I am interested to see what this decade brings to Swedish pop music. One would be hesitant to call the ’00s a moment of global emergence for the movement, especially considering that the country has been generating quality music already for several decades. Its separable status in Western pop music is indicative of its special place though, as additional genres in pop music relative to a geographical location are often reserved for countries farther east (in other words, those eligible for the “exotic” tag). This past decade was special for Swedish pop music because it made the movement audibly identifiable, or at least open to close guesswork. That no accents or geographical quirks were present made the identification process even more impressive. Of course this does not apply to all Swedish pop artists, but certain stylistic fixtures were present and enabled many Swedish artists to find a common ground despite vast creative differences. Whether they complied with lavish string accompaniments (ABBA), awe-inspiring use of electronics (The Knife), or good old-fashioned pop music (Jens Lekman) did not matter. Gothenburg alone had Jens Lekman, The Tough Alliance, and José González to its name this past decade, and each major Swedish city seems to boast a comparable list of native sons and daughters. The Swedes may be spoiled with tons of great live music as a result, but their non-reluctance to share it with the rest of the world is the primary cause for this recent surge in recognition.

For a contemporary pop musician, to come out of Gothenburg these days must be the equivalent of trying to make it in Brooklyn. There are simply too many renowned hometown acts, and whether they make the big-time or not is fairly irrelevant. Some artists are perfectly content in being a staple of their respective locale, with the opportunity for people to listen and applause being enough motivation to continue their artistic exploits. I briefly covered this over-saturation of talent within a locale in my Kordan feature last year (in regard to Brooklyn), and a very similar case can be made for Sambassadeur. Swedes and Brooklynites share a mutual critique of sorts since they are accustomed to simply walking outside and hearing great music. So, how the hell are artists supposed to get noticed if every potential listener is a staunch critic? Good music, perhaps. Like thrusting oneself into a top-level sport, the constant competition improves one’s ego along with their actual skills until they reach a point where they truly belong. If the time never comes, well, then perhaps another occupation should be considered. For this reason I hope that Sambassadeur will receive the attention they deserve both in Europe and elsewhere, since even the most talented of musicians can call it quits due to an overpopulation of competent rivals.

Sambassadeur was formed in 2003 within Skövde, a small town situated between Sweden’s two largest lakes. They all met in school and played gigs throughout local small towns and occasionally Gothenburg, where they are now situated. Fans began to take notice in 2005 when the four-piece released a self-titled debut and an EP, which was followed up the next year by another EP. Another album, Migration, in 2007 proved that Sambassadeur were intent on improving despite their competition. Regardless of whether their competition was receiving good or bad press, it still appeared they were receiving more than Sambassadeur. This quantitative standard may been their detriment in the early goings. The band’s ethic was never questioned, nor was their potential which illuminated brightly through insanely addictive harmonies. Their style though, not entirely innovative or unique in the vein of Swedish pop, meant that their music had to be more than good in a country where pop music reigns. It had to be exceptional. The past three years has seen little activity from Sambassadeur, who are perhaps ditching their quantitative ways in favor of a dramatic transformation that may put them in the same category as an Air France or Tough Alliance. Their new album, European, is their first release in three years and their most accomplished yet.

Although this is significantly varied, the third full-length always seems to be a make-or-break point in a band’s career (at least in terms of critical respect and praise). Most critics and listeners have sympathy for a sophomore slump, mainly because we can all relate to attempting to exceed expectations and meeting a deadline simultaneously. The third album, though, seems fair game even if its predecessor is hailed as a masterpiece. Sambassadeur’s third album is fortunately their best yet, as sweeping gems like “Days” and “Albatross” indicate on their own. The group takes advantage of their conventionalized, pop-minded structures by employing fluttering instrumentation in an effort like “Days”, where operatic strings combine with high-pitched keys for a sound both ethereal and briskly seasonal (when the sun is shining). Anna Persson’s graceful voice is accentuated when only accompanied by acoustics and bass, reminding listeners that elaborate strings are not always used to disguise flaws. “I just have to know you’re coming back again,” she concludes the song, ending it on both an optimistic tone that has a touch of unrequited bitterness to it. “I Can Try” is just as fun, this one borrowing from local legends ABBA in their use of descending arpeggios and accessibility. The synthesized crystal-like effect that appears to grace itself under Persson’s vocals are a nice tough, appearing subtly enough to establish its hook-worthy presence. Some things are used better in moderation and this is one of them.

“Albatross” is a unique step forward for the group. The tone of this track is ultimately more engrossing than any others they have released, and Persson’s vocals are implemented perfectly as the cohesive warmth of exuberant strings collides over the reverb-heavy percussion and vocals. This is the sound that jj was apparently attempting on jj nº 3, only to fail by grasping for straws. Sambassadeur’s “Albatross” succeeds immensely though. There is little structural variation to speak of, but those looking for defiant orchestral compositions are going to be disappointed by the first track anyways. What this track, and so many others on European succeed in is an incomparable ability to tread on both the tragic and uplifting. It recalls the same vein of polished pop that makes other Swedish symphonic-pop so memorable. It is the emotional depth here that should propel Sambassadeur to the eyes and ears of many though. Persson speaks of avoiding “travel and delays” because of a romantic hindrance, the elegant and sympathetic work of strings doing the weeping behind her. As her vocals begin to repeat and fade out, a wondrous string accompaniment emerges to serve as the backbone of the track until its completion. The structures and topics may not be groundbreaking here, but Sambassadeur are gradually expanding their own boundaries to become the next big thing in Swedish pop.

