Animal Heart<\/em>, her 2014 solo debut, Persson refines that approach to a fine point.<\/p>\nThe album kicks off with the title track, a propulsive dance pop-meets-motorik melody topped by Persson’s crystalline vocal mixed way out front. Her degree of vocal control is superb: she hits the notes with precision, adding her trademark vibrato only at key moments; she’s careful not to overuse the technique, saving it for when it fits best. That the song has a delightfully memorable hook \u2013 in the form of the tune’s repeated vocal refrain \u2013 makes it even better.<\/p>\n
\u201cBurning Bridges for Fuel\u201d starts with a somber, one-per-measure piano chord, joined gradually by throbbing synth, Persson’s dreamy vocal, and other exceedingly subtle flourishes. The drums don’t come in until halfway through the tune, and even then, they don’t do much. Nor need they: the synthesizer lines provide as much of a beat as is needed. Some nice Leslie’d guitar near the song’s outro has the feeling of a horn section.<\/p>\n
\u201cDreaming of Houses\u201d starts off as an elegiac, grey-day melody, but unfolds into a pop song of grandeur. Listeners who didn’t know better would never think Persson is Swedish; her vocals betray not a trace of being from anywhere specific. \u201cClip Your Wings\u201d is a more conventional pop tune, but some echoey piano and slide guitar elevate the tune into something more durable.<\/p>\n
Electronica textures might at first seem out of place on a tune called \u201cJungle,\u201d until one sorts out that the jungle is but Persson’s metaphor for modern life. On this track \u2013 as with all others on Animal Heart<\/em> \u2013 Persson is ably supported by husband Nathan Larson<\/strong>, Eric D. Johnson<\/strong> and (on most tracks) drummer Brain Kantor<\/strong>. Johnson and Larsson co-wrote all but one of the twelve songs with Persson.<\/p>\n\u201cFood for the Beast\u201d takes a different approach than the tunes that precede it: its radio-ready beat seems designed for airplay, and lyrics about the discotheque floor reinforce that impression. But once again, it’s Persson’s voice that carries the whole affair. A constantly shifting beat shows that even on a \u201ccommercial\u201d number, Persson remains musically ambitious.<\/p>\n
The brief instrumental \u201cDigestif\u201d gives way to \u201cForgot to Tell You,\u201d a tune that recalls some of Colonia<\/em>‘s more close and intimate musical arrangements. \u201cCatch Me Crying\u201d is built upon a stuttering drum pattern and feels a bit like Autoamerican<\/em> era Blondie<\/strong>; here Persson displays her knack of showing off her vocal range without seeming at all like she’s showing off.<\/p>\nAmericana-flavored guitar kicks off \u201cThe Grand Destruction Game,\u201d but it’s quickly joined by synthesizer and 60s-flavored combo organ. Persson’s wistful lyric tells the tale of love gone wrong. The stately \u201cSilver\u201d reveals its charms gradually, as it unfolds across three-plus minutes (Persson’s direct, economical writing style keeps all of Animal Heart<\/em>‘s tunes relatively brief: only two break the four-minute mark.) And despite its title, \u201cThis is Heavy Metal\u201d closes the album in a spare yet sophisticated manner \u2013 simply piano and vocal \u2013 that recalls Tori Amos<\/strong>‘ best work.<\/p>\nAnimal Heart<\/em> was released back in February of this year; it charted in Sweden, Denmark, Finland and the UK. Despite some stateside press and reviews, it hasn’t made a dent on American charts; it deserves better. Recommended.<\/p>\nFollow \u201cthe_musoscribe\u201d on ![\"\"](\"http:\/\/musoscribe.com\/images\/icon_twitter_small.jpg\")
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