SUSANNE SUNDFØR

style/genre - progressive folk with classical leanings

songwriting/originality/creativity - 4/5

general feel - rich, warm and colourful 4/5

mixing and production - 5/5

melodies - gorgeous and haunting

vocals - beautiful emotive cadences

guitar/bass - very little, but not missed

keyboards - play their part beautifully

percussion - mostly electronic, but enhances rather than detracts

other instruments - varied use of harp, violin, vibraphone, church organ, synthesizers, tubular bells

hooks - I found plenty

structure - good arrangements, track order nicely mixed for full album listen

excitement - not overly dramatic with a gentle energy, mostly exciting due to Susanne's oscillating vocals

engagement - very engaging

variety - good

harmonies - excellent

rhythms - varied and unusual in places in a good way

lyrics (lyric sheet? message? sung clearly?) - yes to lyric sheet, intriguing lyrics, mostly sung clearly

talking - none

any constant - Susanne's voice

favourite track/s - White Foxes and the title track

length - 44mins, quality over quantity

comparisons/self - her best album imho

comparisons/others - Carole King meets Celine Dion does not really do it justice; she's unique

if you like that, you might like this - possibly Kate Bush's The Ninth Wave?

artwork - soundwave patterns, nice digipak

album rating - 4/5 I found it very enjoyable

Susanne is one of the greatest singers of the new millenium. She's also a very gifted pianist, guitarist, composer and arranger. The music on her debut is pure folk. Or popfolk, if you wish. A little bit of jazz- and classical influences, but not yet the progressive grandeur that will be.

This album is not prog, nor is it essential, but it's an excellent debut and starting point, for an artist that will grow and grow with each album. Susanne Sundfør-enthousiasts are likely to enjoy this album. Lovers of Kate Bush or Joni Mitchell will enjoy it also, others are best to pick up the last 3 albums she put out; they are more lush, progressive and experimental.

As of now: I love this album, because I love her voice and compostions.

The music especially reminds one of Kate Bush. The lush, progressive and bombastic compositions and arrangments go hand in hand with more melodramatic, calm piano pieces.

Susanne has a classicaly trained voice, wich reminds me a bit of Annie Haslam of Renaissance. The music on the other hand, isn't comparable to that of Renaissance, but as said, more in the vein of Kate Bush.

All the songs on this album hold their own, there's not a weak track in sight. I give this album the full rating, because I think the music of Sundfor is progressive, refreshing and experimental in such a way, that stands out far above a lot of progressive music these days.

The music has influences from baroque pop, classical music, synthpop, 80's pop-arrangments, acoustic singer/songwriter, folk and the production is clean and clear but at the same time warm and rich. The Brothel is an absolute masterpiece, wich can only be topped by Susanne Sundfor's The Silicone Veil which is the next album.

This album is more electronic and uptempo, but has a few moments of piece. The compositions and arrangments are again of very high standard. This time Susanne collaborates with a famous producers like Jonathan Bates (on Accelerate), M83 (on Memorial), Röyksopp (on Slowly) and Lars Horntveth (from Jaga Jazzist) (on Silencer).

The album starts real slow and mysterious with Darlings, where once again Susanne proves to be one of the top-vocalists of this day and age.

Accelerate is uptempo, very haunting and has a threathening atmosphere. Also because of the church organ in the refrains. The song fades into Fade Away wich has the same tempo, but is less threathening and has some really beautiful melodies, wich will keep following you. Also the synth-solo is almost sweet and cute. These three songs are a great start to this album, wich pulls you right in and keeps you wishing for more.

Silencer is a almost like a lullaby. No synth-driven song, but with acoustic guitar and fender rhodes. Susanne sings really high here, and when the string-synth in the middle section makes its entrance, it can bring a tear to your eye. Really, really beautiful and dreamy.

Kamikaze starts slowly but builds up to a heavy synthpop track. Memorial is 10 minute long epic, wich focuses on Susannes voice, organ and an extended middle section on piano and string essemble. This is the most progressive/classical piece on the album.

Delirious and Slowly are uptemp, heavy synthpop tracks. Trust Me is a ballad, accompanied by organ (again) and has a really moody and forboding character.

Insects is a heavy, synth-percussion driven and dark song, with an almost IDM-feel. It closes the album, but with a satisfied feeling. This is one of those albums you keep playing over and over again. Like those old Kate Bush-records.

Overall this is an album with two faces: dark, heavy, almost threathening synthpop tracks and acoustic, folky and classical softer moments. A very good balance.

Strong melodies with a strong voice with a bit sloppy pronunciation of the words and the thrill of nearly, but never actually, missing the tune.

This album grows on You and sure points to greater things to come.

As a debut album of an artist that would continue to grow rapidly into her own expression (already the next "new" album, "The Brothel" would give us a mature, focused artist) this is clearly a 4 star album.