in briefrelease

Ecstasy After the Party

Olof Dreijer: »Loud Bloom«

With the debut album Loud Bloom, Olof Dreijer – best known from The Knife – comes across as someone who never quite realised the party was over. Or perhaps realised it before everyone else did.

For years, club music has been absorbed into popular culture and its aesthetic vocabulary – imported into the pop song as energy, irony, and texture through artists like Charli XCX, PC Music, and the entire hyperpop complex. On Loud Bloom, the opposite happens. This is not club music disguised as pop, but pop music subjected to the temporality of the club: circular, lingering, and uninterested in quick release.

Dreijer understands something essential about repetition – the melodies are catchy without being insistent. »Rosa Rugosa«, »Plastic Camelia«, and »Cassia« are instantly memorable, yet the melodies never harden into slogans. The sonic palette is airy and almost devoid of chordal surfaces. Steel drums, gleaming synth figures, pitched tom-toms, and sub-bass drift lyrically through the music, while castanets and cowbells flicker at the edges. Even the vocals function more as texture than as centre.

The album feels constantly in motion, as though its melodies are being refracted through prisms that continuously produce new luminous surfaces. On »Lantana«, tones drift away from their point of departure like blurred watercolours – not quite microtonal, but with a sense of intonation as something fluid. Precisely for that reason, one occasionally misses an element of estrangement. In The Knife, Karin Dreijer’s voice functioned as a disturbing counterforce – androgynous, childlike, threatening. On Loud Bloom, the sonic world is more homogeneous and smoothed out.

Still, the album feels like an heir to the half-clubbed, half-pop kaleidoscopic computer music of the mid-2010s – albums such as Our Love by Caribou and In Colour by Jamie xx – music that dared to be melodic without the safety net of irony. Dreijer’s music believes in ecstasy as a gentle experience. It is music meant for dancing, yet somehow shy at the very thought of celebration.

English translation: Andreo Michaelo Mielczarek

playlist

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