Andreas Kleerup's first album as a solo artist/producer bears the mixed blessing of having had its lead single and standout track become a sizable international hit...for another artist. "With Every Heartbeat," known to U.K. listeners as a chart-conquering comeback smash for the highly deserving
Robyn, was initially presented in Sweden as
Kleerup's debut single, nearly a year and a half before the album's eventual release. The good news is that it still sounds as phenomenal as when it first began making waves in late 2006, perhaps even more so in this sympathetic context than tacked onto reshuffled re-releases of Robyn; if there's nothing else here that can touch its glorious heights, there's plenty that comes close, though admittedly by following very similar pathways.
Kleerup can certainly be accused of repeating the same tricks over and over, but at least he has some remarkably effective (if not immensely distinctive) tricks -- essentially, moderately paced and genially thumping robo-disco beats wedded to majestically buoyant chord progressions, played on synths that somehow manage to sound lush and punchy at the same time, with some bonus keyboard flutters for icing. And, of course, sweetly emotional pop melodies, often performed by female guest vocalists -- this album has six, all Swedes, each of whom injects some of her own personality (they all co-wrote their contributions), which helps add some welcome variety to the proceedings. Hence
Lykke Li's "Until We Bleed" is languid and forlorn and
Neneh Cherry's "Forever" is R&B-inflected and vaguely sociopolitical (complete with a tastefully deployed children's choir), while
Marit Bergman's "3AM," with its
ABBA-esque circular melody and club-friendly electro glide, is the album's brightest, sprightliest moment. The several instrumentals -- "Hero" and "Tower of Trellick" in particular -- demonstrate that the same basic approach can be just as effective without the vocals, and "Thank You for Nothing," essentially the backing track from
Cyndi Lauper's
Kleerup-produced "Lay Me Down," is nearly as good even stripped of its melody. Finally,
Kleerup saves one of the best vocal tracks for himself, the touching, treble-filtered pop of "On My Own Again," which takes a slightly different tack, piling on the acoustic guitars and vocodered harmonies. ~ K. Ross Hoffman