Anna Ternheim’s return to the Swedish music scene with ”Psalmer från sjunde himlen” (Hymns from the Seventh Heaven) marks a stylistic shift for the artist, embracing a more commercially oriented pop sound. While her indie roots might linger in the background, the album firmly places her within the realm of established Swedish pop acts like Thomas Stenström, Laleh, and Veronica Maggio. Co-produced by Joakim Berg and Martin Sköld of Kent, the album carries a polished, radio-ready sheen, which, while professionally executed, occasionally feels somewhat predictable.
The album’s title and release timing – the seventeenth day of the year – playfully suggest a religious theme, perhaps capitalizing on perceived trends. The production evokes a sense of newfound spiritual fervor, a modern take on gospel or folk-inspired hymns, though this religious undercurrent remains largely subtextual. The album builds upon Ternheim’s prior collaboration with Berg in the short-lived supergroup Dead People, showcasing a more refined and engaging sound.
”Psalmer från sjunde himlen” presents a collection of well-crafted pop songs, each possessing individual strengths but often lacking the distinctive edge to truly stand out. While the production is undeniably slick and professional, a certain predictability pervades the album, potentially hindering its long-term impact. The risk, as the reviewer notes, is that the album becomes lost in the constant influx of new music. This polished production, while showcasing Ternheim’s vocal talent and songwriting abilities, sometimes overshadows the emotional depth hinted at in some tracks.
Despite its mainstream leanings, the album offers glimpses of Ternheim’s artistic sensibilities. ”Orkanen” (The Hurricane) delivers a raw, emotive punch, contrasting with the lighter, dreamlike atmosphere of ”Kalifornien” (California). These moments of vulnerability and sonic exploration prevent the album from becoming entirely homogenous. While most tracks demonstrate promising beginnings, they often fail to fully realize their potential, leaving the listener wanting more. The title track, ”Sjunde himlen,” emerges as the album’s centerpiece, a driving, evocative piece that showcases the collaborative strength of Ternheim, Berg, and Sköld.
However, the album is not without its missteps. “Kom tillbaks” (Come Back), the opening track, draws perhaps too heavily from the iconic ”Always on My Mind,” raising concerns of derivative songwriting. This instance, while not representative of the entire album, highlights the potential pitfalls of adhering too closely to established formulas. The overall impression is one of competence and professionalism, a testament to the artists’ mastery of pop songcraft. Yet, this very proficiency sometimes translates into a lack of risk-taking, resulting in an album that feels pleasant but ultimately unremarkable.
In a rapidly evolving Swedish music scene, ”Psalmer från sjunde himlen” risks being overshadowed by more innovative and daring projects. While Ternheim’s foray into mainstream pop demonstrates her versatility and vocal prowess, the album ultimately lacks the distinctive character to leave a lasting impression. The reviewer’s assessment of ”tråkigt” (boring) might be harsh, but it underscores the album’s primary flaw: a tendency towards safe, predictable songwriting and production choices. While technically sound and undeniably pleasing to the ear, the album lacks the spark of originality that elevates good pop music to something truly memorable. The album’s strength lies in its individual moments of brilliance, particularly the title track, but these are unfortunately interspersed within a collection that often feels too polished and predictable.
