What I’ve said in the past, and what I’ll continue to say, is that what makes Li’s music so interesting is its simplicity. In one of many interviews from this year, Li said that she wanted to create songs that were easily translatable to different environments. It comes as no surprise then, that when you listen to one of her songs (such as the irresistable “Dance, Dance, Dance”) you can’t help but feel immediately enthralled by it. The lyrics are usually simple and clever, the kind of cheeky thoughts of most young females. They are designed to get stuck in your head. The melodies work in a similar vein. Nothing is drawn out or too orchestrated.
What really sets her apart, though, is her live performance. Throughout the past couple of years, the independent market embraced a variety of different young females producing irresistably catchy and clever music that easily broke through the market. Watching them perform live, however, was usually a daunting task, as it became painfully obvious how inexperienced the musicians were.
In October, I caught Li perform at the Empty Bottle at a ridiculously cheap price. She was spectacular, breathtaking really, and that concert was, without a doubt, one of the best from this year. My initial thoughts:
To say that Lykke Li was perfect would be an understatement. Watching her perform in concert not only solidified the fact that she is an amazing performer, one who was clearly meant for the stage, but that her songs are flawless in their production.And so, when I think of this album in particular, I can’t help but focus on the fact that it all comes together: the performer, the structure, the lyrics, the melody. That’s not to say that her work is overproduced, or that Li is trying to project some sort of image. Rather, I think that what makes Li so interesting is the fact that she approaches her music from a personally authentic stance. She is earnest, but not annoying and intelligent, but not pretentious.There is a reason why her album became so popular so quickly. The minimalist structure of the songs combined with the simplistic yet memorable harmonies makes her debut a classic, one that can easily translate to a variety of different fans.
This minimalist pop narrative that Li has woven makes her live act something not to miss. Each song is constructed so that she break apart the melody or the tempo to make it something drastically different then what was produced on the record, yet still maintain the charm and vivacity of the original.
As well, when thinking about the record, I can’t help but think of the summer. This album, along with Nouns by No Age, was my two summer standard. They both represent two equally fascinating, yet varying aspects of what it means to be young in contemporary society. Their thoughts are not necessarily specific as to the idea of “youth” and the year 2008, but I can’t help but take a step back and examine the way their albums seemingly crossed over to a variety of different audiences. There is something very rational and comfortable about their music. It’s challenging yet familiar and it speaks to a cultural zeitgeist.
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Other things on Lykke Li:
Lykke Li was my style icon for 2008. Her deconstructed avant-garde aesthetic was a welcome surprise in a sea of Jenny Lewis hipster clones. That is to say, she wears weird clothes in weird combinations and favors a lot of black, not unlike myself.
Li performs “Can We Kick It?” with Q-tip. This is a staple of her live set.
An alternative version of “Breaking it Up,” one of the best songs from Youth Novels.
She modeled for Bodkin.
Looking gorgeous in the original video for “Breaking it Up.”
I was especially excited to see her on the Take Away show. I wrote an article for ALARM on the series.
My friend Colleen sent me a demo from Li entitled, “Tonight.”
Susie Bubble interviews Li for Dazed and Confused and she had the following to say: “The reason they compare me to all those people is because I have tits, because I’m a woman. It’s really narrow-minded. All those girls are fabulous but I think it’s really boring when people talk so much about women and say ‘Oh, she’s like Feist.’ It’s very lazy.” Love it.
The disturbing video for “I’m Good, I’m Gone.”
Her guest vocals on “Until We Bleed” by Kleerup was one of the best treats from the year.
Another great song: “Let it Fall”
Pitchfork gave her a positive review.
And etc, etc, etc, etc, etc.
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Other favorite albums of the year:
Santogold by Santogold
St. Dymphna by Gang Gang Dance
Midnight Boom by The Kills
Hercules and Love Affair by Hercules and Love Affair
Nouns by No Age
Devotion by Beach House
Third by Portishead
