With the ample amount of Swedish artists featured on this site and other music blogs, I would not be surprised if many of you have developed an indifference to the allure of a foreign musical product. Exotic originations often make any topic at least slightly more fascinating, but it has come to a point where I am featuring nearly as many Swedish artists as American or British artists. I aim to expose quality though, so the country of origin is irrelevant when I listen to an artist. However, whatever appeal is derived from the foreign and unknown may be lost for Sweden. It does not require such extraneous allures though, so I doubt that such outlooks will hinder the country’s production of quality music. What continues to amaze me is how so much quality material is derived from a country with a population of under ten million people. Although the census would never implement such a statistic, the percentage of successful musicians out of Sweden’s overall population likely eclipses all other countries significantly. A fantastic arts program and a rich musical history are a few reasons for Sweden’s astounding musical success, but it is the shared interest in music among Sweden’s population that is truly the cause for such consistent imported quality. A love for music practically seems unavoidable since running into a performer, producer, or songwriter in Sweden is going to happen eventually, probably more times than one.

The high number of musicians per every hundred miles or so in Sweden has affected two things most prominently: the public perception of music-related occupations and the accessibility of the entire scene in general. The latter is evident in the talented Anna Järvinen, a Swedish songwriter and chanteuse who is finding success through the seamlessness of collaborating with other artists and producers in Sweden. Well, her undeniable talent also plays a large role, but she certainly is indebted to the ample number of musicians in Sweden that are happy to lend a hand to someone with talent and artistic vision. For her debut album, Jag Fick Feeling, she attracted a prominent Swedish name with her talent and ardent pop-based delivery. Mattias Glavå has proven himself to be a great judge of talent before, as he produced Håkan Hellström’s debut album, Känn Ingen Sorg för Mig Göteborg, in 2000. As many fans of Swedish pop know, Hellström is now a household name and his enthusiastically eccentric vein of pop music has attracted success both in Sweden and overseas. Like Hellström, Järvinen honed her experience as the lead songwriter in a rock group (Granada) before undertaking a solo career. Hellström’s Broder Daniel achieved significantly more recognition than Järvinen’s Granada, but they both paid off similarly in providing the artist with the background, experience, and commitment necessary to construct a solo career. Also like her native contemporary, Järvinen’s true talent has begun to shine its brightest with the commencement of her solo career.

Although it did not make a big splash in the US or UK outside of the blogosphere, Jag Fick Feeling provided Järvinen with what she needed to become a recognizable name in Sweden. A Swedish Grammy nomination and winning the Stockholm City’s music prize certainly helped as well, setting Jag Fick Feeling up for ample exposure and consequential anticipation for Järvinen’s next release. There were never any questions about her ability, but some wondered how she would respond to a different producer after Glavå left the project. Well, I suppose it did not hurt to get one of the most talented artists in Sweden to produce her second album then, did it? Gustav Ejstes, the man behind Dungen, became interested in the project after hearing Järvinen’s debut. “Nobody has, like Gustav, silently and immediately understood my music,” she told a Swedish magazine. “I wanted to try and leave the songs with him so he could put his mark on and in them.” Ejstes is one of several Swedish artists that are very recognizable in the US and beyond, so his reputation will likely bring Järvinen some international attention upon the release of her second album, Man Var Bland Molnen (“One Was Among the Clouds”). Even more importantly, Ejstes’ eclectic production proves aptly fitting for Järvinen’s broadly classifiable interpretation of pop music.

Behind Järvinen’s angelic voice and soft-spoken demeanor lies a tactful talent for songwriting and stylistic ambition that surpasses many of her Swedish contemporaries, which is a bold statement considering the amount of talent that the Nordic country produces on a regular basis. Her mixture of orchestral chamber-pop, piano-laden ballads, and occasional guitar-based rockers should sound familiar to fans of Swedish pop, but it is the consistency of songs within this schematic that sets up Järvinen for success. The opening “Låt Det Dö” uses the traditional Swedish-pop assortment of twinkling keys, sporadic string arrangements, and backing vocal harmonies to establish a great introduction to her approach. The novelty here is enduring, as Järvinen’s voice has the same delicate approach as Lykke Li and it stands out well over the melodically concise guitar licks and abundance of hooks. Although faster-paced, “Här Är Du Ett Hån” is similar in its approach with its dependence on keys, occasional guitar licks, and backing vocal harmonies. Ejstes’ presence is certainly evident in the uses of guitar on “Låt Det Dö” and “Här Är Du Ett Hån”, as they fit unconventionally within a flurry of keys and strings and somehow end up sounding absolutely brilliant.

