Pitchfork
Feb. 23, 2010
Link
From freedom fries to tea parties, the American relationship with Europe over the past several years has been as complicated as continental philosophy. Or a sibling rivalry. Coming out of a global financial crisis, the Old World way-- with less conspicuous consumption and more built-in safety nets-- looks more than ever like the better way. Named after a Serge Gainsbourg song, winsome indie poppers Sambassadeur won't shake up any Sarah Palin fan's European stereotypes. But the Gothenburg, Sweden-based band's third album, European, again demonstrates the virtues of cosmpolitanism, craft, and restraint.
Of all the Swedish groups in recent years, Sambassadeur have perhaps the most in common with likely indie-kid preconceptions of Swedishness-- no blog-house attitude or hip posturing here. One part ABBA, one part C86, the fragile, idyllic pop of 2005's self-titled debut translated naturally to a studio and the lusher production of Dungen's Mattias Glavå on fine 2007 follow-up Migration. The new album doubles down on an aesthetic that should appeal to fans of Camera Obscura, the Clientele, or the Concretes, resulting in Sambassadeur's most consistent full-length to date, even if its peaks don't quite match earlier highlights like "Between the Lines", "Kate", or "Subtle Changes", marred in part by occasionally generic lyrics.
As with generations of Swedish popsters before them, Sambassadeur excel at picking up sounds from the U.S. and UK and refining them to their catchy essence. When European is at full gallop, making loneliness almost cheerful on first single "Days" or another album highlight, "Sandy Dunes", it's pretty tough to beat: Those horns! Those strings! That piano opening! Where Migrations quotes Pavement and includes a Dennis Wilson cover, Sambassadeur's latest sprinkles its lyrics with well-selected phrases from Nick Drake or James Bond movie titles (though you probably enjoy them more if you don't realize it). Plus there's a hushed, intimate rendition of Tobin Sprout's "Small Parade".
For all that, it's hard to pinpoint moments when European rises beyond "pleasant" or "comfortable" to something transcendent. While the slower songs may drag on early listens-- hint: try speakers instead of headphones-- "Albatross" eventually emerges as the closest thing. "I was happier alone/ Cut my hair just like a boy," sings frontwoman Anna Persson, her voice full and conversational over Astral Weeks-style upright bass. It's a moment that more than makes up for every "ivory skyline of your smile" or "pine trees like paintings." Put down your protest signs, people: There's still so much we could learn from each other.
Of all the Swedish groups in recent years, Sambassadeur have perhaps the most in common with likely indie-kid preconceptions of Swedishness-- no blog-house attitude or hip posturing here. One part ABBA, one part C86, the fragile, idyllic pop of 2005's self-titled debut translated naturally to a studio and the lusher production of Dungen's Mattias Glavå on fine 2007 follow-up Migration. The new album doubles down on an aesthetic that should appeal to fans of Camera Obscura, the Clientele, or the Concretes, resulting in Sambassadeur's most consistent full-length to date, even if its peaks don't quite match earlier highlights like "Between the Lines", "Kate", or "Subtle Changes", marred in part by occasionally generic lyrics.
As with generations of Swedish popsters before them, Sambassadeur excel at picking up sounds from the U.S. and UK and refining them to their catchy essence. When European is at full gallop, making loneliness almost cheerful on first single "Days" or another album highlight, "Sandy Dunes", it's pretty tough to beat: Those horns! Those strings! That piano opening! Where Migrations quotes Pavement and includes a Dennis Wilson cover, Sambassadeur's latest sprinkles its lyrics with well-selected phrases from Nick Drake or James Bond movie titles (though you probably enjoy them more if you don't realize it). Plus there's a hushed, intimate rendition of Tobin Sprout's "Small Parade".
For all that, it's hard to pinpoint moments when European rises beyond "pleasant" or "comfortable" to something transcendent. While the slower songs may drag on early listens-- hint: try speakers instead of headphones-- "Albatross" eventually emerges as the closest thing. "I was happier alone/ Cut my hair just like a boy," sings frontwoman Anna Persson, her voice full and conversational over Astral Weeks-style upright bass. It's a moment that more than makes up for every "ivory skyline of your smile" or "pine trees like paintings." Put down your protest signs, people: There's still so much we could learn from each other.
