Jens Lekman
Night Falls Over Kortedala (Secretly Canadian)
By Catherine Disabato
Published: October 5th, 2007 | 4:06pm
In late September 2007, Jens Lekman’s second album, Night Falls Over Kortedala, reached the number one the record charts of his native country, Sweden. Unfortunately, he remains relatively unknown stateside. The American music industry is flush with singer-songwriter types, and finding someone like Lekman, who is the cream of this particular crop, is essential to keeping yourself from being overwhelmed.
In Night Falls Over Kortedala, Lekman improves upon his usual formula of sweet songs of love found or mournful songs of love lost. This time around, he’s added a few flares: a woodblock here, a horn there, a sample or two from Swedish and American pop — but the real difference is a change in tone.
Where his sadder, lower-temp songs defined Lekman’s former releases, his brighter, warmer numbers define Night Falls Over Kortedala. Even the tracks that seem like they’d drag under the weight of depressing content, like “I’m Leaving You Because I Don’t Love You,” are arranged with light, staccato piano melodies and charming, quick percussion. In “I’m Leaving You,” Lekman sounds as though he’s happy to revel in the negative feeling that despite the fact that he’s leaving, there are no regrets. This tone comes out in not only the music but also his joyful delivery of the lyrics.
Lekman’s voice doesn’t waver as he sings, “It’s the knowledge / Of future clarity/that makes my voice tremble,” and he doesn’t sound regretful as he chants, “I’m so sorry I couldn’t love you enough.” In short, despite sometimes downbeat subject matter, Night Falls Over Kortedala is one of the happiest albums of 2007.
The samples of old Swedish pop songs that Lekman uses on most of the tracks in Night Falls give the album a slightly fuzzy sound quality, and Lekman writes his lyrics like he’s telling you a story, giving the album a homey, familiar quality.
The album’s standouts are the early upbeat numbers, with “The Opposite of Hallelujah” leading the pack. Though it’s a song about miscommunication, Lekman’s sunny, dynamic melodies and popping percussion communicate his frustration so well you barely believe he ever had communication troubles. Another highlight is “A Postcard to Nina,” a previously released song about pretending to be the boyfriend of a lesbian friend, which shows off the goofball humor that Lekman often incorporates into his lyrics. Though Lekman hasn’t reached number one in the States yet, his albums continue to be worthy of that title.
Issue #35
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