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Circulation Symbol

There is a new cool Scandinavian girl in town and you know her as MØ. Already hailed as the Danish Grimes, Karen Marie Ørsted’s debut album No Mythologies to Follow lives up to — and surpasses — all the expectations with its tangible energy. She is a quirky new face in the Scandinavian electronic music scene with soulful vocals similar to fellow Scandinavian queen Lykke Li, but unlike Li, MØ is not here to break your heart. She mixes her soulful vocals ambitiously with upbeat back claps and “come-ons”. Her debut album represents her persona as a whole: she is the odd girl with a chain plait in her hair jumping around with a stage name that stands for ‘virgin’.

There is eccentric intensity in this album and MØ treats us with a mix of R&B-esque dance music with a new age electronica beat. She is bringing something fresh to the table with her pseudo hip-hop persona and the album itself is a reminder of what it is like to be young and restless. ‘Fire Rides’ and the album’s first single, ‘Maiden’ give a snappy, one-two punch intro to the album. ‘Fire Rides’ introduces us to the heavy bass that recurs throughout No Mythologies to Follow and ‘Maiden’ shows the emotional, vulnerable side of MØ’s vocals. ‘Don’t Wanna Dance’ reveals the more commercial elements of MØ’s music and is nothing like the rest of the tracks on the album, and therefore completely out of place. MØ mashes up lingering Lana Del Rey-ish vocals with a catchy indie pop tune while admitting she doesn’t want to dance with anybody else but the boy she loves in a bit of a “Top 40” manner. ‘Waste of Time’ — one of the strongest tracks from the album — provides us with a big ‘fuck you’ to a relationship from the past and is an anthem of tragedy behind a love story. The track itself starts with a haunting repetitive electro beat that leads us to powerful guitar riffs and MØ cursing over a love that was ‘a waste of time’.

Overall, MØ serves us a delicious cocktail of tunes that treats even the pickiest music fan. She is the girl who can wear a plait in her hair and have the “fuck-the-haters” attitude working for her at the same time. The honesty of this album is heartbreaking, yet the lyrics seem to go missing behind the bass elements every now and then. No Mythologies to Follow is a beautiful chaos of heavy synths and bass with gems like ‘Waste of Time’, ‘Pilgrim’ and ‘Glass’ — all radically different tracks that you wouldn’t expect to work well together, but MØ pulls it off. This album isn’t flawless but she makes it work. MØ is a breath of fresh air in the electronic music scene and I predict she’s here to stay.

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