Review from Progressive Area (FR)

Sweet review from France.

“Musicalement SWITCH OPENS nous propose un stoner rock entre les 70’s et sonorités actuelles. Dans l’ensemble cette œuvre est sombre et pesante avec guitares métal hardcore et crimsonniène et voix rauque, rageuse et austère (assurée par Jesper SKAKIN).
Cela commence avec le très plombé « Square » où l’on pense à BLACK SABBATH. Le titre suivant, « Mirror Man », plus coloré, plus pop, plus aérien mais tout aussi percutant est incontestablement influencé par le hard rock des seventies et KING CRIMSON (on à l’impression dans un break flingueur, d’entendre un saxophone presque free jazz). Entre riffs tranchants et saignants, les soli de guitares sont plus étirés, plus fluides, plus acides à la manière de David GILMOUR donnant ainsi une touche psyché au métal punk de nos amis scandinave.”

Read the entire review at

Dr Space

Yeah! Dr Space from Øresund Space Collective likes Switch Opens!

“Switch Opens are a Swedish band and I am not sure if they get their name from the German TV show or the Soundgarden song or neither. This is their 4th release and since I have not heard any of the other ones I have no idea how they compare. Anyway, this is a band that has a quite unique sound and vibe that is difficult to place for me. The opening track is pretty hard hitting and perhaps a bit like Soundgarden but more psychedelic and intense with a heavy low end bass. The bands tracks are generally a bit longer (range from 3-9min) with a lot of cool and interesting parts. Nothing is very predictable but it is always heavy and intense in emotion with powerful vocals, and riffs and a cool psychedelic mix. A pretty impressive record.”

Check out his blog and his band:

Review from Powerplay Magazine (UK)

Rating: 7/10

“Switch Opens’ languid play style, and dirty sound, might go a long way in referencing a ‘joint’ for the laid back, stoner feeling it contains, but rest assured, their sound is much more steady in the brain, than that of illegal chemicals. Switch Opens don’t lumber around the place, but elegantly stroll throughout their progressive plains, occasionally stretching their legs when a chorus needs it and tinker thoroughly in instrumentation when it comes to filling space, or building on a tune for production sake.”

Read the entire review at Andrew Danso’s blog