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Sambassadeur – Albatross

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Sambassadeur – Days

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Sambassadeur – I Can Try

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by Mike Mineo

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20. Ra Ra Riot – The Rhumb Line

Losing a member of a band to death can be devastating. No matter how many arguments and fistfights were initiated in the past, it is a fact that many groups tend to form a family-like bond after years and even months of touring and working together. When Ra Ra Riot’s original drummer, John Pike, was found dead on June 3rd of 2007, his former band mates were stunned. “This has felt like the unraveling plot of a tragic piece of fiction,” they said in a press release. However, about a month after Pike’s death, the band announced that they would continue the group in Pike’s memory. A string of tour dates and the eponymous EP in 2007 brought the group increased recognition as they prepared their debut full-length album, The Rhumb Line. The album itself serves as a fine example of the group’s potential, with their flashy style of art-rock serving as both an accessible and contagious interpretation of contemporary indie-rock. The New York-based group works with tinges of post-punk and punk, implementing both cellos and violins over a zealous display of dazzling guitars and tenacious rhythm sections. Vocalist Wesley Miles emits a sharp, slightly high-pitched tone that is reminiscent of vocalists in the vein of Nick Stumpf (The French Kicks) or a more subdued Hamilton Leithauser (The Walkmen). All together, it creates a very convincing sound that proves memorable despite its common originations. In addition to his role as a co-songwriter on a handful of tracks, one notable posthumous contribution from Pike on The Rhumb Line comes in the form of lyrical content. With Miles, he wrote “Dying is Fine”, a gripping track that wholly capitalizes on the group’s stellar mixture of strings and guitars. With an E.E. Cummings quotation serving as the main hook, the topic is emotionally ironic and the melody is addictively consuming. The mournful “Ghost Under Rocks” also makes excellent use of strings, guiding yet another captivating chorus as Miles yelps in perhaps his most emotionally resounding vocal performance on the album. “Here you are, you are breathing like little ghosts under rocks,” he sings, speaking of romanticized suffocation in mildly poetic form. When compared to the regretful – though dynamically vigorous – yelps and moans of “Ghost Under Rocks” and “Dying is Fine”, Miles’ vocals in “Winter ‘05” are appropriately more somber as the strings increase in intricacy and the percussion subtly adds several shuffled components. Along with a cover of Kate Bush’s “Suspended in Gaffa” making the cut, it exemplifies how The Rhumb Line serves as an enjoyably eclectic album within a fused genre that desperately needs it these days.

Ra Ra Riot – Dying is Fine

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19. Gentleman Jesse – Introducing Gentleman Jesse and His Men

One of the most appealing aspects of power-pop is the ability it has to remain untainted in a world where stylistic alteration is often inevitable. While some may argue that the genre’s apparent lack of stylistic ambition is the cause for such sturdy pop ideologies, the crafters of such music never seem to be given enough credit for their reluctance to become submissive toward what is deemed as this week’s fad in the music industry. Gentleman Jesse and His Men, a talented four-piece based out of Atlanta, employ this highly accessible form of power-pop very well, but they are also quite unique when compared to other groups in the genre. Yes, they are comparably intent on hooking in the listener with exceptionally infectious choruses and stellar harmonizing, but Gentleman Jesse and His Men happen to be significantly more nostalgic in approach. Instead of employing a formula in which an overwhelming degree of varying styles clash within a comforting power-pop aroma, the four-piece instead opts to bring back what made the genre so great in the first place. Traditional punk and garage-rock are the main forces at work here, making comparisons to the early workings of power-pop greats Exploding Hearts somewhat unavoidable. Exploding Hearts certainly infused more elements of punk into their overall sound, but the approach and level of melodic alteration remains highly comparable in the sentiment that both groups rely on amiable simplicity to elicit a uniquely engaging charm in which the songwriting and consequential hooks sound freshly invigorating despite the minimal forces of instrumentation at work. On their debut, Introducing Gentleman Jesse and His Men, frontman Jesse Smith plays the role of accessible power-pop vocalist with apparent ease, extracting a youthful tone of amateur exuberance while simultaneously allowing his commendable melodic range to flow naturally with the brisk use of guitar-led instrumentation. This is perhaps best heard on “All I Need Tonight (Is You)”, a track that would likely have been considered a classic by now if it had been released 30 years ago. From the lyrics to the lead guitar progression, the approach is extraordinarily simple but the appeal arrives in the strong melodic form that Smith conveys with the utmost confidence. In conventional power-pop form, he utilizes a callback approach in the utterly irresistible chorus before embellishing the moment with an extremely concise guitar solo. “You Got Me Where You Want Me” and “Attention” also utilize this accustomed callback approach with surprising precision. Those who view most traditional power-pop as a one-trick pony will likely state the same about Gentleman Jesse and His Men’s debut album, but anyone who enjoys fantastic hooks guided by little more than a guitar and rhythm section simply needs to check it out. Intricate it may not be, but this album’s infectiousness is downright undeniable.

