Making a comeback earlier this year, Lena's new album is drunk on dance, but not without a contemplative trio of closing tracks to cure any hangover from the sublime club crusades. The first 7 tracks are so joyous, the final three take a down-tempo turn when the album has something of a power cut, which is worth it to finally arrive at the very special track 8. Lena and her emotive voice thrives in any setting: milking the Swedish pink pound or the whimsical acoustic benders to coax back everyone else.
The dramatically charged du följer väl med really gets this thing going. She's on fine vocal form, even if when spouting off "du följer fäl, du följer fäl, du följer fäl" like she's just bit her tongue. The lower tone is noticeable compared to her vintage prime, but the sheer euphoric ejaculation of the chorus is divine.
Arrving on a bed of piano keys and atmospheric synths, Live Tomorrow has a plaintive disco pulse as Lena comforts herself with lyrics that appeal to the environment around her to alleviate doubts of her own mortality. It's very Gloria Swanson meets Gina G meets someone who can sing and stuff. The way she emotes is sensational: "I don't like to wait" sounds like a command and regret simultaneously. The swirling disco pathos of the airy pause of the middle eight before she wails into the moonlight is a proper goosebumps moment.
bli galen is so fabulous it barely remembers to have a melody. Only a diva can keep you waiting for a full minute before deciding to do some singing. Devoting myself to words I don't understand, this is such an absorbing creation for something so throwaway in its essence.
Idiot is a dreamy blend of gentle keyboard treats and Lena's effortless diva treacle dripping all over it.
The shiny synthesized momentum of vart tog du vägen is gentle and the Moroder-esque rhythms is impossible to resist.
When the piano sounds trip over the campy disco elements and Lena yelps for the sheer glorious abandon of it all, igen och igen really ebbs, flows, throbs and spurts with all the dance-pop juices I could ever ask for. Undeniable.
The summit of the 7 track operation, världen snurrar is another masterstroke execution of her glamorous vocal flair and the fluid pulsating decadence of it all.
The abrupt shift into folk music is justified by the beauty of ett hjärta. Parts of it remind me of the pre-chorus to the Bluetones' Slight Return, parts of it remind me of My Guy (let's just say Whoopi Goldberg sang that one). If I had the time or self-pity I'd have a cry to it, it's so lovely.
Piano ballad botten is nådd is nice enought, with some wonderfully expressive deliveries (especially of the title lyric along with the addition of strings).nästasSäsong is more poised and more taken with the idea of having a chorus - one of longing and a drum beat to keep things moving in her 5 glasses later swept up fashion.
So the erogenous zones are most definitely the first gin-soaked disco vibes of the first 7 cuts, but overall the resulting pop is a huge score and the ballads sound like three gorgeous numbers she was keeping for a rainy day.