Emil Svanängen, the man behind Swedish pop outfit Loney Dear, is the epitome of someone who has lived the dream of any aspiring musician.
In the early 2000s, Svanängen’s demo recordings ended up in ears of Seattle’s Sub Pop record label. The Swede’s delicate acoustic guitar melodies, simple musical arrangements and high-end, whimsical voice found themselves signed to the label shortly thereafter.
Svanängen’s 2007 debut Loney Dear album, “Loney, Noir,” expanded on the singer-songwriter’s previous three demo recordings. However, “Loney, Noir” captured more of Svanängen’s successful lo-fi sound, something that adds a great deal of charm to the singer’s music.
Folk-style, acoustic guitars were coupled with xylophones, glockenspiels, horns and the occasional synthesizer bursts, but the album retained the feeling that it was homemade and genuine. “Loney, Noir” is the perfect example of a musician’s dream coming to fruition. But would it last?
It is safe to say that Svanängen’s newest release, “Dear John” is an overall improvement on an already impressive fledgling discography. The Swede easily triumphs over the sophomore slump, as “Dear John” expands on Svanängen’s musical abilities and experimentation, but does not cause the listener to forget who they’re listening to.
As the album opens, it sounds as if Svanängen is following the route of fellow Swedish compatriot Jens Lekman, another whimsical, poetic singer-songwriter from the cold European country.
Lekman’s latest album is terribly over-produced, which lent to a serious loss of what made Lekman such an enduring musician. “Airport Surroundings,” the first track on “Dear John,” is chock full of production. Synth beats wail as drum beats kick in a dance-like stupor. There are more bells and whistles and strange rhythms on this first track that are so unfamiliar to Svanängen’s usual style.
It comes as a serious shock to those already familiar with Loney Dear. Perhaps it has something to do with Svanängen’s record label change, as “Dear John” finds itself on Polyvinyl Records. It’s a shame the first track on the album is the only real downfall to an otherwise highly enjoyable experience.
The rest of the album follows Svanängen’s normal chamber pop and folk melodies with minimal invasion by any serious over-production. Every once in awhile, such as in “Under a Silent Sea,” synths and effects blare too heavily and make for un-Loney Dear-like moments.
However, these instances are still pleasant to listen to and allow Svanängen to prevent himself from making the same album twice. It acts as a breath of fresh air more than anything.
The Swede has been criticized of having pacing problems within songs and from song to song, and although that is surely not the case, “Dear John” proves otherwise.
If the album’s new production value does anything at all, it allows the majority of the album to move along quickly. Slower songs pick up at exactly the right moments with beautiful crescendos of orchestral movements.
All in all, Loney Dear’s “Dear John” is an album worthy of praise. It allows Svanängen to expand on his sound and explore new territories, but doesn’t take away from what makes Loney Dear so exceptional.
Track Picks: “Everything Turns to You,” “I Was Only Going Out,” “Violent”
Final Rating: 8/10
