Artist-Loney, Dear
Album-Loney, Noir
Release Date-Feb 6, 2007
Genre/Style-Swedish Pop/Rock Indie-Pop
Size-54M
Quality-HQ
Official Site-http://www.loneydear.com
Biography-Apparently, lightning does in fact strike twice. In exactly the same way that indie chamber folk auteur Jens Lekman was discovered — his homemade CD-Rs falling into the right hands — Lekman's Swedish compatriot Emil Svanängen ended up signed to a respected American indie label when someone in Sub Pop's Seattle offices happened upon the talented singer/songwriter's early homemade discs through the Internet. Hailing from the small city of Jonkoping, Sweden, Svanängen first began recording homemade, overdubbed tapes of delicate, folkish indie pop (with shades of acts like Belle & Sebastian, Neutral Milk Hotel, and the Magnetic Fields) in the early 2000s. As Loney, Dear, Svanängen self-released three homemade CD-Rs through his website: River Fontana Redux, Citadel Band, and Solange. As buzz developed through MP3 blogs and other new media manifestations, Sub Pop offered Svanängen a contact in 2006. The first proper Loney, Dear album, Loney, Noir, was released in early 2007, as Svanängen put together a full-band lineup of the group for his first international tour.
Youtube online videos-"I am John" http://www.youtube.com/watch?v=WA57ImfVqcE
Review-by Margaret Reges Invigorating as a blast of Scandinavian air, Loney, Dear (otherwise known as Emil Svanängen) makes his Sub Pop debut with Loney, Noir. This is power pop mellowed by chamber pop sensibilities, but Svanängen shouldn't be confused with other indie multi-instrumentalists. In opposition to the typical "more is more" attitude of American indie acts like Sufjan Stevens (the artist to whom Svanängen will probably be likened, for better or worse), the throaty flutes and clarinets, optimistic handclaps, and tambourines embroider these songs rather than dominate them. As with other like-minded Swedes (Timo Raisanen, Jens Lekman, and Hello Saferide, just to name a few), Svanängen is a hook-builder, and his sophomore effort is built on breezy, straightforward pop rather than Stevens-esque orchestral noodling. Svanängen, like Raisanen, is blessed with an unbelievably high falsetto, especially apparent on "Saturday Waits." He also possesses a peculiar, rasping voice (when he isn't singing falsetto) and an apparent love of Brian Wilson, as demonstrated by the tight, soaring harmonies. The best moments on Loney, Noir are glowing, rushing, and immediately infectious. The album's first single, "I Am John," encapsulates this with its ebullient drums and breathless, surging vocals. It's the kind of song that becomes the soundtrack for an entire summer. Loney, Noir is an adolescent album, not because Svanängen hasn't yet reached his full potential as a songwriter, but because these songs are deeply interested in adolescent experience ("I'm a teenager, I'm anxious"). More than anything, Loney, Noir is almost ridiculously sweet, and this is by no means a bad thing.
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