The Swedes return with their third full-length, and it's another record of beauty... Swedish ambient indie experts Jeniferever are back with their third album, an expertly crafted mix and matching of sprawling post-rock structures and glacial Mew-esque indie-rock as crushingly delivered as their previous two long players. It’s probably about time more people started caring about this band, especially since they deal in the sort of sounds that demand to be taken to heart.
On the Swedish group's 2011 album, Jeniferever readily demonstrate that at the least the quartet knows its way around cryptic atmospherics in a rock context, as any band naming itself after an early Smashing Pumpkins obscurity should. (The album name, after a Berlin train station, and the song of the same name featuring moody rhythms, Cure-like guitars, and a combination of melancholic and sweetly understated vocals, make it all clear from the get-go. ) As with any band working in the general field, the difference between overwrought bluster and tense, gripping performances can be fine, but Jeniferever mostly err on the side of caution.
There was a brief moment when post-rock was properly trendy, when everyone searched for the words to describe Pelican, when everyone claimed to love Mono’s extended jams. That moment has passed. And while there is still plenty of excitement to be mustered for a God Speed You! reunion or an Explosions in the Sky festival appearance, the genre seems to have fallen out of favour with the zeitgeist.