Stina Nordenstam - This Is Stina Nordenstam

EXPANDING FROM THE CENTER OF THE UNIVERSE

What was I thinking! This Is Stina Nordenstam sat in my library; unloved and unattended to for months. After a string of solid, albeit uneventful Singer/Songwriter albums - that, time and again, showcased Nordenstam's lovable, Björk-esque vocals over any expressed, artistic merits - my interest in her development was running thin. The genre influences of Dynamite had me giddy, only to be let down outside of 'Now That You're Leaving.' When here, its unassuming spark and lack of adoration, failed to muster any sort of interest. Tsk tsk, for on the defiant self-titled Nordenstam aspires to - and competes with - Björk with an eclectic barrage of loud-soft dynamics, tender relapses, and alien interference.

No song misses the mark on the brief 32 minutes, as only 'Clothe Yourself For The Wind' comes close with its forgivable, interlude intimacy. Elsewhere, Nordenstam teams up with Brett Anderson on 'Trainsurfing' and 'Keen Yellow Planet.' A dusty, Art Rock influence emerges, with gruff guitars, crumbling keys, and crude juxtapositions. It reminds me of David Bowie's 1. Outside; anxious yet prodding. The best moment, by far, comes in the intersection of 'Keen Yellow Planet' and 'Lori Glory,' a sublime switch that rivals Portishead's as-of-then nonexistent 'Deep Water' / 'Machine Gun' pairing. Just as one begins succumbing to the alien otherworldliness, Nordenstam stomps with a highly-rhythmic horn section that, again, brings about comparisons to Bowie. This time, the untouchable '"Heroes"' and its marvelous partner-in-crime 'V-2 Schneider.' The horns of the latter meet the momentous movement of the former on 'Lori Glory,' Nordenstam's most exciting statement. And this is coming from someone whose deemed '"Heroes"' the greatest song of all-time, so I do not take that comparison lightly.

While that's undoubtedly my favorite moment on This Is Stina Nordenstam, the consistency and variety elsewhere is ever-so appreciated. 'Diver's' intense loud-soft duality doesn't hold back in the slightest, while 'Sharon & Hope's' summery breeze reminds me of hesitant Sunshine Pop, akin to Margo Guryan's Take A Picture. 'So Lee' and 'Welcome To Happiness' take to Trip Hop, losing the atmosphere of Portishead but inspired nonetheless by their filmic qualities. And 'Everyone Else In The World' and 'Stations' invokes the old, tame yet graceful Nordenstam. Eloquently composed, equal parts tender and curious. What a surprise this was. An all-around fantastic album that solidified Nordenstam's artistic career in my eyes, despite having given up on her months ago.