Millencolin – For Monkeys – Review

Millencolin

For Monkeys (Epitaph)
by Scott Hefflon

In case you’re wondering where Millencolin is coming from these days, the lead off track, “Puzzle,” pretty much clears up any questions. With lyrics like “Here we are again with another bunch of soft songs… Third Album, less of ska and not so many fast ones, more of poppy, pushy songs… If you’re feeling lonely or if you’re happy, feeling swell or feeling blue, we might have a tune for you,” it’s pretty evident that Sweden’s Millencolin has brushed up a bit on their English. While the lyrics strike even closer to home, now that they’re able to express themselves with clarity, the mystique/humor of words/phrases like “jellygoose,” “buillion,” and “pillow pride” are gone. That’s certainly not to say the topics themselves are gone – the 12 songs are packed with day-to-day concerns, coming-of-age revelations, feelings of regret, aimlessness, and frustration. The songs now say what they mean, and there’s only the usual appreciation of personal lyrics. It’s kind of the end of an era, but what’re you gonna do?

Similarly, Millencolin’s really tightened up since Life on a Plate. Not that they were loose before, but there is definite growth in terms of stylistic variety and tempo changes on For Monkeys. The production (courtesy of Dan Swanö who I guess I mistook as a metal-only producer) seems to be even more vocal-heavy, but that ain’t no great shakes to punkpopsters into melody-driven Fat/Epitaph fast-and-ska-blended punk. Nikola has a clear, well-enunciated style, but like some of the younger bands, he hasn’t really grown into his voice and differentiated it from the countless others. Imagine a young, over-caffeinated Dave Smalley and you get the gist. By pushing the vocals so far forward, the guitar rhythms, especially when chunkily distorted, get used as mere background color – consistent and well-executed, yet blurred into lesser importance. In contrast, the often layered guitar melodies, the riffs singing as either second generation Descendents fills or racy little solos, punch through just fine. And, unfortunately, the rampaging NOFXian drums sound like tapping your fingers on an empty Cool Whip container. But the snare is as crisp and tight as it should be. I’d’ve liked to’ve heard a bit o’ the tight-as-a-monkey’s-fist piccolo snare rolls (á la The Specials) in “Monkey Boogie,” but hey, they had the authentically cheesed Hammond organ, so it’s still a great butt-wagging ska ditty. Millencolin seems to have grown into the rock standard format as well, not unlike many of the now-veteran punkers. “Black Gold” and “Otis” are mid-tempo rock songs, and while the ability to play rock isn’t a stigma of shame, there’re already a ton of over-earnest, post-longhair dopes out there trying to be the next Cheap Trick. Millencolin’s vitality is best suited to hyperactive pop/punk songs filled with singable melody, memorable riffs, and heart-felt lyrics. While For Monkeys is only 30 minutes or so long, it’s packed with vibrant energy.