Gentleman Jesse – All I Need Tonight (Is You)

Gentleman Jesse – You Got Me Where You Want Me

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18. Håkan Hellström – För sent för Edelweiss

Swedish listeners first caught a glimpse of Hellström in 2000 with his hit single “Känn ingen sorg för mig Göteborg”, with Hellström also releasing his debut album of that same name in November. Prior to the release, Hellström was only recognized as fans of the Swedish indie-pop band Broder Daniel as their drummer, a position he vacated between 1988 and 1994. He then rejoined the band in 1997 with a new role as the bassist, leaving in 2003 to focus solely on his solo career. By that time, Hellström had also released a second album, Det är så jag säger det, in 2002 and was in the midst of writing Ett kolikbarns bekännelser, his third album that released in 2005. Nåt gammalt, nåt nytt, nåt lånat, nåt blått, a compilation of b-sides, was also released the same year. After announcing that he had become a father and planned to take a short break, he emerged with his fourth album, För sent för Edelweiss, three years later in 2008. Though his first three albums exhibited a form of potential that only arrives once every so often in Swedish pop music, Hellström’s style sounded awkward with occasionally out-of-key vocals and repetitive arrangements. However, with För sent för Edelweiss, it looks as if the skilled songwriter has finally lived up to his wholesome potential. When an artist names an album after one of their own songs in particular, the conceptual intentions of the self-titled track take on lofty expectations. When it comes to “För sent för Edelweiss”, it serves as arguably the most pleasing track on both the album and throughout Hellström’s blossoming career thus far. It features the type of melody that will cause anyone – regardless of whether they understand the Swedish lyrics or not – to grin in pure delight, with the hauntingly beautiful instrumentation contrasting impressively with Hellström’s ardent vocals. The light plucking of an acoustic guitar initially finds itself underlying a graceful piano melody as Hellström’s voice quivers over the corresponding melody. When the twinkle of a new piano melody takes charge and establishes the chorus, Hellström’s voice takes on a melodic shift and crafts a devastating hook in the process. When the track concludes with a Sigur Rós-like instrumental recap over the crooning of Hellström, it simply reminds the listener just how elegantly stunning the overall result actually is. Since the title track will generally be recognized as one of the more instrumentally subdued songs on För sent för Edelweiss, first-time listeners of the track will likely be curious as to what Hellström sounds like when accompanied by increasingly noticeable instrumental fervor. As both “Kärlek är ett Brev Skickat Tusen Gånger” and “Jag Vet Inte Vem Jag är Men jag Vet Att Jag är Din” prove, the result is actually just as satisfying. Both songs implement guitar within a style of pop that is most reminiscent of accessible indie-rock, with “Jag Vet Inte Vem Jag är Men jag Vet Att Jag är Din” especially being resounding of the sentiment with a fury of electric guitars and reflective keys. They each remain insanely catchy in their own unique ways though, with “Kärlek är ett Brev Skickat Tusen Gånger” benefiting most from the vocal correspondence between a bluesy guitar, effervescent keys, and Hellström’s impressive vocal performance. With so many great Swedish releases each year, it is quite an indicator that För sent för Edelweiss is one of this year’s best from Sweden.

Håkan Hellström – För sent för Edelweiss

Håkan Hellström – Kärlek är ett Brev Skickat Tusen Gånger

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17. Thomas Function – Celebration

It would be premature for me to judge the chemistry in Thomas Function based on their music and online photos alone, right?. It could all just be a classic attempt to sell records. Well, considering that all pictures I have found of the members together depicts them having insane amounts of fun while at parties, playing shows, and in the studio, superficial corporate achievement seems to be the last things on their mind. In fact, It leads you to believe that these guys might even be having fun while making music together. And apart from the putting the “fun” in “function”, their music plays off just as naturally. Providing heavy doses of southern-rock and folk within a consistent showing of punk, the fact that Thomas Function are able to simultaneously provide odes to energized punk greats in the vein of Television and The Buzzcocks while delivering an array of styles related to folk and contemporary rock contributes prevalently to a style that is wholesomely unique and energetically engaging. The track that brought the four-piece arguably their biggest buzz in 2007 was “Relentless Machine”, a 7″ single that now once again has appeared on their excellent debut album, Celebration. Despite offering 13 tracks that are contained within a similar delivery, the boastful amount of hooks and instrumental variations provide for a form of excitement that most debuts only dream of. “2012 Blues” was a standout immediately for me from the first listen, as its acoustical folk origins are in stark contrast to vigorous punk-oriented gems like “Snake in the Grass” and “Conspiracy of Praise”, a style that reigns over most of the album. In a track like “Can’t Say No”, where a Pixies-like bass line is adjusted accordingly over an organ-led guitar progression that provides visions of classic Television and Velvet Underground, it almost makes for a colossal fusion of great indie-rock and punk bands who have made a significant mark in the past 30 years. The infectious “Can’t Say No” may be too hectic to make such past comparisons entirely spot-on, but the melodically charged energy that Josh Macero’s vocals convey makes the mixture of modernistic enthusiasm with past forms of punk and garage-rock a very satisfying blend. As for fans of The Buzzcocks or even Wire, one listen of “Snake in the Grass” should be convincing enough. Alongside “Conspiracy of Praise” and “A Long Walk”, it employs a concisely familiar form of catchy punk without being overly aggressive or manipulative in the process. With the rhythm section constantly impressing me with its tight coordination, the excellent guitar work making the comparisons to Television even possible, and Macero’s vocals being a constant source of hooks and youthful vibrancy, Celebration packs a very powerful punch that results in it being one of this year’s most satisfying debuts.