“Är Det Det Här Det Hela Handlar Om?” shows Järvinen’s edgier side with fuzzier guitars and a more intricate rhythm section, and it succeeds despite taking too long to execute some sort of melodic or instrumental variation, which is only present after three minutes or so. Once it arrives though, the hooks are led solely by a rhythm section that should wow listeners in its excellence and precision. “Boulevarden” is an excellent ballad that builds upon a light piano progression to eventually result in accompaniments by strings, bass, and percussion. The frail beauty of the track is apparent from the get-go as Järvinen quivers as a low string accompaniment subtly enters the picture. Each verse is supplemented by something new, whether it is a clever detraction or a beneficial addition. When the bass line emerges over Järvinen’s vocals and a light acoustic guitar clears the way for budding percussion, “Boulevarden” establishes itself as one of the finest efforts on an album that achieves more than just accustomed Swedish-pop excellence. Man Var Bland Molnen is an effort that transcends many limitations of pop music due to Järvinen astute grasp of orchestral accompaniment, heartfelt balladry, and even some rock ‘n’ roll.

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Anna Järvinen – Låt Det Dö

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Anna Järvinen – Boulevarden

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Anna Järvinen – Här Är Du Ett Hån

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Oh, here we are again. I hope you were looking forward to this as much as I was. 2007 was a great year in music and, just like last year, I have rediscovered a bunch of great artists from the earlier months of ’07 in the process of compiling Obscure Sound’s annual “Best Albums” list. As for the most recent — it would be extremely easy for me to say that 2007 was a great year in music. Since this list is compiled from merely the viewpoint of one individual, I remind you to keep in mind that there is no “master list” of sorts. If you have found that our music tastes have overlapped in the past, I believe we will mostly be in agreement. If not, I look forward to engaging in a few cleverly worded comments below. Either way, I recommend a listen to anything that interests you. The aspect that separated 2007 from its near predecessors is the stylistic diversity that quality artists have put out. From indie-rock and dance-pop to dubstep and funk-jazz, I was constantly embraced with a plethora of different genre-led approaches this year. Due to this, I never found myself tired of one genre throughout the entire year. This list is reflective of such ceaseless enjoyment. So, enough with the rambling. Let’s get to it…

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50. Tunng – Good Arrows

We kick it off with Tunng, a collective of experimental folkies from the UK. After early careers as softcore pornography composers, frontmen Mike Lindsay and Sam Genders have found success after three albums with Tunng, offering unconventional folk-pop that sparkles with acoustical instrumentation, backing melodic vocals, and smatterings of electronica. With Genders’ delicate vocals carrying itself swiftly over Lindsay’s proficient guitar work, the result on their third album, Good Arrows, is often of initial enjoyment. It marks their most mature effort yet too, with a newly acquired stylistic confidence resulting in an increase of electronic implementation. The album’s centerpiece, “Bullets”, sees an array of pop hooks uplifted by several vocal accompaniments in the infectious chorus, led by a pair of keys that increases and decreases tempo on a whim. The variety of shuffled sounds implemented, from the chirping sound of an insect to the slight twinge of an unidentifiable woodwind instrument, among the song’s impressively intricate structure provides for an unpredictable, yet enjoyable, listening experience. With each song’s intricacy being intertwined with Tunng’s trademark form of oddball folk, Good Arrows is Tunng’s best effort to date.

