5
Like the patron saint of the 1980s, Karin Ström brilliantly recasts generic synths into fairly intriguing electropop instrumentals. However, despite creating engaging a backing for her poppy crystalline vocals, the two never jell, making new album "Fantomhalvan" more an exercise in Eurovision Song Competition showmanship then cohesive music-making. Tracks such as "Hackney Downs" and "Tills fulheten stillar vårt blod" momentarily spark a bit of playfulness, but overall the listener is left wonder how Ström's misguided attempt at self-production actually happened.
Admittedly, my inability to attach to Ström's work could be due in part to my inability to speak Swedish. While she is kind enough to provide linguistically handicapped listeners with translations on her website, something -- quite literally -- is lost in translation. Content without form, we get an endless parade of jilted lovers, bitter memories, and nights spent alone. Reading, rather than hearing, the deluge of half-baked metaphors is not unlike taking an illicit peak into a friend's secret poetry notebook -- sure you feel for the girl, but ultimately, it's a bit too embarrassing to acknowledge.
- Laura Studarus
7
This is a very beautiful album, with a perfect balance between Karin Ström's voice and the understated electronics creating accomplished electro-pop songs. Ström is certainly talented, there's no doubt about it. Musically, "En saga om en sten" shows Ström exploring computer instruments to create an upbeat base to which her vocals add a touch of ethereal elegance, much like a Swedish Imogen Heap. Looking up the lyrics on her website (thankfully in both Swedish and in English), the poetics compliment just the sort of music she is making. Absorbing, thoughtful - if the stories of heartbreak get a little too familiar. But I get the feeling she is scared to go all out with her songs. Nothing stands out on the album for me, although there are a fair few catchy numbers. I like this album, but I don't love it. It will be the next album that everyone takes notice of. She should be more experimental, less afraid to really explore the electronics and demonstrate her vocal talent.
- Jude Ainsworth
Karin has abandoned the folky singer/songwriter thing and attempted to recreate herself as an electropop artist. She actually pulls it off surprisingly quite well. It's too easy for electronic artists to become overly preoccupied with the sounds and forget about the songs, but obviously that's not the case here considering Karin's background. The production could probably be a bit more powerful, but this is a strong debut for an artist trying to totally reinvent herself.
- Avi Roig
Karin Ström