden inside a cruel Crazy Horse riff, some 
honky-tonk, in other places the riffing will go right on 
and make your sideburns curl themselves up.
In the pressrelease it says 50´s country, turkish 
synth-disco, americana and steel-guitar funk. 
It´s that crazy. It´s that good.

All attempts to describe this album of course are 
vain. It has to be heard. And it´s no easy summer 
romance. It works on you like deep feelings do. Like 
deep relations should. For a stressed-out writer like 
myself it would be easy to listen with one ear and
discard this as tricky and uninteresting. That would
be vastly unfair. Grönmark might be trying to sing at
the bottom of his capacity-my big objection-but he 
has a rare feel of a certain sway and the melodies
hits just where they should, on target with a 
swaggery charm.

He knows that beauty is hidden in cracks and that 
perfect often becomes too obvious and trite.
Instead he fills his warped defiant music with 
bittersweet detail, reversed genre-templates and a
bone-hard musical integrity. The beautiful pedal 
steel of Daniel Wigstrand embellishes half of the 
tracks and puts a harmonic and unmistakable
americana-touch right in the face of the attractively 
ugly. It does a lot of good. 

And that is just one of the details in Mats 
Grönmarks´ solo-debut that makes it an unique 
album in swedish music.

Johan Kronquist
LIRA/GÖTEBORGS FRIA TIDNING/
HONKY DELUXE