Tunng – Bullets

Tunng – Take

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49. Dogs – Tall Stories from Under the Table

The punk-oriented aggressiveness that the appropriately named Dogs convey has been tough to match this year. Led by the snarling vocals of Johnny Cooke, Dogs’ second album, Tall Stories from Under the Table, encompasses all the traits of a post-punk revivalist band that actually does things right. Though it would be easy to initially dismiss their guitar-oriented sound as sloppy or disconcerting, Tall Stories from Under the Table has proved to be a very enduring listen. With the rapidly presented tale of suicide, “On a Bridge, By a Pub”, being a prime example, the abundance of hooks eventually becomes an undeniable factor as the album progresses. Depicting lonely nights and self-infliction over a faultless rhythm section and guitars, the social malcontentedness conveyed comes off ardently genuine. You can thank the uniquely capable vocals of Johnny Cooke and the outstanding guitar duo of Rikki Mehta and Luc Vargas for that one. The melodically empowering riffs incorporated behind the snarls of Cookie provides for an exciting listen that could push Dogs to the forefront of post-punk revivalists. If I did not convince you, maybe Paul Weller (former frontman of Dogs’ most glaring influence, The Jam) will. He contributed vocals on a track, “Let It Lay”, on the album after becoming impressed with the group’s debut.

Dogs – On a Bridge, By a Pub

Dogs – Soldier On

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48. Deer Tick – Deer Tick

Age certainly does not hinder John McCauley. The sole performer and songwriter for Deer Tick just turned 21 and has already amassed an extremely dedicated fan following. Listening to his debut album, War Elephant, it is not hard to see why McCauley has been labeled a folk sensation ever since his teenage years. One of the few rising folk artists who actually focuses on both melodic and lyrical depth, McCauley’s War Elephant is an extremely impressive debut. Though the majority of the songs tend to be acoustic, various forms of strings, percussion, and guitars are abundant throughout. With twangy vocals somewhat reminiscent of Neil Young or Dan Boeckner, McCauley’s mixture of yelps and emotional quivers prove to be extremely effective. “Long Time” sounds like a lost country-folk classic from the ’60s or ’70s, while “These Old Shoes” takes a Chris Paddock acoustic original and turns it into an energetic romp featuring intertwined strings and rollicking guitar riffs. Despite being one or two tracks too long, War Elephant is an extremely enjoyable debut that serves as a grandiose display of McCauley’s rich potential.

Deer Tick – These Old Shoes

Deer Tick – Long Time

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47. Julius Airwave – The City the Forest

As they perform on stage with a custom-made (tubes, light bulbs, and LCD lights) robot by their side, attendees at a Julius Airwave show may find it initially difficult to take the band seriously. However, once they kick into one of the excellent songs on their sophomore album, The City the Forest, the number of skeptics in the audience should reduce dramatically. Playing a straightforward set of infectious indie-rock, The City the Forest is one of the biggest surprises of the year for me. Having never heard of the Florida-based five-piece before, I popped in their latest album and was hooked immediately. Apart from lighthearted breeziness of the fantastic “Glory Glory” and the deadly synth-guitar combo in “Shipwreck”, the brilliantly infectious “Appley” is one of my favorite songs of the year. Though it amounts to structural simplicity, the chorus erupts into a series of guitars and synths that provides for immediate excitement. Comparisons to The Strokes should be abound, as frontman Rick Colado encompasses vocals that are eerily similar to Julian Casablancas, especially in the impressive “Appley”. Give that song in particular a listen; it gives The Strokes a run for their money.