Thomas Function – Can’t Say No

Thomas Function – 2012 Blues

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16. Beach House – Devotion

Like many of those who immediately latched onto Beach House’s fantastic self-titled debut in 2006, I kept my admiration for the release no secret. It was an atmospherically beauteous album, flawlessly transcribing humane emotions as diverse as regret, embrace, and heartbreak into a sound that was as much accessible as it was ravishing. Beach House, a two-piece based out of Baltimore consisting of guitarist/keyboardist Alex Scally and vocalist/organist Victoria Legrand, were certainly the center of attention in 2006, as their well-received debut was an album that seemed to find its way onto everyone’s year-end list (it took a respectable #37 on mine). This year, they have reclaimed that same spotlight, with an excellent second album in Devotion that proves even more fulfilling than their debut. Though it may be subtle, Beach House’s own namesake provides for a cleverly suitable effect. Alex Scally and Victoria Legrand craft a sound that ushers the listener away from the hectic rush of complex urbanity, with their style being ceaselessly relaxing without any stylistic mundaneness. Like the location depicted in their namesake, the lushly written songs provide for an escape from petty demands and harsh realities; think of Devotion as a $15, 44-minute vacation. The exquisite “D.A.R.L.I.N.G.” is reminiscent of a lost love ballad from the ’50s or ’60s. Legrand’s vocals and Scally’s guitar progressions are seemingly able to put listeners into an entrancing state, this time being aided by a guitar soaked in reverb and a set of subdued keys. As per usual, Legrand’s vocals are beautifully chilling, being airily husky but giving off a frail sense of imagery in regard to the alluring backing instrumentation. The percussive involvement is always minute, but the lack of involvement makes the delicate nature even more suitably presented in the process. Another aspect that is revived from Beach House’s debut is Legrand’s ability to create a hook using her vocal range alone. Like “D.A.R.L.I.N.G.” and the majority of Devotion, “Gila” is aided by a guitar supplemented by a mixture of keys and organs. Though the bare instrumentation is enough to solicit immediate enjoyment, the moment when Legrand shifts her vocals into a deeper, more sympathetic range by stating, “Don’t you waste your time, no-oh-oh,” it provides for an instant realization in regard to the sheer beauty that the songwriting of Beach House conveys. With songs like these, Beach House’s Devotion is an elegantly beautiful release that sees this talented duo somehow improve upon the excellence of their self-titled debut.

Beach House – D.A.R.L.I.N.G.

Beach House – Gila

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15. Department of Eagles – In Ear Park

A good majority of people have, at one point in their lives, been forced to live with someone who does not exactly coincide with their standards of life. Roommate horror stories can be as amusing as they are appalling, but everyone recognizes that it is a part of life that most unspoiled individuals have to go through in order to live without a larger financial burden. When Fred Nicolaus and Daniel Rossen were assigned by NYU as roommates in their freshman year of college in 2000, they likely went through the usual semi-awkward introductions. The first few weeks may have passed by without much chemistry, but eventually when they found a common bonding point in music, they knew that luck was on their side. After putting out three EPs and two LPs under the name of The Whitey on the Moon UK, the roommates changed their name to Department of Eagles. Their first two full-lengths, The Whitey on the Moon UK LP and The Cold Nose, saw some moderate success with a stylistic array of electronic pop and sample-based instrumentals, but critics often felt that the releases were too disjointed and cluttered to truly capture a consistent audience. Shortly after the release of The Whitey on the Moon UK LP in 2003, Rossen joined the up-and-coming Grizzly Bear as an additional songwriter and guitarist. However, the two returned to working together shortly, recruiting drummer Chris Bear and bassist Nat Baldwin earlier this year to focus on In Ear Park, the duo’s second album under Department of Eagles. While I was personally impressed with some material that Rossen and Nicolaus have collaborated on prior to In Ear Park, this album is a major stepping stone in both of their developments as songwriters. The album itself was written partly as an ode to childhood, with Rossen making it a tribute of sorts to his recently deceased father. The actual “Ear Park” is a park in Los Angeles in which Rossen and his father used to visit, a touching point of significance when the song is being played. A lo-fi charmer, the duo shuffles through a series of intricately composed guitar arpeggios as Rossen relays his tender voice through a midst of backing strings and twinkling keys. The melody and instrumental capacity is astoundingly beautiful, especially when the subject is in consideration. The following track, “No One Does It Like You”, captures the essence of ‘60s pop in extravagant form. Backing vocals are exceptional here, simultaneously adding to both the rhythm section and enthralling melody in the deep and heightened tones, respectively. “Teenagers” is another key-led spectacle that later bursts into a consuming array of subtle horns and strings, highly indicative of the duo’s impeccably placed value on songwriting and production.

