The second album from Sweden’s Sarah Assbring sounds like it was recorded in 1964. Assbring’s sugary voice floats over doo-wop harmonies and tambourine like a sedated Diana Ross. Like her countrymen the Cardigans, she has a knack for making music that sounds simultaneously commercial and cool via an ironic retro sound. The music is as bubblegum as it gets, but Assbring manages to make it sound refreshing and unique not only with the child-like innocence of her voice, but also with a unique blend of sounds built on electric organ, analog synthesizers, and simple, stripped-down compositions.
“Into The Sunshine” and “Somebody’s Baby” sound like early '60s bubblegum pop (you can almost see the horn-rim glasses and beehive haircuts as you listen). The music moves over bouncing bass lines and handclaps as Assbring sings lines like “You are somebody’s baby.” “How Did We Forget?” sounds like a lost Supremes song with Assbring singing/speaking “It’s easy” over oohs and ahhs and an early Motown rhythm section groove. The flute, pizzicato strings, and overly sweet vocal harmonies of “To Give Love” scream '60s elevator music (in a cool, novelty act sort of way).
The music is most effective at its most stripped down. In settings such as the folky “Your Name Is Neverending,” Assbring’s genuine emotion shines through the tongue-and-cheek pop that so dominates the record—particularly in the mellow a cappella vocal break that closes the song. “Happiness Won Me Over” features mournful vocal harmonies accompanied by a playful church organ. The simplicity of the music and lyrics bring out the child-like tone and innocence of her voice to great effect. On “Inner Island,” Assbring repeats “Don’t cast away your inner island” over a humming synth drone. Rather than coming across as boring, the song draws the listener into a hypnotic trance. The electric organ lines of “Someday I’ll Understand (Love Will Be My Mirror)” and “Do Not Despair” create atmospheres that are wonderfully intimate and lo-fi in their simplicity.
By the halfway point of From The Valley To The Stars, the initial charm of the music starts to wear a little thin. As enjoyable as each song is, their similar sounds and tempos make them all blend together into a uniform work with little variety. The novelty '60s pop sound—as wonderfully retro as it is—can only sustain itself for so long before becoming tedious. Still, even at its most contrived moments, the music is pleasant and even fun. At its best moments—when Assbring steps away from the clichés and lets the feeling of the music come through in stripped-down, intimate settings—it’s great pop music.
|