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by
Dungen
- Record Label: Mexican Summer
- Release Date: Oct 7, 2022
- Summary: The latest full-length release for Gustav Ejstes-led Swedish collective Dungen was produced by Mattias Glavå.
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- Record Label: Mexican Summer
- Genre(s): Pop/Rock, Alternative/Indie Rock, Neo-Psychedelia
- More Details and Credits »
Score distribution:
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Positive: 9 out of 10
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Mixed: 1 out of 10
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Negative: 0 out of 10
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Oct 19, 2022The work here is as intricate as it is impassioned, with neither form nor feeling sacrificed as Ejstes builds a multidimensional musical world. Whether or not you’re familiar with Dungen’s previous work, this is a phenomenal display of their collective skill and penchant for a rich and genre-bending atmosphere.
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The WireOct 6, 2022Rather than concocting rich strata from the guitar of Reine Fiske or Johan Holmegard’s percussion, these pieces are mainly stripped back and sprightly, propelled by the dazzling vocals of Ejstes. ... Where previously these atonal chords and odd tempos would have been subsumed into the heavy mixture, they appear here open and light, forming something that’s less earthy and far more fantastical. [Nov 2022, p.60]
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Nov 7, 2022With a kaleidoscopic sonic palette and an ear for the truly unconventional, Dungen have made an absorbing, endlessly interesting record; one that challenges even as it envelops the listener. It’s an experimental exploration bordering on the divine.
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UncutOct 6, 2022A welcome return. [Nov 2022, p.29]
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Nov 1, 2022Granted, En Är För Mycket och Tusen Aldrig Nog isn’t the kind of album that aims for accessibility. Nor is it a set of songs that will invite the unsuspecting to simply hum along. However, for those that are up for a more adventurous interlude, it’s nothing less than an intriguing endeavor all around.
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Oct 13, 2022From what one can hear on the new Dungen album, sobriety can be trippy. Perhaps, sonically the record is less cohesive than previous albums of the adventurous quartet. Still, it feels great to dig this album as it is not straightforward either.
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Oct 6, 2022The majority of the first half finds Ejstes at his most melodically direct — including singles “Nattens Sista Strimma Ljus” and “Skövde” — while the second half indulges some questionable studio experimentation.