Back of the Rack: "Youth Novels" by Lykke Li

By Kristian Radke

Back of the Rack is a regular feature in which Indie writers consider albums that aren't particularly new, but we think deserve revisiting.

I’ll be the first to admit that, for various reasons, I didn’t keep up with the many albums of 2008. More than anything, I used those albums as musical chicken soup for my sick days when I should have been out trudging in the forest for wild, delectable edibles.

However, in my paltry expeditions I did manage to find a tasty morsel among the moss: Lykke Li’s “Youth Novels.” A record by a young female
Swede that unlike Feist, Bat for Lashes or Crystal Castles is something that actually lives up to the hype.

Now, let me preface this by saying this record is not for everyone. It is the type of record most people wouldn’t really give a chance, which makes me sad. Over the years it feels like “pop” has become somewhat of a dirty word. Musicians who are in it for the love of music would never stoop to such a level.

But that’s exactly what this album is, a pop recording in the best sense of the word. Part of what surprises me about this album is that it sounds exactly like something I normally wouldn’t listen to. The melodies are catchy, the subject matter includes dancing, heartbreak and more dancing; the songs are three to four minutes long, side effects include hip sways and soft humming, and when those choruses kick in they hit the proverbial sweet spot.

The album is pure fun to listen to, which is what pop was meant to be, and it’s what kept me coming back for more. It may come as a surprise to learn that a lot of the “American pop” was actually concocted by those crafty Swedes. For a culture with a disproportionately high suicide rate they certainly have keen pop sensibilities, although I suppose that may explain their vested interest in death metal.

What differentiates this album from other pop records though, is that unlike a good portion of mainstream pop today, which sounds flabby and cluttered, the sound of “Youth Novels” is lean and taut. A perfect example is the single “Dance Dance Dance,” which is pretty much held together by just two notes. These notes are the pulse of the track, and they are gently and gracefully layered over the course of the song and accentuated with a sax solo.

A chorus of singers, and a percussion arrangement that forgoes the tired “bass drum, snare drum, high hat” formula in favor of… well I’m not actually sure what it is exactly, but it sounds good. All the while the track never loses the pulse of those two notes. It’s simple enough to give an uncluttered sense of space, but with a dynamic presence that grabs your attention and is not about to let go.

Then we must contend with Lykke Li herself. Her delivery is impeccable; just a little rhythmically scattershot, yet never losing the feel of the song. Her voice is a bit gentle and fragile, and if the production had been different it would have overwhelmed her, causing her to sink under the dozen or so layers of pro-tooled guitars. But that is the genius of these arrangements – they fit her style and weave with her until the two sound as one. From the keyboard groove of “I’m Good, I’m Gone” to the mad dash frenzy of “Breaking it Up” the two never lose focus. As a result she sounds hungry, but more importantly she sounds confident and in her element. She makes it all look so easy, like she just popped in the studio one day on a lark.

So if you cannot bear the thought of a contemptible “pop” record, then avoid this one like I try to avoid bat country (It’s not easy, those bastards are everywhere). However, if you are willing to keep an open ear to the ground among the flora, you might just find yourself liking something a little fleet-footed, perhaps a soundtrack for those upcoming springs walks. If this debut record is anything to go by, then I’ll be looking forward to her next serving.