Department of Eagles – No One Does It Like You

Department of Eagles – In Ear Park

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14. British Sea Power – Do You Like Rock Music?

The “sophomore slump” is a term that has been applied a countless number of times for musicians, with indie-rock artists arguably being in that recent undesirable majority. It often proves difficult to attempt to pinpoint the cause for such drop-offs in quality, though I believe much of it can be accredited to the amount of pressure an artist receives from their label, the press, and the masses of fans who follow in their every step. In regard to British Sea Power, I admit that they initially set my expectations at a nearly insurmountable high. I consider their fantastic 2003 debut, The Decline of British Sea Power, to be one of the best debuts of this decade and I continue to give it a listen every so often. After the group released their follow-up, Open Season, in 2005, I found that the result was not something I was too personally enamored with. It was not a bad follow-up by any means, just a step back in the direction that the prevalently ambitious British Sea Power intended to go. With their third album, Do You Like Rock Music?, the album’s title seems hypothetical in relation to the brilliant content it conveys. With it, I have once again regained hope that British Sea Power could indeed be one of the most inventive indie-rock bands of the decade. It all begins suitably with “All In It”, a brooding build-up where a choral vocal accompaniment sings reflectively over the steady beat of a snare drum. Once the song begins to subtly fade out and the murmur of a church organ is the only audible presence, a burst of percussion and high-pitched guitar effects collapse onto one another, creating a monumental hook that sets the tone for the rest of Do You Like Rock Music?. The brilliant “Waving Flags” is arguably the best song that British Sea Power have written since the classic “Carrion”, crafting their trademark sound of epic, guitar-oriented rock into a state of pure bliss. Once the ardently grandiose chorus kicks in, any skeptics of the Brighton-based four-piece will likely cower away. Though the structure remains more consistent and the instrumentation more simplistic, the glimmering “Canvey Island” once again finds its strength in a explosive chorus, fully cemented by a preceding verse and bridge where the murmur of strings are presented over the slight strumming of an electric guitar. Depicting the great North Sea flood of 1953, the suitably named British Sea Power carry the song in full force, touching on feelings on disastrous disbelief as Scott “Yan” Wilkinson resoundly croons, “Don’t you think its strange, you know, the way it all works out? Brace yourself for storms and summer drought.” the beautiful “No Need to Cry” rounds off the album very nicely. Being somewhat of a new approach for British Sea Power, they pull off the sympathetic throwback love ballad with ease. Wilkinson turns his vocal intensity down a notch but compensates it with a lush assortment of guitars, subdued percussion, and cooing backing vocals. Unlike the stadium-sized intensity of the choruses in excellent tracks like “Waving Flags” and “Canvey Island”, “No Need to Cry” uses a more subtle approach in being uplifted by a simplistic sprinkling of keys. Regardless, the result is stunningly beautiful when a violin cleverly emerges from the layers of delicately crafted sound during the song’s final few moments. Do You Like Rock Music? opens, continues, and concludes in the same way: with consistent quality. So, if for some reason, the question of “Do you like rock music?” remains etched in your head, it should be quite easy to answer. In regard to this specific album, the answer is an unhesitant “yes”.

British Sea Power – Waving Flags

British Sea Power – Canvey Island

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13. The Walkmen – You & Me

Whether or not The Walkmen regressed on You & Me is a topic with two sides to it. Yes, they returned to a style that was more indicative of their first two albums with a higher emphasis on heavily distorted guitars and angular vocal melodies, but there is still a glaring aspect of You & Me that separates itself from any of The Walkmen’s preceding four releases. While percussively aided keyboards were often at the forefront on Everyone Who Pretended to Like Me Is Gone and distorted guitars and yelps comprised most of Bows + Arrows, You & Me serves as arguably the most stylistically multifarious album of their commendably consistent career. Their usual use of overpowering guitars, shimmering keys, and clashing percussion is predominant, but when looking at it by a track-by-track basis it becomes evident that efforts like “On the Water” and “Red Moon” contribute to an album whose stylistic scope remains unpredictably consuming. The swirling mixture of keys and horns in “Red Moon” creates some charmingly melodic circumstances for a topic as simple as romantic longing, while the beginnings of “On the Water” invokes the same sort of exotic imagery that songwriters in the vein of Tom Waits have been so known to generate. As the rumbling of bass underlies a glistening guitar progression, singer Hamilton Leithauser concocts a series of vividly appropriate lyrics. “All the years keep rolling, the decades flying by,” he sings as the guitars pick up pace and the track reverts from a mystical bass-led enigma into a hard-rocking fury. “But ahh, the days are long.” This lyrical realization is complemented superbly by Leithauser’s uniquely invigorating howl, an aspect that is aided by instrumentation that increases in intensity as the track progresses. “Red Moon” and “On the Water” are particularly excellent usages of the band’s tendencies to use natural imagery, an effect that supplements the occasional tranquility of both tracks superbly. In terms of each individual song, the songs are not the most structurally adventurous or melodically intimidating in the band’s catalog, but other gems like the anthemic “In the New Year” and the innovative use of percussion in “Postcards From Tony Islands” should convince listeners that the five-piece have clearly succeeded in crafting one of their most fascinatingly compelling releases to date.

