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Mew

Indie / Alternative / Experimental

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About

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All pop stories start somewhere. Some start in bars, some in clubs, some in moshpits. For Mew, this particular story starts with the end of the world......

The end of the world on celluloid that is. Brought together at school whilst making a film on the destruction of nature, Jonas Bjerre, Bo Madsen, Johan Wohlert, and Silas Graae formed a friendship over the earth's demise that was destined to flourish. Although the end result was somewhat clumsy, the bond built on their shared interests in music and film was to lead to the creation of Mew.

"It took a while to get the band together and to begin with we didn't know what we were doing, but that's turned out to be our greatest asset," vocalist Jonas explains, his talking voice every bit as fragile and understated as the one you'll hear on the records.
"We didn't know how to play other people's songs so we thought we might as well play our own. We knew almost immediately that we were onto something."

As did everyone who heard and fell in love with their music. Mew's armoury of tunes began as straightforward homages to their own heroes (Dinosaur Jr, My Bloody Valentine) but swiftly blossomed into a sound that was uniquely Mew. Their chances of clinching a deal in Denmark however seemed remote, as they found themselves to be musically out of step with a record industry obsessed with plastic pop and Aqua. So Mew took the initiative and formed their own label, Evil Office, and set about releasing their own material. In setting up Evil Office Mew were doing more than taking matters into their own hands. Johan remembers the feeling that they were "making a stand that the Danish industry had failed. We learned loads and, most importantly, it gave us the opportunity to sign to anybody else, should we get an offer."

With a live reputation like Mew's (fuelled by Roskilde appearances, support slots and their own headline tours), it didn't take long for Epic to pick up on the buzz.

Am I Wry? No, Mew's first limited edition single released in September 2002, is typical of their hefty catalogue - more hooks than most bands can muster across an entire album and a theme of development and progression rarely heard outside classical music. That Jonas's lyricism is the work of a classic pop storyteller is in no doubt ("Am I Wry? No" and "156" are about the same, failed relationship), but the depth and strength of the music itself tells yet another story. On stage the Mew experience extends even further with Jonas' own short films (put together in Denmark's Video Filmlab studios while the rest of the city sleeps) drawing out each song's essence, embellishing its individuality and adding a third edge to Mew's songs.
"We think of a journey whenever we write," explains Jonas, "creating those inner pictures and inner landscapes in your head. We try to take the listener on a journey and by the end of the song they're in a total other place."

Other high points - both on and offstage - include the anthemic "Snowbrigade", the string-laden tear-jerker "She Came Home For Christmas" and "Her Voice Is Beyond Her Years", a duet with Stina Nordenstam. Each twist and turn of Mew's musical arsenal is wonderfully unexpected and impossible to second-guess. As Bo explains:
"We're quite lucky with the way we sound, because even before Jonas' vocals come in you know it's a Mew song. But at the same time you never know what's coming. So many play the way they're taught to play - we've never been taught anything more than a couple of guitar lessons between us. I learned a blues solo once, it still haunts my dreams! The problem with the blues is that you always know what's coming next. What you want from music is to be surprised."

Am I Wry? No and Mew's second limited release the aptly titled She Came Home For Christmas, both won outstanding reviews, with many critics agreeing that if there had been any justice She Came Home would have made the Xmas No. 1 slot. Mew ended the year with two well received singles under their belts and a growing reputation for compelling and dynamic live shows.

March 2003 saw the release of their first commercial single Comforting Sounds, the nine-minute slow burn finale to the album and the climax to their live set. Already a favourite amongst critics the single took the NME's Single Of The Week slot and was hailed by the paper as "a staggering eruption of beauty that defies conventional description". Recent sell-out gigs too at the London's Metro and 93 Ft East had audiences queuing round the block and chanting the band's name throughout the set.
"Whatever it is that's going on in the mind of Mew, we know one thing: it sounds incredible" enthused the NME's reviewer.

With debut album Frengers released in April, initial responses to which have been rapturous - "..full of wonder" (Time Out), "glorious" (NME) and "a work of quiet brilliance, a multi-textured mini masterpiece, a winner" (Bang)
- it's shaping up to be a remarkable year for Mew....

Very Impressive Press Reviews:

Mew "...and the Glass-handed Kites"
"one of the better rock records of the year...a terrific accomplishment...8.4" -- Pitchfork

Denmarks Mew (finally) brings their magical mixture of surrealism and sonic bliss to the States.All thats required to become enamored with Mews majestic anthems and lush lullabies is a willingness to be disarmed by music - CMJ

Theyre experimental enough to woo fans of Radiohead, and straightforward enough to lap up lovers of Coldplay Spin.com

Mew surge forth on dark, driving guitars, overwhelming vocal melodies, and retro-sounding synths (laser zaps and all) showing few signs of restraint Entertainment Weekly

Take note of what beautiful sounds these boys carve from melodic pop songs.
Death & Taxes

And The Glass Handed Kites is not for the faint-hearted, those who choose the red pill will ultimately become happily lost down Mews rabbit hole. - Filter

Somewhere Roger Waters is smiling. FOUR STARS URB

So awesome
San Francisco Chronicle

A dreamy winner.
Stuff Magazine

Smooth fusion of the sacred and the stormy The Onion

POPMATTERS: 7/10 review
In the hands of a less pop-minded band, these tunes would probably be mostly innocuous, but when Jonas Bjerre's angelic voice breaks from the intricate guitar lines, you're left with glorious pop music.

MAMMOTH PRESS
If you listen to music to be moved by its sonic beauty as much as its lyrical, Mew will warm your heart. Pick this up immediately.

ONE PLUS ONE: 4.5 star EP review
Mew may not be heroes yet, but their time has come.

CULTURE BULLY: 4/5 album review
Somehow, Mew seem to avoid any similarity to prog while fitting in perfectly, proving that an album can be released without falling into a repetitive groove during production.

PENSATOS
Once you swab away the layered instrumental moments of dysfucntionality, the result is Bjerres dazzling voice that elevates Mew with addictive and catchy melodies aided by edgy guitars and echoing tones resulting in a hybrid mix of Sigur Ros and Radiohead feats.

411 MANIA: 7.5 album review
Songs like Special and White Lips Kissed show why Mew is all the rage in Denmark as much as they display this bands diversity. With a new national audience, good things are in store for this creative group.

I GUESS IM FLOATING:
For prog rock fans, and music fans in general, And The Glass Handed Kites is perfect.

DELUSIONS OF ADEQUACY:
Mews Zookeepers Boy is the perfect example of what an EP should do. The five songs on Zookeepers Boy are easily accessible to listeners unfamiliar with Mews back catalogue (such as myself), showcase Mews talent, and, most importantly, make me want to rush out and buy the full album.

NEUFUTUR: Mew will undoubtedly have other albums in which to wow their listeners, and I have no doubt that individuals will be able to pick up this album and appreciate it as easily as they can do just that with any pop album.

CORD MAGAZINE:
And sparkle it does - it's a gorgeous album that manages to sound a touch dangerous from time to time.

Dazzling Mojo

Brilliant - The Cocteau Twins meet jagged 80s underground freaks Sonic Youth - NME

Stirringly beautiful Time Out

"A soaring epic album thatll leave you breathles"- Music Week

Huge, beauteous melodies that, in a perfect world, would knock James Blunt et al out of the charts forever- Metro

Shimmering lovely soundscapes, like a rockier Sigur Ros - Telegraph

More epic than The Bible Star

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