Koop - 'Koop Islands'

by Steff Price

A sound that is unmistakable and uniquely their own

"Opening track ‘Koop Island Blues’ is an exotic, Parisian shuffle, with softly brushed skins providing a rhythmic backing beat to the gorgeous vocals of Ane Brun, the lauded Norwegian songstress whose guest vocals waft over the tune"

Several years have elapsed since 2001’s ‘Waltz For Koop’ worked its way into over 160,000 record collections worldwide and won the admiration of many well-respected modernist jazz aficionados including Kruder, Dorfmeister and Giles Peterson to name but a few. Indeed, Marcus Zingmark and Oscar Simonsson are recognised pioneers of their entirely different, yet completely familiar approach to fusing genres and contemporary techniques with styles from eras long past to create a sound that is unmistakable and uniquely their own.

If you haven’t heard of Koop, you will be guaranteed to have heard their work featured on numerous television ads and movie soundtracks. The Stockholm-based duo have just released their third studio album ‘Koop Islands’, with re-visitations from several notable collaborators. This time around, we are transported magically back to the dinner jazz of the 30s and 40s - the kind that was made famous on the Caribbean cruise ships enjoyed by the rich and famous of the time.

Opening track ‘Koop Island Blues’ is an exotic, Parisian shuffle, with softly brushed skins providing a rhythmic backing beat to the gorgeous vocals of Ane Brun, the lauded Norwegian songstress whose guest vocals waft over the tune, setting the scene and ambience of the album’s 1940s jazzanova atmospherics. ‘Come To Me’ is easily the catchiest and most memorable of the bunch, with its uptempo jazzband /dancehall feel. Yukimi Nagano’s delicate vocals lend a heartfelt earnestness, which rivals Ella Fitzgerald’s soulful crooning.

Ex-Galliano frontman Rob Gallagher (aka the mysterious Earl Zinger character) appears on both ‘Forces…Darling’ and ‘Beyond The Son’, with its displaced London beat-poet vibe contrasting against its decadent orchestral instrumental accompaniment. Perhaps this is a crude comparison, but one can’t help remembering (rather uncomfortably) Dave Allen’s spiel on Blur’s ‘Parklife’. Michael Sundin’s appearance on ‘Let’s Elope’ lends a melancholic, almost Smiths-esque vocal vibe to juxtapose sharply (and a little oddly) with the jaunty, Caribbean melody of the song.

Through the Koop’s timeless melodies time travel and self-indulgent escapism is made possible. It won’t be everybody’s bag, and it is rather disappointing that the album as a composite piece somewhat loses momentum about halfway through, as the tunes become a bit watery on the melody-side, lacking the instantaneous zeal and bite of the first five tracks. The overall effect is wholly pleasant, however, in a coffee table sense of music appreciation.

Ray said on May 1st 2007 [report abuse]

I'm pretty sure it was Phil Daniels who did the spiel on Blur's Parklife:- &wrk=215716 Thanks for the Koop review. Another classy album from Swedish duo.

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