The Walkmen – On the Water

The Walkmen – Red Moon

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12. Wolf Parade – At Mount Zoomer

Few bands manage to be as innovative and instantaneously accessible as Wolf Parade, the acclaimed joint project of Spencer Krug and Dan Boeckner. The most impressive thing to me about the two collaborators, however, is not the infectious melodies they create or the constant critical acclaim that comes their way, but rather the stylistic transition that both are able to make seamlessly as they jump from project to project. Both have been renowned as a few of the busiest songwriters in indie-rock and their durability throughout the past several years can mainly attributed to the unique and melodically invigorating aspects that their songwriting triggers. At Mount Zoomer will hardly feel like a sophomore album to most listeners, as both Krug and Boeckner have been employing reminiscent styles in their respective projects of Sunset Rubdown and Handsome Furs ever since Wolf Parade originated. But it is also a common belief to state that Wolf Parade’s debut, Apologies to the Queen Mary, contains the most accessible material from either artist to date, an aspect that arguably derives from intentions to promote their material to a more diversified audience. Krug’s share of material on At Mount Zoomer appears most reminiscent to his work with Sunset Rubdown, with the eerily resounding flair of “Bang Your Drum” and “An Animal in Your Care” employing much of they key-oriented formula over the yelping vocals and consistently revolving song structures that made trademark Sunset Rubdown tracks so memorable. Keeping in mind that At Mount Zoomer comprises of a similar structure in that Krug and Boeckner contribute an even number of separate tracks, I am actually more impressed with Boeckner’s efforts this time around despite Krug’s showings also being expectedly strong. This can be primarily attributed to Boeckner’s increased instrumental virtuosity, as his use of keys and synths has noticeably become more prevalent. This is best evident on “Language City” and “The Grey Estates”, both tracks that utilize an array of sparkling keys in an infectious chorus that is also guided by guitars and rhythmic additives. Despite Boeckner providing for a more consistent offering of quality songwriting, Krug offers one of the best tracks in the excellent “California Dreamer”. Krug’s skills as both a songwriter and excellent keyboardist are in full display as he shifts a minimal introduction of singular keys and backing percussion into a chorus that is the most anthemic and memorable on the album. “I’ll be round, I’ll be round, I’ll be round,” he sings prior to the bridge. “Like a teenager in town where all the other young lovers are found.” It is a moment that is aided purely by the intensifying tempo of deepened keys, a technique that makes the exceptional chorus that follows even more satisfying. A few shrill chords on keys then follow as the fully bolstered rhythm section emerges for the first time. Boeckner’s “Fine Young Cannibals” also serves as a standout, mainly due to a catchy little guitar riff that manages to sound so seductively enthralling over a soulful blend of keys (à la “It’s a Curse”). As the steady delivery of a new wave-like guitar progression eases placidly over concise percussion, it takes over two minutes for the track’s greatest hook to appear. Signaled by the brisk entry of keys, a crescendo of chords flurry over the same guitar progression and intensifying quivers. Keeping in mind that a Krug-Boeckner release without some sort of epic would feel out of place, the concluding “Kissing the Beehive” makes use of both songwriter’s ability to craft alternating song structures within a familiar melody. Though the first several listen will treat nothing to the listener but a few unexpected melodic surprises, each new listen with a better comprehension of the structure provides more in terms of infectiousness and enjoyment. As that track ends, it is easy to note that Krug and Boeckner have once again collaborated for one of the most enjoyable indie-rock releases of the year.

Wolf Parade – Language City

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11. Portishead – Third

Unlike the majority of other groups during the mid ’90s in Britain, Portishead did not become legends by releasing a masterpiece or two alongside a dozen or so middling attempts at reviving glory. Instead, the trio’s status as one of the most mystifyingly ambiguous groups to have an undeniable influence on contemporary music was granted because of sheer quality, not because of an excess of tours or releases. Prior to this year’s release of Third, the group released two albums of new material in the span of 13 years. Both of them, Dummy and Portishead will forever be considered landmark achievements in the genres of trip-hop and atmospheric alternative-pop. Clearly, unless Portishead have something worth releasing, it is not going to see the light of day. This rare ideology continues with Third, an awe-inspiring release that ranks up there with the classic Dummy as being one of the most atmospherically brilliant releases of the past 20 years. Their arrangements are often initially sparse, such as in “The Rip” where only an acoustic guitar and haunting synth pad appears to back Beth Gibbons’ quivering vocals. Like many classic Portishead tracks though, the melodic and instrumental expansion of “The Rip” is what makes the group’s ingenious level of execution so irresistible. As a bassy synth arpeggio backs a lengthily stable croon from Gibbons, a simultaneous percussive ignition occurs as the track steadily fades to black. The vocally brooding nature of “Plastic” and the ethereal, guitar-based murmurs of “We Carry On” may provide indication that Third is Portishead’s least accessible album out of their three, but successive listens will reward even those who are reluctant of the trio’s atmospherically-based talents. Sure, there are less instantaneous hooks, but Third is a grower whose genius is slowly unveiled with careful audible precision. For immediate enjoyment though, a track like the appropriately titled “Machine Gun” (with its percussive bursts) and the melodically enchanting “Hunter”, the latter which proves to be one of Portishead’s most captivating efforts. Haunting is often a common word to describe Portishead’s atmospheric brilliance, and never has being haunted been so enjoyable. A sheer piece of atmospheric perfection, Third is an album to be treasured by fans of Portishead and newcomers alike.

