It's quite the norm on occasion for a band's singer to go off and make a solo album, especially if the band is currently experiencing a lull in popularity, or simply taking a break. What I find even more interesting, is when a band member other than the singer does it. Like Cardigans bassist Magnus Sveningsson did during the band's 5 year hiatus. After all, why should the singer get all the glory? Between finishing 1998s "Gran Turismo" and starting 2003 "Long Gone Before Daylight", a few of The Cardigans members opted to dabble in lone music making. Singer Nina partook in making lovely alternative country, guitarist Peter Svensson made the nicely strange little album "Paus" with Kent's Joakim Berg, with whom he also wrote practically an entire album for Sweden's Queen of R&B, Titiyo. I'll get to Peter.

But here I concern myself with Magnus.

Poor Magnus. After the release of The Cardigans debut, "Emmerdale" in 1994, and all the relentless touring, Magnus was somewhat spent. He plodded on, but Magnus was going through dark times personally and professionally. To the point that he neglected to write a single note of music for quite some time. That is until he penned this little gem. All that angst and all that heartbreak came spewing out, forming 12 songs with the ability to touch even the hardest of hearts in places. The Cardigans' gentle giant (he's possibly the tallest man in Sweden), under the name of Righteous Boy, proved he could make pretty music equally, if not often better, than any moody singer / songwriter prone to laying themselves bare. Why Righteous Boy? He was going to call himself Elephant Man, but it was already taken.

The first thing about this album that smacked me in the face, was Magnus' voice. When I first heard this album, I didn't expect to hear that voice come out of that mouth. Imagine a younger, even huskier Leonard Cohen, yet with a smooth and gentle whispery voice that makes the little hairs on the back of your neck stand on end. That would be Magnus.

There is certainly quite an eclectic mixture of songs on this album, and despite the depressed, yet sensual appeal this album has, it does have a couple of more upbeat songs. The best example of this being the almost jaunty "Righteous Boy/Righteous Girl". It's pure indie pop, typical of mid 90s Britpop playful style, or even The Cardigans themselves. In fact, it almost bounces, engaging your attention with an odd mixture of smiley synths and guitars, which bop 'till they drop. Equally as jaunty, but possibly in a more sexy way, is "Loved Among Friends". The song's use of jazz piano and "ba ba ba ba" backing vocals flavour it with a distinctly European feel. And that's your lot for "upbeat". The album's remaining terrain is occupied by the endearing, the dark, the sultry..and the plain strange.

Strangeness comes no plainer than the obscure shoegazer track "Elephant Man". When I say "shoegazer", yes I do mean like Spiritualized and Ride. The song is long and drawn out, barely changing notes and certainly never changing tempo. Awash with a layers and layers of synths and a plodding beat, a backing choir adds a touch of melody, though it's the vocal that engages me. Singing right from his chest, in a very eerie fashion, Magnus conspiratorially repeats; Keep looking at me, keep looking at me, don't you be afraid, it's plain to see the elephant man. And I'll be damned if it doesn't make me want to look at him. Of course, Magnus doesn't resemble the Elephant Man, but I guess he might think of himself as a bit freakish, often feeling the stares of those taken by his stature and height. Plus, what is it with Cardigans members and elephants?!

Eerie continues with the absolutely beautiful "No More Love". It's quite musically sparse, but both Magnus' voice and the haunting choir backdrop are enough to give you goosebumps. Throw into that the cautiously melodic synths and strings, and I'm ready to melt. Lyrically, the failed relationship is central, as are self deprecation and blame. A theme that recurs frequently throughout the lyrics. This ghostly feel can be felt in other songs, too. Like the swirling "I Feel Apart". Sounding like a Nick Cave murder ballad, it's definitely one of my favourites on the album. It captivates me not only musically, but again, with the vocals. An almost spoken delivery, low and hushed, with a certain gentle beauty as the chorus breaks. Similarly, "Lone Among Friends" and "Straight Song" share this feeling and style. However, "Straight Song" has a slightly more jazz-blues feel, it's smokey and hazy, and definitely lazy. And still the quietly desperate lyrics continue;

Equal blessing, equal curse,
Will I grow from here,
Or to the worse.
This uncertain deal,
How I'd rather feel,
When I cease to be,
How will you remember me?

As a really tall man who made lovely music when left to his own devices. And also... Nevermind.