Julius Airwave – Appley

Julius Airwave – Glory Glory

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46. Testa Rosa – Testa Rosa

For some, it may prove somewhat difficult to pinpoint Testa Rosa. After all, the trio’s influences are spread anywhere from ’60s Motown to synth-infused post-punk. Such circumstances can either create an epic mess or an audible state of diverse bliss. On Testa Rosa’s excellent eponymous debut album, the latter fortunately applies. Testa Rosa seems to be most masterful when attempting an fusion of folk and pop, an eclectic mixture that proved to circulate throughout one of the year’s most addictive songs, “Ollie & Delilah”. Detailing a contemporary Bonnie and Clyde, lead vocalist Betty Blexrud-Strigens “Delilah softly holds his arm while Ollie smiles, swallows heart,” she sings before the stunning chorus, “And he says, ‘Don’t be scared, I am here, you’ll always have my heart.'” Blexrud-Strigens relays a slight tinge of country in addition to her excellent range, reminding me of Stevie Nicks and her classic mixture of folk and country. Though the album’s best two tracks are the first two in “Ollie & Delilah” and “Book About Clouds”, Testa Rosa closes gracefully with “I Want to Be Alone on Christmas (Here With You)”, a melodically beautiful tale of loneliness at a time when “it’s too cold to cry”. For a heart-tugging array of dynamically written songs, you cannot go wrong with Testa Rosa’s wildly impressive debut.

Testa Rosa – Ollie & Delilah

Testa Rosa – Book About Clouds

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45. Dungen – Tio Bitar

Dungen, primarily the work of vocalist/composer Gustav Ejstes, has the pleasure of being the first Swedish artist on this year’s list. Obviously, considering the number of quality artists the country is outputting, he will not be the last either. Regardless, Ejstes has become reputable for straying outside the norms. He does not craft sugar-coated indie-pop like many of his native contemporaries. Instead, he incorporates instances of post-rock and psychedelia, with sprinklings of a Swedish pop mindset occasionally entering the picture. With flutes, organs, and strings accompanying other more conventional instruments, Dungen’s fifth album, Tio Bitar (“Ten Pieces”),. With guitar-led anthems like “Du Ska Inte Tro Att Det Ordnar Sig” blending seamlessly on the same album with intricately layered 9-minute epics like “Mon Amour”, Ejstes is a pure master of unpredictability. The beautiful string arrangement in “Carolina Visar Vagen” over the rapid plucking of an acoustic guitar and the hushed momentum of an organ serves as a good summation of Ejstes’ talents. He is able to blend several instruments together seamlessly, always keeping his arrangements excitably dramatic. Tio Bitar serves that sentiment well, with all “ten pieces” being worth the time.

Dungen – Du Ska Inte Tro Att Det Ordnar Sig

Dungen – Caroline Visar Vagen

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44. Interpol – Our Love to Admire

When Turn on the Bright Lights was released in 2001, Interpol could do no wrong. It proved to be one of the best debuts of the decade, conveying an original sound of contemporary garage-rock while simultaneously channeling legends like Joy Division and The Chameleons UK in the process. Few would argue that Interpol was easily one of the most likable bands in the earliest stages of this decade. Though many fans will continue to beg Interpol to stick with their original sound, it is perhaps in their own reluctance to “give something new a try” that sees each release decrease slightly in quality. Though I say that, remember I do not think Our Love to Admire is not bad by any means. After all, it made the list. Though Interpol’s quality is slowly but steadily decreasing, the enjoyment on Our Love to Admire tends to be more sporadically discoverable than their previous two releases. There is no denying that songs like the energetic fervor of “Who Do You Think”, the progressive “Pace is the Trick”, or the brooding “No I in Threesome” are Interpol at their near-best, but to once again reach their absolute best (“The New”, “Hands Away” most of TOBTL), a newly discovered transitional period of structural diversity would be something to consider.

Interpol – Who Do You Think

Interpol – No I in Threesome

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43. Shiina Ringo – Heisei Fuzoku

I always hold a decent amount of respect for foreign artists who draw a worldwide following. As one of the greatest songwriters Japan has ever seen, Shiina Ringo can seemingly do it all. As she has proven time after time with her own solo career and self-formed collective Tokyo Jihen, her eclectic offering of styles allows for a presentation that incorporates a numerous variety of excitable genres. Rock, J-pop, jazz, and funk are just a few that are shown on her fifth solo album, Heisei Fuzoku, and – as usual – it is done so in In the spotlight since her teenage years, longtime fans will see Heisei Fuzoku as no surprise. Though it is not even considered her best solo album (check out Karuki Zaamen Kuri no Hana for that), Heisei Fuzoku should please admirers of grandiose, orchestra-laden pop music, with additional tracks like “Meisai” capitalizing on a desirable “big band” sound. Heisei Fuzoku follows a 4-year solo absence, after Ringo previously vowed to devote all her time to Tokyo Jihen. Fortunately for everyone, she has chosen to now juggle both at once. The result is just as appealing as when she left, with songs like the epic “Gamble”, in which the orchestrally domineering hook in the chorus is viable to easily send chills up one’s spine, being devastatingly powerful. Though she is only 29, it seems that Shiina Ringo has been around forever with her plethora of quality releases. She is doing anything but overstaying her welcome.

