History of SLV

bioOnly if an act of violence could be both invigorating and soul-crushingly painful; an uplifting release as well as emotionally draining; a surge headlong into the depths of darkness only to find catharsis, does this incendiary quartet’s name actually do them justice.

Hailing from the small historic town of Båstad, on the south-west coast of Sweden, charismatic frontman and guitarist Andreas Söderlund, bassist Daniel Teodorsson and drummer Daniel Petersson have been chanelling their loves, their hates, their agonies and their ecstasies into their searing and unique indie rock for seven years now, receiving international critical acclaim for both their shockingly powerful 2004 EP The Pistol, and their stunningly dynamic 2007 debut full length, With Blood On My Hands.

Having won endorsements from their peers – the likes of Gallows and Say Anything included – and having secured their position as one of Europe’s most respected underground acts, with a touring history that saw them share stages with the likes of The Wombats, Fightstar and AFI, Sounds Like Violence are back with a record more delicate, complex, gut-wrenching and exhilerating than ever before. Recorded partly in Malmo, Sweden’s famous Tambourine Studios, partly in Andreas Söderlund’s low key apartment, and mixed by Ryan Hewitt (Red Hot Chili Peppers, Blink 182, Alkaline Trio), The Devil On Nobel Street, to be released on Burning Heart Records on November 9th 2009, will mark Sounds Like Violence out as major contenders in the world of credible alternative music.

“The most important thing for me,” Söderlund explains, “is to make people understand that rock music can be really meaningful and not just idiotic like it is today. Look at all the emo bands that the record labels are throwing at us – one more pathetic then the other. Maybe this record should have been named Taking Back Rock Music…”

From the self-assured and driven stomp of the title-track, through the folksier “The Emporer’s New Clothes” and choir-enhanced power of “Bankruptcy”, through to the dark dynamism of “Reeperbahn”, Sounds Like Violence throw out challenges to the listener at every opportunity on …Nobel Street.

“This record is built more around melodies,” Söderlund says, “melodies that no one has ever dared to mix in with rock music. We wanted to take the Guns N’ Roses, The Cult and Nirvana inspiration to a new level. In the end it still feels and sounds like Sounds Like Violence. Before we recorded I sort of studied “Nevermind”, “Appetite For Destruction” and “Love”. I went through all the lyrics and found a lot of new stuff. I looked at the length of songs, different melodies and riffs. Rock lyrics always seem to be about booze, girls and drugs, I’ve never got that and can’t really relate to that. I want to write about more relevant things.”

With subject matter here veering between abandoment, loss, the endless search for happiness and the eshewing of a stable life in the pursuit of greatness, it’s fair to say Söderlund has achieved his mission with aplomb.

“There is no song that is left at random on this record,” he emphasises. “Every song has its purpose, everything is thought through. People just now have to realise the potential of the band, that we can be huge as well as stay being a small indie band – it’s all about who finds us now.”

And with a record as vast, accomplished and extraordinary as The Devil On Nobel Street, it’s safe to say that the big time is about to come knocking.

Sounds Like Violence is: Andreas Söderlund (vocals, guitar), Daniel Teodorsson (bass, vocals) and Daniel Petersson (drums).