So here's where I get a bit picky. Now, I think the song "All My Evils" is quite nice, but, perhaps a tad cheesy. It doesn't possess much of that raw beauty, or ghostly longing that so many others do. Instead it's quite a plain song, I'm even dubious of Magnus' vocals here, which sound a bit off key occasionally, and there's nothing varied or interesting about the music backdrop. A nice song it is, but nothing astounding. "I'm Not Shielded" s very obscure, again, it's not horrible, but there's something in the way it hummmms and ummmms along that slightly freaks me out. Add to that Magnus' slightly murderous psychopath style vocals and I'm scared. I do like how it just abruptly ends as he says "Happy", though. That picking wasn't so bad was it? I could possibly pick at the songs "View from A Satellite" and "You Better Do Good" as well, but these are two quite pretty jazz-waltz numbers, especially the latter. What would I pick at here? I think they're a bit too long, but that's just me being pedantic.

I've saved my favourite until last, because I think the song "I Made it Hard For You to Love Me" captures the mood of the entire album, both musically and lyrically right there in that one song. The song sparkles and shines, it's delightfully moody, yet sultry and absobloodylutely gorgeous. One can't help but fall in love with the enigmatic synths and beautiful strings. Full of lulls and orchestral rises, it resonates to the last. I can't ignore the gentle darkness of Magnus' voice here, either. Yet the song is so sad. Aye, parting is indeed such sweet sorrow;

How could I behave in any other way?
Still I felt afraid at a shattered time,
I tried to hide my fears....
You poke me at my weakest spots,
Curse me at my lowest point...

I made it hard for you to love me

. . . . .

Your secret loneliness will take you anywhere


Not only does Magnus share similar tones to Cohen vocally, you could argue that the often jazzy array of synths and female backing singers employed here and there are reminiscent of Cohen's earlier style. I think that would be purely accidental, rather than intentional, but I'm not complaining either way. One thing that you can't escape, is how European sounding this album is. Not in a campy upbeat, strut your stuff on the dance floor way, more, soundtrack to some obscure European movie set in a romantic city like Paris or Vienna. The protagonist speaks English, but with an accent. And the season is definitely Winter.

Rich with synths, strings, jazz tainted pianos, and Euro-lounge quiet beats, there's no arguing that this is a very pretty album. Though it does incorporate quite a dark and eerie sounding quality, underlined with poignant and enigmatic vocals. It could also be accused of being a bit depressing at times, but when the voice and music packaging has the potential to melt polar icecaps with its raw sadness, depressing can give way to uplifting in places. The album is both gentle and captivating, even its weaker moments like "All My Evils" and "I'm Not Shielded" aren't awful, not at all, it's personal taste getting in the way.

Mostly the songs allow you inside Sveningsson's mind, to get a glimpse of those times he was scratching about trying to find himself, whilst simultaneously enduring the pain of broken relationships. With all those feelings echoed through his words and his music. It makes you want to kick back with a glass of wine and share in his thoughts. Indulge yourself with some late-night moody, yet relaxing, reflection and introspection, with a curled up cat purring on your lap. Experience tells me this. And the wine was lovely. It's all about the atmospherics, and this album has oodles.

Fans of Leonard Cohen and Nick Drake types will possibly like this album very much. Ultimately, for a former metal band member turned indie pop bassist from Jönköping, Magnus Sveningsson has made an exceptionally beautiful solo album. Magnusifent, even.

Vacker.


Cheers.


Overall: 4.5 Stars

Tracks: Loved Among Friends / View From a Satellite / No More Love / Righteous Boy/Righteous Girl / I Made it Hard For You to Love Me / All My Evils / I'm Not Shielded / Elephant Man / I Feel Apart / Lone Among Friends / Straight Song / You Better do Good

Great Music to Play While: Becoming a Euro lounge-lizard with a penchant for husky tones and tall bassists.

Blurb:

"I Sing Because of You" (2002 Stockholm Records / Future Farmer Recordings)
Produced by: Batti

Some of the enlisted help (who are all in other bands);

Jens Jansson from Brainpool (Drums, Percussion)
Henrik Andersson from Komeda / Ray Wonder (Bass, Backing Vocals, Keyboards, Various)
Nathan Larson from Shudder to Think (Programming, Backing Vocals, Horns, Synths)
Patrik Bartosch from Eggstone (Grand Piano)


All lyrics quoted copyright Magnus Sveningsson

- The point of this series; New Cardigans album "Super Extra Gravity" released October 17th. New single, "I Need Some Fine Wine, and You, You Need to be Nicer" out October 4th (Good song, actually. Rockish, quirky) - End PSA.

Cardigans Unravelled #1 - Nina Persson


Recommended: Yes