Shiina Ringo – Gamble

Shiina Ringo – Ishiki

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42. Girls Aloud – Tangled Up

Undoubtedly the best thing to ever originate from a music-related reality television show (though Kelly Clarkson ain’t half bad), Girls Aloud have produced one of the year’s catchiest dance-pop albums in Tangled Up, their fifth and most accomplished album to date. Though they will be one of the most recognizable names on this list, I believe that Girls Aloud deserve all the acclaim that they receive. Led by writer/producer Brian Higgins and the insanely talented songwriting team of Xenomania (writers of 16 consecutive “Top 10” singles in less than 4 years), the five gals in Girls Aloud should be grateful with their latest output; “Girl Overboard” and “Can’t Speak French” are a pair of the best songs Higgins and co. have written – and they have written some great ones before. While those who oppose high levels of flamboyancy will likely not be in favor of Girls Aloud’s club-friendly version of techno-pop in the fantastic “Girl Overboard” or “Call the Shots”, those more receptive to variety should embrace it. Though I was never keen on one group being controlled behind a curtain by a group of songwriters, the talented vocalists in Girls Aloud were certainly well-selected on 2002’s “Popstars: The Rivals”. With sparkling choruses, seductive vocals, and infectious melodies being the core in each and every song on Tangled Up, fans of dance and pop music should walk away extremely satisfied with Tangled Up.

Girls Aloud – Girl Overboard

Girls Aloud – Can’t Speak French

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41. Joe Henry – Civilians

I previously mentioned that 2007 has been a year abundant with stylistic diversity. With that in mind, Joe Henry’s career is has been an epitome of what I consider a blessing in regard to this year. Stretching more than 21 years, the veteran songwriter/producer has consistently churned out quality album after album, whether he was writing his own solo material, scoring movies (most recently, the Knocked Up soundtrack with Loudon Wainwright III), or producing albums for the likes of Ani DiFranco, Solomon Burke, Elvis Costello, or Allen Toussaint. Henry’s solo career has encompassed a countless number of genres, from audacious country-rock and somber acoustical folk to rhythmic jazz and gritty blues. On his eleventh solo album, Civilians, Henry primarily chooses to dwell in an area of expansive folk, with collaborations from the legendary Van Dyke Parks (he supplies the tragic piano on the barefaced beauty of “I Will Write My Book” and the haunting “Civil War”) contrasting beautifully with Henry’s lyrical tales involving politics and nostalgia. “Our Song” is particularly gripping, where Henry uses an anecdote concerning a run-in with Willie Mays as a device to share his thoughts on the shameful state that modern baseball is in due to illegal substance and greed (Barry Bonds, anyone?). One of my favorite tracks on the album is “You Can’t Fail Me Now”, a romantically gripping track that sees Henry at his genuine best, both melodically and lyrically. “I lost the thread among the vines and hung myself in storylines that tell the tales I never would allow,” he declares during the rapturous hook, full of expressive honesty and raw emotional power, “God knows the name of every bird that fills my mind like angry words.” One thing is for certain – Joe Henry is one of the most consistent artists of the past two decades. With the powerful Civilians, it merely proves as more solidification to Henry’s prolific status as a highly skilled musician and producer.

