Most Popular
-
The Principal Matter
Teachers said Principal Gil Cho was dictatorial. Students said he manhandled them. The school district said he was doing a good job.
-
He's No Angel
They once called him a savior who helped people in need. Today, Edwin Parada is accused of taking money from Latinos unfamiliar with real estate laws.
-
Nonconformity Still Reigns!
The top eccentrics of San Francisco, and that's saying something.
-
A Time to Kill
The SPCA is struggling to finance a new hospital, and one way to save money is to speed up euthanasia.
-
State of the Cart
Join us as we map the street food scene and find out why there aren't more vendors in this most food-involved and temperate of cities.
Blogs
Fri Jul 18, 4:00 PM
Fri Jul 18, 12:16 PM
Fri Jul 18, 4:58 PM
Fri Jul 18, 2:59 PM
Fri Jul 18, 3:12 PM
Thu Jul 17, 9:46 AM
Recent Articles
Recent Articles by Jonah Flicker
No related articles found
National Features >
Houston Press
What mainstream publishers don't want you to know about door-to-door magazine sales.
By Craig Malisow
Riverfront Times
When these huntresses on are on the prowl, the prey very much wants to be caught.
By Unreal
Broward-Palm Beach New Times
How rumored McCain veep choice Charlie Crist wants to bail out Big Sugar.
By Bob Norman
SF Weekly
Are Asian women getting their jawbones cut to look whiter?
By Lauren Smiley
Peter Morén
The Last Tycoon(Wichita/Quarterstick)
Published on April 30, 2008
It's hard to keep a frontman happy. Today's lead singers often harbor dreams of going it alone once they gain success with their bands, from Steve Perry to Gwen Stefani to Thom Yorke. Add to this list Peter Morén, lead singer and guitarist for Sweden's whistling sensations Peter Bjorn & John. No, PB&J aren't breaking up; in fact, they're hard at work on new material. In the meantime, Morén has released a solo album of materiel he's been working on over the past several years. The result is The Last Tycoon, a jejune disc of adult-contemporary tracks masquerading as indie rock.
The Last Tycoon centers on Morén and his guitar, exemplified by the spare, mournful folk of "This Is What I Came for." His solitary singer-songwriter inclinations are indulged on the Leonard Cohen-lite "Missing Link" and "Gaze at the Sky for Long," the meditatively finger-picked closer. Opener "Reel Too Real" adds bass, a click track, synths, and a ringing bell to the mix, but all the accoutrements don't hide the fact that the romantic pop-frolic PB&J do so well is sorely missed here, replaced with a sappy sincerity. Morén is a talented songwriter, but on his own, these sensitive ruminations on youth and love are uninteresting and uninspired.