3 out of 5

Label: Astralwerks

Producer: Jari Gaapalainen

Things get off to a glossy good time on this ‘finally’ followup to the 2000 EP compilation ‘Boyyoubetterrunnow’, seeming like the proper maturation had taken point to work the buoyant, eager pop of that disc into something much richer.  ‘Say Something New’ and ‘You Can’t Hurry Love’ bear the same shimmery saccharine sheen with an underlying cynicism and mystery that made ‘Boy’ something more notable than just a twee knock-off.  Bergsman’s vocal affectations aren’t as apparent (which I consider a plus), seemingly matching the confidence the band presents as their musical palette has grown beyond keys and guitars and drums and bass, given a warm and balanced twinkle by the production.  The directness of the cover art – a striking, red, 2-D image against a flat white background – as compared to the previous patchwork look of ‘Boy’s cover, and the move to a larger scale indie (Astralwerks) all seem in sync with the group’s growth.  But then it goes to far…!

NEXT WEEK ON REVIEWS: David says what he doesn’t like about the Concretes.  Starring Mister Ricketboom!

My subtle narratorial skills suddenly clue you in to a week’s passing.

Continued from last week’s REVIEWS: Fuck Your Mother, or The Ugly Toes Trilogy: Part Ubbleteen – The Fecunding

So starting with track 3, ‘Chico,’ we suddenly feel like we’re listening to the kid who came back after Summer break with a whole new wardrobe.  It’s still the same Concretes, but none of the tracks that follow have the slightly quirky edge to them of the intro tracks.  Superficially, this is represented by a complete lack of distortion – all the tones ring clear and bubbly.  ‘Something New’ even cuts to a guitar solo at one point, and both have the distant crackle of guitars to ruffle the feathers.  Of course distortion doesn’t really matter, but it’s quite a distinct difference to me.  On one hand, you could praise the sequencing for drawing a listener in with such winning tracks; on the other hand, what follows, to me, no longer has the ring of maturity.  It’s more of a veneer.  Bergsman is slinking now, that ‘aloof’ (as the Allmusic review perfectly describes it) affectation fully heard.  The lyrics, admittedly, still travel a similar vague circuit, but I don’t feel any warmth from them, despite the musicians’ and producer’s best attempts at making the music so enveloping and welcoming sounding.  And to be clear, the compositions are absolutely there: ‘Diana Ross’ and ‘Warm Night’ are both solid, developed songs that weave in instrumentation and build to their choruses, and ‘Lonely As Can Be’ is so close to being the truly sad, beautiful song that the poppy group has mostly avoided.  But there’s a wall between the music and me, and sense of coldness.  I don’t believe any of the group is singing to me, or playing for me, or even cares that they’re playing and singing.  I’ve never been much of a Velvet Underground fan, or that scene in general, and admittedly I feel that same remove there, so perhaps – referencing Allmusic again – the comparison is fitting.

Listening to ‘Concretes’ closely for the first time since its release, I believe I’ve identified why I rarely return to it.  It distracts with some great opening ditties, fully bringing back positive memories of their previous work, before pulling down the veil (or Bergsman putting on her gloves) and doing a Swedish pop dance that hits all the right notes but never really – perhaps purposefully – locks eyes with their listener.  From a distance this is truly pleasant pop, it’s just not very welcoming.