It’s six long years since Swedish indietronica duo ‘I Break Horses’ last release, third album ‘Warnings’ proving a somewhat problematic follow-up to ‘Chiaroscuro’. In terms of difficult third albums, Maria Lindén’s trials and tribulations can perhaps be compared to Tears For Fears troublesome tertiary effort ‘The Seeds of Love’, the Scandinavian visiting numerous studios, aborting collaborations as well as losing a couple of years’ worth of material due to a serious tech issue.
Instead of trying to recreate what was lost, the Swede started again from scratch taking the DIY route, the replacement material largely created at home with stateside producer Chris Coady drafted in to mix the record.
Instead of trying to recreate what was lost, the Swede started again from scratch taking the DIY route, the replacement material largely created at home with stateside producer Chris Coady drafted in to mix the record.
Notwithstanding, ‘Warnings’ released on Bella Union records, proves well worth the wait, a painstakingly crafted vivid and sumptuous album packed full of surprises. One such memorable moment comes during the outro of agoraphobia inducing ‘I’ll Be The Death Of You’, the Polar synth chill slowly retreating, replaced by warming brass, leaving the listener feeling like they’ve just walked into a sauna.
The mesmeric waltz of 9-minute opener ‘Turn’, a brooding two-fingered salute to a former love interest is break-up pop at its finest, Lindén’s breathy vocal seemingly laden with emotion yet simultaneously matter of fact, the track fittingly withering at its climax. Other fleeting acoustic touches add a welcome organicity to proceedings including the taut bass on the otherwise languid and sultry ‘I Live At Night’, perhaps a reference to the long dark winters of Linden’s homeland.
‘Warnings’ clearly boasts a cinematic air although the short instrumental interludes seem a little out of place, as does otherworldly closer ‘Depression Tourist’, a sort of needless epilogue to the glorious woozy slow-motion euphoria of ‘Death Engine’. Nevertheless, there is an awful lot to like here.
‘Warnings’ clearly boasts a cinematic air although the short instrumental interludes seem a little out of place, as does otherworldly closer ‘Depression Tourist’, a sort of needless epilogue to the glorious woozy slow-motion euphoria of ‘Death Engine’. Nevertheless, there is an awful lot to like here.
Words - Mike Price
