Album of the week (26 April): Josefin Öhrn + The Liberation – Sacred Dreams

This is the third studio album from Josefin Öhrn + The Liberation, and while it’s not a perfect piece of pop, there’s enough sophistication here to make it stand out from the rest of this week’s releases.

Sacred Dreams takes us through the realms of electro-pop and lazy, hazy country blues desertscapes – all with a dash of psychedelia thrown in.

The album does feel a little front loaded, as most of the best moments feature early on. Opener Feel The Sun borrows heavily on the Goldfrapp model of crowd-pleasing blissful pop. Then follows an unnecessarily early keyboard and effect laden interlude before we are hit with standout track I Can Feel It, featuring a pounding bass drum, incessant keyboard tones and layered harmonics. The hypnotic chorus is fabulous.

The danceable electro-pop theme continues with Desire, Öhrn’s breathy vocal style working particularly well here with the french lyrics in the verses.

The second act of the album signals a change of pace – Hey Little Boy is a slower track with a country blues feel to the guitar work, though there’s still a hint of pulsating synth to be found.

Only Lovers leans heavily on a spacious folky acoustic guitar to match the echo-laden vocal and moves away from the beat-driven tracks before it. The tempo ups slightly with Baby Come On, a blues-rock number featuring some interesting keyboard work and good layering of sound.

However, things start to get a little flabby towards the end. New Horizons is a fairly standard low-key pop number, while Let It Come and Whatever You Want don’t really add anything extra.

The main saving grace of the latter part of the album is Caramel Head, that uses lazy, hazy slide guitar to let you drift away to another plane.

It’s not going to be my album of the year, or even the month, but I reckon some of these tracks will stay with me for some time.

Release date: 26 April 2019

Rating: 7.5/10

Standout track: I Can Feel It

For fans of:

  • Goldfrapp
  • Lorelle Meets The Obselete
  • Ladytron

Listen on Spotify

Album review: Ladytron – Ladytron

Ladytron - Ladytron album cover

Borrowing heavily from new wave, 80s synth and a touch of 90s rave, Ladytron return after more than seven years with an incessantly catchy collection of electro-pop tunes that have that special something about them – in most places.

The self-titled Ladytron album takes a little time to hit its stride with Until the Fire enjoyable enough but failing to develop as much as you might anticipate. Conversely single from last year The Island, featuring huge 80s-style synths, manages to build just at the right moment to avoid you losing interest in the track.

Things get significantly better after this point with Tower of Glass, a catchy head-nodder with some intricate organ work and the vocals of lead vocalist Helen Marnie standing out in particular.

The upward trend continues with Far From Home, which starts off a little Human League but that addictive synth track and pop beat end up taking you somewhere else entirely.

Highlight of the album for me was Deadzone, which employs some great vocal structures and layers of atmospherics against an uptempo beat, building to a delicious crescendo.

At 13 tracks and 53 minutes long, this album isn’t exactly of epic length, but it did feel that the last few tracks could have been trimmed and you would not have noticed the difference. Had the album stopped with the moreish You’ve Changed everybody would be left very happy. As it is Horrorscope, The Mountain and Tomorrow is Another Day have some noticeable moments but feel a little laboured.

Bar that, this is a fabulous album and well worth listening to the first 10 tracks at least.

Release date: 15 February 2019

Rating: 7.5/10

Standout track: Deadzone

For fans of:

  • Goldfrapp
  • Boy Harsher
  • Gwenno

Listen on Spotify