Joe Henry – You Can’t Fail Me Now

Joe Henry – Civil War

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If one was asked about the current music scene in Sweden, I would expect the usual response to be in relation to witty folk-pop songwriters Jens Lekman and Julian Nation or adorable indie pop in the vein of The Concretes and The Cardigans. After all, ABBA basically defined the musical generalization of the county thirty years ago with their irresistible style. So, what about those epic psychedelic rock acts that most often generate from other countries such as the United States, France, and Japan? Well, surprisingly Sweden has their share of them as well. They just live behind the shadow of more “acceptable” linear Swedish acts such as I’m From Barcelona and Peter, Bjorn & John. As Jens Lekman once proclaimed in “The Cold Swedish Winter”, the impression of the country is usually led by baseless standards: “When people think of Sweden I think they have the wrong idea… like Cliff Richards, who thought it was just porn and gonorrhea.” As comedic as that brilliant line is, it applies well to the country’s musical assumptions. One band hopes to change that. Since early 2001, Dungen began to record his own music, constructing his own private studio in the basement. His friend Stefan Kéry eventually heard the fascinating songs and offered has been creating a whole new style based around their own innovative standards. The Swedish foursome is led by the talented multi-instrumentalist Gustav Ejstes. On their five albums, Ejstes has played all instruments and written all the songs on his own. While performing live, he is backed by guitarist Reine Fiske, bassist Tiaz Gustavsson, and drummer Fredrik Björling. Growing up on a small village in Vastergotland, Sweden, Ejstes was born into a musical family. His father was a musician and music teacher who educated Ejstes well on musical intellect. Ejstes eventually learned how to play a variety of instruments out of sheer enjoyment while he developed a fond admiration for all musical genres, even hip-hop (which he sampled for a short time). After moving to his mother’s farm, Ejstes a record deal on Subliminal Sounds, the label who later released Dungen’s self-titled debut LP in 2001. Through the next six years, Ejstes recieved a variety of offers from major labels but chose to stick with his friend’s label, as he released three more albums over the following years. While he was a prominent figure in Sweden since Dungen’s debut, his foreign recognition skyrocketed in 2004. Ta Det Lugnt (“Take It Easy”) brought his attention overseas as American audiences fell in love with Ejstes’ original psychedelic sound, which both sounded foreign and familiar. While Ejstes sings in Swedish, foreign audiences do not even notice the language barrier. His melodies and instrumental knowledge overshadow any lyrical misunderstanding, as such captivating music does not rely on lyrics either way.

On May 1st, Ejstes will release Dungen’s fifth album Tio Bitar. Translated to “Ten Pieces”, that is exactly what it is: ten new excellent pieces of music from the mastermind of Gustav Ejstes. While he still plays the majority of instruments like past releases, Ejstes actually enlisted some outsider help for the recording of Tio Bitar. While Ejstes is still the main force, he brought in a few friends to aid with backing vocals, along with a Turkish string musician. Ejstes can still be found on guitar, bass, organs, flute, and strings. Tio Bitar is Dungen’s most expansive album yet, with each track clearly differentiating themselves from one another. While “Familj” is classic Dungen with it’s soothing vocals and mellow reverb, “Caroline Visar Vägen” is one of the most original tracks that Dungen has produced. Mainly consisting of percussion, organs, and an outstanding arrangement of strings, the instrumental track fits very nicely on the album in between the rapid “Gör Det Nu” and the catchy “Du Ska Inte Tro Att Det Ordnar Sig”, which is about as “anthemic rock” as Dungen gets. “Du Ska Inte Tro Att Det Ordnar Sig” is a large success though, largely credited to Ejstes’ lasting vocals and attributed emotion. “Svart Är Himlen” is another gem bursting with originality. A classic piano is layered over a heavily distorted guitar and a collection of light backing vocals and organs, with the introduction being relayed by a compelling flute. Of course, like most Dungen albums, Tio Bitar is not without an epic. The nine-minute “Mon Amour” transcends from a typical rock song to a nearly improvised sketch with guitar solos and experimental effects in it’s remaining seven minutes. While Tio Bitar is not as catchy or lighthearted as Ta Det Lugnt, it is certainly more musically impressive. Ejstes’ ambitiousness shows great value as each track has it’s own form of life, with all ten pieces being highly rewarding and completely necessary.

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Dungen – Du Ska Inte Tro Att Det Ordnar Sig

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Dungen – Caroline Visar Vägen

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Dungen – Familj

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