Life [CD]

Statistics are a baffling thing. They tell us that Sweden enjoys Europe's highest standard of living and its highest suicide rate. Statistics also tell us that The Cardigans are the country's most successful musical export since Abba. This actually makes perfect sense, for the quintet's music is an uncannily accurate microcosm of the country that spawned it--deliciously breezy pop melodies lent just enough bite by Nina Persson's fatalistic vocals. It's a recipe they perfected with unnerving confidence on Life, which exhibits an instinctive familiarity with the pantheon of timeless pop. Burt Bacharach's shadow looms unmistakably over the pensive autumnal strains of "Celia Inside" and "Tomorrow", whilst fragrant indie-pop nuggets such as "Rise And Shine" and "Gordon's Gardenparty" suggest that guitarist/songwriter Peter Svensson spent more than the occasional evening learning his craft from old Smiths records. It is, of course, impossible to discuss intuitive 90s female-fronted pop acts without mentioning Saint Etienne. The appreciation, in this case, is mutual; so impressed were the Etienne with the airy pristine sound of Life, that they were inspired to record 1997's Good Humor in the same Malmo studios. --Peter Paphides

These days it's getting harder to tell the real pop twerps from the hip parodists--both of whom make music sweeter and more dizzying than cherry wine. Take Sweden's Cardigans, for example: On one hand, they work the same delicious Bacharach lounge jazz and gooey '60s girl swoons as Pizzicato Five, a group whose retrokitsch is delivered with a big, fake-eyelashed wink. On the other hand, the Cardigans come from a land that gave us Abba and Ace of Base, sincere pop legends if ever there were. The Cardigans, it seems, could go either way, and their subtle blend of pop-for-pop's-sake with pop-for-joke's-sake makes their first American release, Life, all the more a modernist gem.

There's no use digging below the surface of Life's amazingly catchy opening quartet of tunes. All the joy to be extracted lies right on the surface: "Carnival"'s loopy organ and punchy beat is all cotton candy and merry-go-rounds; "Daddy's Car" is a fun-fun-fun ride to the up-up-and-away; "Fine" soars heavenward while "Rise & Shine" is mile-a-minute perk-me-up. From there, though, "Our Space" ventures deeper, into darker and moodier atmospherics and a trip-hoppy electronic shuffle. Singer Nina Persson's crystalline lullaby voice keeps it all sounding innocent as hell, but when she sinks her candy-coated teeth into a Black Sabbath cover ("Sabbath Bloody Sabbath") she exposes a few sinister cavities. By the time she closes the album, exulting "No one can be happier than me!" the effect is eerie enough for David Lynch. With Life, the Cardigans give us pop till it hurts. --Roni Sarig

The second album by the Swedish pop/rock mavericks may have begun life as an in-joke, but it was the definitive statement that launched them as a truly international force as well. Here was an album that demonstrated that not only did they have the multi-faceted writing skills to put them in the charts, but also they had the studio smarts to back the songs up as well.

Formed by two heavy metal fans, Peter Svensson and Magnus Svengingsson, the band had already caught the attention of the European market with their debut, Emmerdale. Two things made them stand out: The singing by non-professional Nina Persson and the music theory and jazz background of Svensson. This allowed them to be one of the first truly 'ironic' pop acts that could turn out saccharine, sunshiney hits that still had enough intelligence to appeal to a broader audience.

By 1994 they'd toured the world and really gelled. Life was to be their most optimistic-sounding effort, filled to the brim with gems like "Hey! Get Out Of My Way" and "Daddy's Car" (they were always great at song titles). The former and "Carnival" were to be their entry points into the lower reaches of the UK charts. Major smash single territory was to wait until the follow-up's "Lovefool", but Life was a platinum-seller on its own merits. What's more, as a cheeky nod to their founders' pasts they even managed to include a popped-up version of Sabbath's "Sabbath Bloody Sabbath". Talk about dextrous.

The world's press of course then had the band tagged as popticians and nothing more. Subsequent, darker albums like Super Extra Gravity and Long Gone before Daylight would prove them to be far deeper than that. But Life remains a pop gem. --Dennis O'Dell

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