Loney, Dear’s second release in the United States, Dear, John, is destined to generate hype in the indie music scene, and rightfully so. Emil Svan?ngen, the name behind the pseudonym, is a newcomer to the United States from Sweden. Back home, Svan?ngen rose to success nearly exclusively by word of mouth. In 2007, Sub Pop Records re-released his critically acclaimed Swedish album Lonely, Noir in the States. Stemming from that success, Svan?ngen has been touring with indie sensation Andrew Bird. Although released merely two years later, Dear, John beautifully showcases his growth as a musician, both lyrically and instrumentally.
It seems spending all that time without sunlight has given Loney, Dear the inclination to write near lullabies. Although an album of modern lullabies may sound uninteresting, each song brings something new to the table while seamlessly blending with the song before. Take for instance track three, “Under a Silent Sea,” which verges on techno. Yet his soothing falsetto is capable of transcending the listener to serenity. Where too many soft-spoken singers fall short is the dichotomy between their lyrics and their sound, Svan?ngen succeeds because his lyrics are as pleasant and whimsical as his voice. While it is fair to compare his tone to angst-free Damien Rice, no comparison can be made between his music and another’s.
“Distant Lights,” a flawless track, exhibits his talent as an instrumentalist. The song begins with the timpani, which returns during the chorus. While the timpani could easily overpower the song, it is truly the perfect compliment for his eerie female choral accompaniment. The unexpected combination of hard and soft is enchanting.
Track 10, although entitled “Violent,” is virtually nothing of the sort. Soft, melodic wind instruments are heard throughout. In keeping with the lyrical themes of the album, “Violent” deals with the ambivalence and resulting stagnancy of love. Svan?ngen coos, “It’s so hard to change/ When everything points to you.” While love is, without a doubt, the most common theme in music, Loney, Dear never nears triteness.
Loney, Dear concludes the album with a song clearly intended to mimic the lullaby. Svan?ngen advises “John” to sleep well tonight; however, sleep does not come easy to the singer. Brass instruments initiate what is seemingly a military march off to sleep, echoing the battle he feels in waking versus slumbering. As the sound slowly fades away, the listener cannot help but to let out a tranquil sigh.
The success of Svan?ngen’s instrumentals relies solely on the fact he is aware when enough is enough. For instance, if a song begins with string instruments, Svan?ngen wisely chooses to use predominately strings throughout rather than attempting to conduct a symphony. Furthermore, the album seamlessly transitions from track to track. What begins as a tempo driven album slowly metamorphoses into the most soothing of lullabies without detection. The end result, rather than a collection of short stories, is a perfectly crafted novel.
Loney, Dear, your album is the perfect antidote to the insomnia you and many listeners suffer from. Rest easy, Svan?ngen, for you can be sure skinny jean-clad hipster listeners will be sleeping well too.
4 1/2 out of 5 stars.