Three-piece alternative rock group from Copenhagen, Denmark Vinyl Floor have recently released their third album since 2007.
Vaudeville opens with the addictively upbeat and melodic ‘Change the Song’ and follows with an equally as impressive and eclectic collection of well-written tracks.
Meaning ‘a theatrical genre of variety entertainment’, Vaudeville stays true to its namesake with its diverse range of tunes.
‘Shift’ is a flashback to Guns n Roses’ later work, but add to that a Nirvana grunge fuzz and you’ve got a foot-stomping number that would be an absolute face-melter when performed live.
In contrast to the heavy riffs of ‘Shift’, ‘Time of Your Life’ boasts some Ian Curtis-style vocals, a melodious chorus and a surprising string section; it’s a well-constructed song with a nice progression.
With folk-sounding introductions which lead into catchy riffs and memorable choruses, Vaudeville continues along with light, shade and some really poignant moments.
It’s difficult to categorise Vinyl Floor’s Vaudeville; the clever and unique arrangements of their songs create a narrative, which leave it indefinable, but utterly enjoyable.
One may find it easy to get lost in the music; the composition has a way of surrounding you with melody and storyline, particularly ‘Time of Your Life’, where the dramatics would suit a film soundtrack.
‘Castles’ is beautiful, and ‘Angel of Crime’ is powerful, using a U2-esque drum rhythm teamed with strong, melodic riffs.
Following ‘Just a Shadow’ and it’s modern, balladic structure, ‘Colorblind’ presents a 70’s influenced, theatrical number with spine-tingling orchestration.
This section of the album slows down, letting the listener soak in the previous two ballads before settling into some chilled piano in ‘Nation Underground’.
‘Sensational Freedom Country Estate’, however, belts you out of your splendour and gets you back to the same stomping riffs that introduce the album.
Dramatics return in the power-ballad, ‘Fallen Leaves’ which, although following the standard formula of the traditional slow-dance, takes the genre to a new level, thus proving Vinyl Floor’s talent for creating a theatrical experience in their music, which makes it truly engaging.
The album closes with ‘Basket of Kisses’ and ‘The Abyss’, the former of which contains haunting, monastic harmonies; yet another interesting chapter in this eclectic album.
‘The Abyss’ is a dark, sea shanty of a tune with vocals and instrumentation Australia’s own Nick Cave would be proud of.
Vaudeville is more of an event than a record; from beginning to end, it provides dramaturgical moments and plot-driven songs.
Vinyl Floor are Thomas Charlie Pedersen (vocals, guitar, organ, piano), Rasmus Bruun (guitar, organ, piano, bow) and Daniel Pedersen (drums, vocals, organ, piano).
The guys hail from Denmark and we hope they will bring their magically unique and delightfully dramatic music to Australia some day soon.
By Vaudeville here.
By Libby Parker