Loney, Dear
Loney, Noir
Sub Pop


Loney, Dear is Emil Svansngen of Sweden. Singing with a vaguely American accent, 'Loney, Noir' is Svansngen's fourth album, having previously released some of his pre-Sub Pop efforts as CDRs from his own website. SvanŠngen is actually of the Brian Wilson school of multi instrumental, arranging, composing, one-man band/industry, and claims to be releasing two albums a year until 2009.

In terms of sonic territory, 'Loney Noir' inhabits a similar space to fellow Sub Pop labelmates The Shins, and Band Of Horses, both featuring fairly high-pitched male vocal pop. At times sounding similar to Sufjan Stevens' ramshackle symphonics, the album possesses more energy and feeling and perhaps less awareness of an attempt to come across all 'Brian Wilson effortless genius' style. Melodically the album has more charm than your average indie Beach Boys Pet Sounds era wannabe, but on occasion wanders into sonic territory that could only be described as twee (And I Won't Cause Anything At All). However, the simple and charming pop of the opening Sinister In A State Of Hope is a perfect summation of the theme and mood of the remainder of the album.

I Could Stay and Carrying A Stone throb along with wonderfully pulsating horn arrangements, bravely placing guitars firmly in second place to more adventurous instrumentation and layered vocal arrangements. The Meter Marks OK veers into more waltz-time and wistful sentiment, but again exudes innocence and a lack of arrogance that is quite rare in the 'one man band genius of quirky pop' genre.

Eerily enough, Svanangen's higher and falsetto range is similar in timbre to J—n _—r Birgisson of Sigur Ros, in a kind of hoarse yet almost-angel style. His voice unashamedly falters, yet cannot help but add to the playful and childlike innocence of the melody and structure on offer.

Tim Koch