Lykke Li's second album after the elfin, sugary Mädchenpopdebüt falls considerably rougher and edgier from

Lykke Li's second album after the elfin, sugary Mädchenpopdebüt falls out a lot rougher and edgier. Fortunately Wounded Rhymes is therefore no infusion. The new sound of the Swedish Weltenbummlerin sound overall richer and ribbon-heavy as their fine spiritual pop structures on Youth Novels, but presents itself ultimately as a debut the following, slightly ailing successor.

Dynamic sets the rhythm in the strong opener Youth Knows No Pain convincingly indie rock style going on. Lykke Li rocks here literally and intentionally uses another direction signs. I Follow Rivers also thrives on active rhythms and percussion, and thus knows pleasant surprise. After the debut delicacy now so a Narration maturation process. Lykke Li as a serious artist, who speaks more than one feeling keyboard. But the subsequent ballads and folk attempts Love Out Of Lust and Unrequited Love birth to melodic monotonous and boring and uneventful, and are furthermore no lyrical milestones. Lykke Li as hard Gerannte in their emotional drawer.

Whenever Wounded Rhymes convinces contributes percussion rhythm and the song. So also to get some with acoustic guitar and Spoken Word bonds. The same goes for Rich Kids Blues driving drumming and its rich instrumentation. Lykke Li is the role of vocal bandleader really good. But immediately the next song only the voice space goes back to the half-baked neither-fish-nor-meat direction, ballad, giving, but with too many confounding factors around it to know the downtempo numbers often not where they actually want to go. Sadness Is A Blessing with his lyrically questionable whining is such a case.

Even the dramatic clever back employees, thrifty, because purely acoustic I Know Places is how it happened: unspannend. But the ups and downs of the following album it comes again with Jerome vigorously forward. Lykke Li, who would have thought it after Zartpopdebüt, can quite well with punchy music. Silent My Song, finally, is a real bouncer, elegiac, pompously, and, indeed, tends superfluous.

Lykke Li has bravely borne the burden of their acclaimed debut on her back and some new daring. Above all, that they do not lack works with tape and uptempo numbers of place is the gratifying knowledge from Wounded Rhymes. But too much studied the young musician here for the right future way, or commits the old or new possible simply not consistent enough. Lykke Li: strongly held only good.

MQ