2017 Discography Review Challenge: THE SUGARCUBES – Here Today, Tomorrow Next Week! (1989)

Review by: Dinar Khayrutdinov

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And here we go again! Hope you missed me and my Björkish reviews!

So, the year is 1989, and the followup Sugarcubes album has just been released, a little over a year after the debut. I’ll state right away that it is not nearly as good. The vibe is still there, the jovial energy is also still present, but the songwriting isn’t at all interesting this time around. Another problem is that for some reason they decided that Einar Örn should do as much vocals as Björk. Baaaaad mistake, Sugarcubes. I could actually end my review right here because I honestly think that only hardcore Björk or Sugarcubes fans should bother with this record. But on the other hand that would be doing this album grave  injustice, because it isn’t bad at all! In fact, if Life’s Too Good never existed, I would quite enjoy Here Today, Tomorrow Next Week! So, instead of bashing the hell out of it I’ll try to concentrate on the good things:

  1. The bass playing is very consistent throughout the record, kudos to Bragi Ólafsson! Sigtryggur Baldursson’s neat drumming complements it nicely, too.
  2. The songs are mostly short and fast, which makes them enjoyable even if they’re not very memorable.
  3. The guitar licks are very new-wavy which somehow makes this record janglier than its predecessor.
  4. Björk’s singing is great as always (It’s when Einar Örn opens his mouth that problems begin, and BOY does he sing a lot here, unfortunately).
  5. (Have to make them at least five, have to make them at least five) Weeeell… Errrr…. The fifth advantage of this album would be… would be… Well, the album’s title is interesting, I guess? (A piece of trivia: It’s a reference to Wind in the Willows!) Maybe not. Whatever.

So… yeah. That’s it. Overall it’s just an okay album, so if you’re a casual fan, get Life’s Too Good and be happy with it. Cause this one is really basically the same, only worse in several aspects.

The Sugarcubes themselves probably understood that too and went on a hiatus right after finishing their tour to promote this record.

Tune in next time, when we find out what is it exactly that her Björkishness was busy with during said hiatus.

2017 Discography Review Challenge: THE SUGARCUBES – Life’s Too Good (1988)

Review by: Dinar Khayrutdinov

As it happens with many bands, KUKL split up some months after releasing their second album, and Björk formed a duo called The Elgar Sisters with their guitarist Guðlaugur Kristinn Óttarsson. Together they would subsequently record some songs Björk would use in her later career. At about the same time Björk married another guitarist Þór Eldon and shortly after gave birth to a son. And that was when Björk, Eldon, another former KUKL member Einar Örn and a bunch of lesser-known guys formed The Sugarcubes. 

But enough with objective facts, here’s the highly subjective part: Life’s Too Good is easily the best album featuring Björk before her solo career but also probably the only Sugarcubes album you will ever need.

In spite of featuring two ex-members of KUKL, The Sugarcubes is not shamanic experimental avant-garde act but merely an alternative rock band. “Merely” but not actually merely! This is GOOD and quite idiosyncratic alternative rock with solid pop hooks, fine guitar riffs, postpunkish dance rhythms and, of course, young Björk in top form. But here’s the twist: the original idea behind The Sugarcubes was to create… a humorous band! Imagine that! This was supposed to be a parody of pop music with its shining optimism (hence the record’s title) but looks like that was sort of abandoned in the process because the actual music ended up sounding bigger and better than a bunch of novelty numbers. And there are really dark moments on the album, too. But hey, the fun and the mischief are still there! This is a very enjoyable record!

You might know the big single from here called Birthday and it is an amazing song but the rest of the stuff is no slouch either. Motorcrash, Sick for Toys and the comic Fucking In Rhythm & Sorrow are my particular favourites (the latter DOES sound like a novelty number but it’s so exciting and funny that I don’t mind). Should I even mention Björk doing a great job on all of these songs? That goes without saying, doesn’t it?

On the whole, Life’s Too Good can sound too juvenile and quirky to some (then again if you don’t like quirky stuff you probably shouldn’t be listening to Björk at all) and too uneven to others but it’s so fun and weirdly exhilarating that I’d say it’s an absolute must even for casual Björk fans. 

Stay tuned for more Björkish reviews!