The album was spot on and instigated her as a global star of electronica. This album is perfectly in sync with the season and there are quite a few could-have-been hits present, more indirect ones this time so please give the songs a couple of listens. Overall, one of the best of 2015 so far. The foundations changed from basic to expansive and dense. I have nothing bad to say about this record, and I can actually say that this genre fits her really well and enables her to expand her creativity and be more daring.
Her melodies became more elaborate and the way she approached them more varied. These bookend the numerous intense moments, allowing the listener a pause to take in and assess what they've just heard, whilst seguing onto the next track. Vocally, there is little restraint, but musically Ten Love Songs is littered with orchestral movements which act as a foil for the grandness. Still, before that she was already an established artist in her home country Norway, and also pretty popular in the rest of Scandinavia — considered a faceted talent exposing skills in songwriting, singing, playing many different instruments and producing. Sonically, each song is an experience. It's an album whose sound is huge and atmospheric.
It is powerful enough on its own without any multi-tracking, but there is an awful lot of that, too. Much of the work was done in London, where Susanne Sundfør lived from 2015 to recently. It is a bona-fide pop song, yes, but it sways and morphs shape during the way to another orchestral conclusion. One of the best pop albums in recent years. The return of Sundfør's now-languorous voice is a surprise which brings the epic to a sullen conclusion. All in all a decent record, but I hope she goes back to creepy weird chamber pop music for her next set.
With each new album, Sundfør upgrades her sound and slightly modifies her modus operandi. Other tracks like 'Fade Away' and 'Kamikaze' are probably two of the biggest and best pop songs she has written. There is much of that feeling on Ten Love Songs, too, though the step this time is perhaps the one that elevates her to another world. Sonically she delves into different grounds; classical, jazz and some folk hint every now and then. With her subject matter stacked against her, Sundfør manages to craft a record that is musically captivating without being thematically original. Every album since has been an evolution. She started working with Jaga Jazzist's Lars Horntveth and shifted from an existence as a quaint and largely inoffensive singer with an impressive voice, to an artist whose every word and note has gravitas.
The centre of her musical universe is her voice. Susanne manages to find a perfect balance between gorgeous electronics and chamber music, It's an album whose sound is huge and atmospheric. With the release of The Brothel in 2010, Susanne Sundfør enacted a revolution on herself. This release may well be her own therapeutic road back again. A strong song that certifies the fact that Susanne Sundfør knows what she is doing.
This might be the only way to temper the album's constant audacity, but it works. Now they are different beasts, with greater dynamic variation. It is a worthless task to try and work out exactly what Sundfør practices, beyond an extreme form of uncompromising pop. The steps have been small but significant. Sonically, Some of the tracks aren't that interesting, some seem to drag, but each song offers something different. And each time it becomes bigger, the moves braver and the end product more wonderful.
Arguably best album of 2015, and one of the best from this decade. Yet, it is still pop music. She did this without compromise. The foundations changed from basic to expansive and dense. But, for now, we can be grateful for the fact that she simply exists. First the melody draws you in, before differing orchestral movements and moods take over, as pianos and strings take prominence in a lull.
Overall, Ambitious synth and baroque pop tunes make Ten Love Songs a poignant, melodic, and impressive release from this veteran songwriter. There is a cinematic quality throughout. The lyrical theme is generally dark this time, but still varied in the sense that it blends internal, personal matters with external, global ones; heartbreaks are mixed with environmental concern — making this collection of tracks a thoughtful experience. It might be a slight jump — but no insult — to say that Sundfør has written a few tracks which could easily be James Bond themes, too. Hope you'll come back again Even though I know, you are heartless 'Cause you took off my dress And you never put it on again. It is 100 % Susanne Sundfør and her impressing musical skills are as present as ever. Around it are formed items of increasing and varying complexity, ebbing and flowing.
It is no coincidence that Sundfør leant her voice to the lead track for the Tom Cruise-starring sci-fi flick Oblivion. Blasting, blazing, stars exploding The cosmic war, raging in the sky But all I could hear was your last goodbye. With the release of The Brothel in 2010, Susanne Sundfør enacted a revolution on herself. . It's overrated, it doesn't do it for me I dreamt the gods descended I dreamt that time had ended Planets colliding, baby one day we'll be free But all I ever wanted was for you to want me. On paper, Susanne Sundfør's Ten Love Songs is far from beguiling. It's less darker, but she pulls off a beautiful style shift.