Ben Gunstone
The Lost Revue

Cadillac 'Magnetic City'
Blunt riffs and windswept melancholy from Norway. For the first couple of tunes - bludgeoning grooves based around coal-black riffs - Cadillac are well-named; a gleaming, diesel-scented monster of riff, barking with malevolence and sleaze. A mid-album slip into softer but no less angst-driven scenes reveals a indie flesh behind the caustic armour, but - singer Per Borten's lapses into a Bono-esque warble aside - these more thoughtful passages are no less affecting, offering a further depth to their pointed powerchords. Producer Rich Robinson resists the urge to instil some rootsy Black Crowes-esque vibe to proceedings, instead polishing Cadillac's anguished screamo up to a fierce, melodic sheen.

(3/5) Kerrang

Cadillac 'Magnetic City'
These rising Norwegian stars appear for the first time in the UK with their third album, produced by Rich Robinson from The Black Crowes. Bustling with energy and fuzz, it's an accomplished work, ranging from aggressive post-punk to melodic stoner moments via lots of dirty riffs.

(3/5) The Independent

Cadillac 'Magnetic City'
Cadillac are from Norway and wisely eschew the UK-obligatory 'The'. And they don't fit the early-eighties contemporary template either. In fact they seem to nestle somewhere between hard rock and prog, with some almost sixties summer pop tucked into the gaps.
To give a flavour, let's sample the middle of the album, tracks 6, 7 and 8. 'Side By Side' is a melodic, slightly sad slab of pop and butts into straight into 'Top Of My Guarantees' - all fuzzed up bits, thrashing drums and feedback howls. Next up, 'Michael Francis' is a set of downbeats with a flavour of the more mainstream output of Yo La Tengo. Cadillac seem to like texture and viscera of their instruments, at times there is a physical sense of the graininess of each part, rubbing up against the rest. This always shows up most in the distorted guitars, where rock's beating heart always edged up the art of pure noise manipulation.
There isn't a feeling of abandon that I associate with noise merchants. Cadillac are more controlled and paced than that. This is a composed and studied album. The feedback, the distortion is planned and arranged. That's where the prog tag comes in, along with a liking for slightly more complex rhythms than normal for guitar bashers. Cue references to At The Drive In. A cover of Siouxsie's 'Arabian Knights' is a study in control and menace, if anything, more studied than the orifinal. That's not to say that there isn't noise to love here, the imeediately following 'Morning Star' has more of that speaker-destroying fuzz. A pretty compelliong debut,nicely varied and shaped, full of new avenues and roads to explore

Vanguard Online

Cadillac 'Magnetic City'
A swift glance over the shoulder at late 90s post-grunge pretty much characterises this Norwegian foursome. Thrashing, writhing and snarling their way through this slightly samey but undeniably and boundlessly energetic record. Cadillac take a few thousand lessons from early Soundgarden and QOTSA.
Fuzzed-up basses, a visceral and frayed masculine croon and thunderous, driving beats betray the heavily-influenced ways of this album. But 'Magnetic City' is not without its emotive weightiness. 'Goldrush Mourning' is majestically moving in its Zeppelin-esque richness, all sparkling guitars and dark harmonies. 'Arabian Knights', depsite its toe-curling name, has a timeless and beautiful militancy. This sound may have been cooked, reheated, and repeated again by a million other bands, but unlike Cadillac, most fail to come up with something good, with this style of music having essentially outstayed its welcome.

(7/10) Rocksound

Cadillac 'Magnetic City'
On 'Magnetic City', Norwegian rockers Cadillac pull off the trick of sounding like severeal different bands at once, sometimes in the same song. The trouble is that one of these bands are Cadillac. Somewhere in Texas, the beuatifully monickered And You Will Know Us BY The Trail Of Dead are probably feeling a bit miffed. Their trademark overwrought clashing melodies have been well and truly plundered to make this record.
At other times, the louche harmonies and fuzzed bass of QOTSA take over and you wonder just what Cadillac would sound like if they gave themselves a chance. Luckily, here and there, some character does seep through, notably in the title track, a supremely confident, self-medicated roller. With the self-possession of Jim Morrison or Iggy Pop, Cadillac's frontman sings "Kill the lights at the place that I hide/Frame the magnetic city and I/Gaze at the world with my bloodhsot eyes." It's a definite moment and to be fair, it is not the only one here, just the only one that's not transparently derivative.

The Morning Star

Cadillac 'Magnetic City'
A lot of distortion does not a good song make. DFA 1979 do it so well. BRMC not so well, but better than this. Cadillac peddle the worst kind of average rock n roll sludge, with no discernable attitude, or hint of personality. The likes of 'Goldrush Mourning', with its endless monotonous vocal delivery made me consider not onlu using the CD as a shiny coaster, but also smash my stereo in frustration at being the source of the dirge as it wouldn't spit the disk out quick enough. This lot makes Interpol sound like the life and soul of the party. Now that is tragic.

(1/5) Big Cheese

Cadillac 'Locomotive'
Norwegian rockers Cadillac force this infectious charade of post punk down our throats so fast you will be gasping for a kind of substance needed to calm you down. With a raucous mix of Josh Homme-esque vocals and the alluring personality of The Kills, 'Locomotive' is an anthem way ahead of its time. Dirty drumming beats merged with hazy bass playing, this track will definitely make you stand up and listen.
Although 'Locomotive' is slightly too heavy metal for my liking and would probably make all the little indie kids weth themselves with a sound not usually phased with, this track will certainly gives imitation metal rock wannabes a run for their money.


Cadillac 'Locomotive'
Clearly enamoured by QOTSA and everything they satnd for, Cadillac might not be terribly original but they know how to rock like bastards and considering they hail from the genereally chilly climes of Norway, they sound remarkably like bona fide desert rock rates.


Cadillac 'Locomotive'
According to the accompanying press release, Cadillac aspire to the dizzying heights of QOTSA and At The Drive In in terms of drive and aggression. The single, produced by Black Crowes stalwart Rich Robinson, doesn't quite scale the summit of their ambitions, despite boasting a truly profane guitar sound they can all reflect upon with some pride.
The problem? 'Locomotive' really isn't a single. It's a fiery, rocking number to be sure, which starts well but waits far too long to bring in what sounds like a slung-in-chorus and the song in general rather pales in terms of a melodic hook when compared to back up track 'The Saint'.
Stylistically, the band appear to want to draw parallels between themselves and fellow Scandinavians Gluecifer and The Hellacopters, but musically they still seem to be searching for a peg to hang their coat on, blending Monster Magnet, Screaming Trees and latter day Cult in solid but ultimately uninspiring fashion.

Cadillac 'Locomotive'
This is very interesting. Far away echoed 'howl at the moon' vocals open the proceedings before an almighty fuzzed up bass riff distresses the woofers, prior to the track hitiing a monstrous uptempo vibe. Production by Rich Robinson proves that not everything has to be 1973. Kerrang readers and fans of QOTSA should investigate further.

I Really Love Music

Cadillac 'Locomotive'
The Norwegian rockers pummel out this rather action splattered track and there are plenty comparisons to QOTSA to be made, but having some Viking blood in the plot somewhere, helps give this record an enjoyably disjointed edge. As the drums thump around, the quilted guitar fuzz actually helps understate the real power of the record. A few resulting smart, sharp turns in the tune really do help 'Locomotive' stand almost on it's own feet. 'The Saint' is perhaps a little more original and Cadillac use their guitars well to provide a swelter of fused, but shiny chords that illuminate a slightly raw but still effective wall of sound. With some really refreshingly warm but less impsoing vocals, this all works out rather well.

Manchester Music