Portishead – Hunter

Portishead – The Rip

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The post Best Albums of 2008: #20 to #11 appeared first on Obscure Sound: Indie Music Blog.

It speaks to the confidence of a band when the name of one of their first singles is “Hitten”, a title that translates to “The Hit” in English. The native language, of course, should be no surprise; Swedish pop music has been invading US shores for decades in the most complementary form possible, and to have yet another band break through from the musically fruitful country seems more imminent these days than being even a slight surprise. The only surprising aspect of Those Dancing Days, though, is not their highly infectious melodic capabilities or rapid growth in national recognition, but instead how young the five-piece actually is. Just barely out of high school, they are crafting stellar pop music that is expected more so from professional songwriters than amateurs out of high school. Calling the five girls in Those Dancing Days amateur would be the worst of insults though, as they have created a sound that is both agreeably original and infectiously captivating enough to take both domestic and national audiences by storm. And I notice already that, like with most Swedish bands I feature, my overuse of the word “infectious” is becoming glaring. It is hard for me to help it though, as the word seems to be the most concisely applicable when it comes to acts like these.

Though it would not be shameful by any means to rightfully classify girl groups as a predetermined influence for Those Dancing Days, these five girls from Stockholm employ a formula that is too modernistic to be grouped in with other revivalists in the vein of The Pipettes. As shown on sparkling efforts like “Hitten” and “Actionman”, the melodic fixation is reminiscent of such ‘60s ideologies but the instrumental and vocal approach is more representative of conventional indie-pop. Simplistically engaging guitar progressions are often sharpened by slick synth lines and tight rhythm sections, with the vocals being an ardent display of melodic talent that allows the apt construction of stellar hooks to flow freely. Linnea Jönsson is the prevalent lead vocalist, utilizing an impressive set of vocals that should appeal to all Swedish and western audiences alike with her crisp and refreshing delivery. For the most part, it is difficult to tell that English is her second language, though the snippets of accentuated vocal tidbits provide for precisely executed moments of enjoyment in a gem like “Run Run”. Also, as many Swedish artists have shared with the western side of the world, their knowledge of the English language is often impeccable due to it being a mandatory school subject in the school systems since the 1940s. Quality Swedish indie-pop is not hard to come by, but something as thrilling as a handful of tracks Those Dancing Days have created is rare even in an international sense.

Much of Those Dancing Days’ official lineup came together during the latter part of 2007, when a group of Stockholm-based girls decided to disband their old group and form a new one. These girls happened to be current guitarist Rebecka Rolfart, drummer Cissi Efraimsson, and keyboardist/synth whiz Lisa Pyk Wirström, most of them high school friends who had graduated as recently as 2007. Afterwards, they turned to an elder in bassist Mimmi Evrell, who was actually just a mere college student. Seeing the potential of the trio, she joined and also brought former collaborator Jönsson with her, completing the five-piece and setting them up for a flurry of recognition. After recording a few demos, posting them online, and getting a variety of good press, the five-piece recorded and self-released an EP in August that prompted them to sign to Wichita Recordings. This was also preceded by appearances on MTV2 and publications like NME and Spin, setting them up for what could potentially be the “next big thing from Sweden”, even if dozens and dozens of bands recently could have fit that same exact level with perfection. The difference with Those Dancing Days, though, may be the high level of accessibility that they emit with their instantaneously memorable melodic tendencies, simultaneously memorable of quality indie-pop and nostalgic girl-group. The production is fresh and technologically active, but the songwriting itself appears old-fashioned in extremely commendable form.

Following the significant hype of their self-titled EP, Those Dancing Days announced that they would be releasing an album in the fall. And though the October 6th date has yet to arrive, a few of their tracks have already taken over the airwaves due to their addictive qualities, finely representative of the contemporary world of Swedish pop. One of the standouts on the debut, In Our Space Hero Suits, happens to be the aforementioned “Hitten”, a track that will already sound familiar to many Swedish readers. Immediately complemented by a chirpy synth line and a guitar-bass combo generally reflective of one another, the reason for its success is glaring. For one, Jönsson’s vocals carry the track to immense heights. Her vocals have been compared before by fans to being the female equivalent of either Morrissey or Julian Casablancas, both vocalists in the grittier realm of alt-rock but who often relay ardently melancholic vocal styles and lyrical content over instrumentation that appears outwardly more optimistic than downcast. It works remarkably well throughout the duration of In Our Space Hero Suits, particularly on the fantastic “Run Run” where she speaks of egocentric freedom through plenty of naturalized similes and a melody that serves as arguably the best on an album full of outstanding ones. Even in the competitive and wonderfully active world of Swedish pop music, Those Dancing Days are making a name for themselves in the most respectful way possible through solid songwriting and an engagingly familiar sound.

