“Erikson” was reviewed by the local Fort Worth newspaper The Fort Worth Weekly! The article, by Anthony Mariani, really speaks for itself, so I’ll stop jabbering and let you get right to it!
HERE is the direct link to the two-part article on “Erikson” and the latest EP by the DFW band Oil Boom entitled “Gold Yeller.” I would definitely recommend using the link because the FW Weekly site has so much to offer, but if you’re impatient (or have a lousy internet connection), just scroll on down and enjoy!
Listened to Erikson. Here’s what we know. Some young, seemingly normal Arlingtonians harbor a perverse fascination with people (real or imagined) sharing the surname Erikson. The first track off Lindby’s long-time-in-the-making debut album is “Erikson, Leif,” and “Erikson, Sheldon,” “Erikson, Jon,” “Erikson, Tom,” “Erikson, J.S.,” and “Erikson, Jam” are the titles of assorted interludes. […]
And then there’s the music, a weird mélange of occasionally blustery electric guitar riffs mixed with horns and weird synths, smart sing-songy melodies, and choral vocals reminiscent of The Polyphonic Spree. (Sadly, any band with more than two people singing either in harmony or unison draws comparisons with the Spree, the biggest band to popularize the form.)
You could call Erikson a concept album. Most of the lyrics are silly and fabulist (“The King of Condiments,” anyone?), and the 15-track work is often visited by the melodic reprisal “Erikson / Whoah-oh-oh, my Erikson.”
Home-recorded and self-released, the album captures a band whose aspirations far outstrip its cashflow for Grade-A recording technology and knowhow. You can only imagine what producer Jim Guercio would have done with this stuff back in his heyday in the late 1960s with Chicago and Blood Sweat & Tears. The raggedness here kind of cheapens the genuine expansiveness of the melodies and arrangements, rendering the compositions sloppy rather than raw, organic, and unpretentious, the effects that Lindby was probably going for –– “probably” because the people in the band are crazy.
Not that there’s anything remotely pretentious about this oddball opus. (Paging Dr. Demento.) Next to The Doors’ “Shaman’s Blues,” Lindby’s “The Shaman” is probably the best song about aboriginal medicine men you’re ever going to hear. It’s an early-’80s-inspired dance-rock hit revolving around a groovy, twinkling synth figure and a huge, glorious superhero-theme-song chorus. “Jing Ling-Tam Blues,” undoubtedly named after the professor of vocal studies at the University of Texas at Arlington, is a rocker built around a soaring choral vocal refrain and crunchy guitarwork, and “Piece of Reese” is scandalous and catchy.
Erikson could be a lark, but all of the songs are professionally performed and sprinkled with moments of auditory glee. Not quite Viking-caliber but killer nonetheless. –– Anthony Mariani
There you have it! Stay tuned for more Lindby reviews and news coming soon!