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Those Dancing Days – Run Run

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Those Dancing Days – Hitten

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Those Dancing Days – Actionman

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When I was looking for information about the up-and-coming Håkan Hellström, I could not help but notice that basically every bio, web-posted comment, or other tidbit online was written in Swedish. Now, this would make sense of course considering that Hellström is a Swedish native, but the shock value that I gathered was more focused on the seemingly apparent fact that most American audiences had yet to catch up to this talented Swede. Considering that similarly blended Swedish artists like Jens Lekman and Acid House Kings have struck gold on U.S. shores by discovering the strong western indie-pop niche, I would have initially assumed that Hellström’s status as a rising superstar was all but guaranteed. As it appears at the moment, Håkan Hellström is regarded in Sweden as one of the country’s most promising songwriters. In America though, as many have learned, results are expected with higher authority than that of hype, with the incentive for western audiences and press outlets acclaim a foreign artist being not of a substantial extent until the artist actually produces something very worthwhile. And for Håkan Hellström and his most recent album, it appears that the time has finally arrived.

Swedish listeners first caught a glimpse of Hellström in 2000 with his hit single “Känn ingen sorg för mig Göteborg”, with Hellström also releasing his debut album of that same name in November. Prior to the release, Hellström was only recognized as fans of the Swedish indie-pop band Broder Daniel as their drummer, a position he vacted between 1988 and 1994. He then rejoined the band in 1997 with a new role as the bassist, leaving in 2003 to focus solely on his solo career. By that time, Hellström had also released a second album, Det är så jag säger det, in 2002 and was in the midst of writing Ett kolikbarns bekännelser, his third album that released in 2005. Nåt gammalt, nåt nytt, nåt lånat, nåt blått, a compilation of b-sides, was also released the same year. Hellström became a father in 2006 and announced that he would take a break from music for awhile As it appeared, the break lasted a bit less than two years, as Hellström most recently emerged with his fourth album, För sent för Edelweiss, in late March. Though his first three albums exhibited a form of potential that only arrives once every so often in Swedish pop music, Hellström’s style sounded awkward with occasionally out-of-key vocals and repetitive arrangements. However, with För sent för Edelweiss, it looks as if the skilled songwriter has finally lived up to his wholesome potential.

When an artist names an album after one of their own songs in particular, the conceptual intentions of the self-titled track take on lofty expectations. When it comes to “För sent för Edelweiss”, it serves as arguably the most pleasing track on both the album and throughout Hellström’s blossoming career thus far. It features the type of melody that will cause anyone – regardless of whether they understand the Swedish lyrics or not – to grin in pure delight, with the hauntingly beautiful instrumentation contrasting impressively with Hellström’s ardent vocals. The light plucking of an acoustic guitar initially finds itself underlying a graceful piano melody as Hellström’s voice quivers over the corresponding melody. When the twinkle of a new piano melody takes charge and establishes the chorus, Hellström’s voice takes on a melodic shift and crafts a devastating hook in the process. When the track concludes with a Sigur Rós-like instrumental recap over the crooning of Hellström, it simply reminds the listener just how elegantly stunning the overall result actually is. It really took only one listen for me to absolutely fall in love with “För sent för Edelweiss”, and I am hoping that the same will happen to you. Though the bare sloppiness on tracks toward the latter end of the album like “Sång i buss på villovägar” are the only glaring spots of inconsistency, even they have their own unique moments of memorability.

Since the title track will generally be recognized as one of the more instrumentally subdued songs on För sent för Edelweiss, first-time listeners of the track will likely be curious as to what Hellström sounds like when accompanied by increasingly noticeable instrumental fervor. As both “Kärlek är ett Brev Skickat Tusen Gånger” and “Jag Vet Inte Vem Jag är Men jag Vet Att Jag är Din” prove, the result is actually just as satisfying. Both songs implement guitar within a style of pop that is most reminiscent of accessible indie-rock, with “Jag Vet Inte Vem Jag är Men jag Vet Att Jag är Din” especially being resounding of the sentiment with a fury of electric guitars and reflective keys. They each remain insanely catchy in their own unique ways though, with “Kärlek är ett Brev Skickat Tusen Gånger” benefiting most from the vocal correspondence between a bluesy guitar, effervescent keys, and Hellström’s impressive vocal performance. I do not know whether he chose to take a few singing lessons, but Hellström’s vocal performances have undoubtedly improved on För sent för Edelweiss. Combine that with an improvement in all areas of songwriting and instrumentation and För sent för Edelweiss emerges as Hellström’s most impressive release to date. För sent för Edelweiss is now available and is the best album of Swedish indie-pop I have heard so far this year.

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Håkan Hellström – För sent för Edelweiss

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Håkan Hellström – Jag Vet Inte Vem Jag är Men jag Vet Att Jag är Din

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Håkan Hellström – Kärlek är ett Brev Skickat Tusen Gånger

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