Susanne Sundfor ‘Ten Love Songs’ is not what you think it is

I recently compared Jenny Hval to bits and pieces of Susanne Sundfor (not literal bits and pieces, obviously) and totally forgot to mention that Susanne released an album this year as well. „Ten Love Songs“ is what you’d call a „Slow Burner“ because it starts a little tame and very much in the safe realms of pop* and slowly develops the typical Sundfor sound of grand classical compositions and this weirdly uncanny valley feeling of electronic alienation that never gets too intense (intense as in „Please make the Polar Express drive off a bridge“). Imagine a weirdly lit prom in the 80s where the adults are absent and everyone is too tired to really freak out. That’s the effect some of the slower songs evoke in me (maybe I should reconsider my life choices, though).

The album picks up speed around „Fade Away and somewhere around the end it has reached the „Silicon Veil“ heights of deliriousness (coincidentally, one of the outstanding songs on this album is called „Delirious“).

Weirdly, on the recorded version she doesn’t sound that Kate Bush-y as in this live version. It’s probably the total Kate Bush-move when she sings “I am not the one holding the gun”. I dig it both ways. 


I don’t know how much thought was put into the tracklisting but would bet that Susanne didn’t just draw some numbers. Therefore, let me openly admire the bold move to please and then surprise the new listeners (probably SIA-fans) with pop tunes that go out into the wild and simultaneously confuse and then excite old listeners who don’t have to fear that Susanne will anytime soon write a “simple! album.

*Let’s just say that it is safe pop in my world. There are probably Britney Spears fans out there that would be absolutely alienated by this.

2 thoughts on “Susanne Sundfor ‘Ten Love Songs’ is not what you think it is

  1. This question might sound like I want to make fun of you, but I’m honestly just curious: Does this style of writing about music albums come naturally to you, or: Is this an accurate representation of your thoughts and feelings while listening to it, or do you have to consciousl write it like that so it sounds like a review? Because I remember in my first and only album review, I felt very much lost and just stole from other reviewers.

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    1. I usually go with the first mental image/feeling when I listen to it. Which sometimes takes some time (I sometimes listen to an album once and immediately have an idea how it feels for me and sometimes I have to listen to it repeatedly to work things out). As soon as I have one image, I try to go from there in the review so it reads – hopefully – with a certain flow. So, I guess it is as close as an representation of what I feel and think as possible. However, I do add analytic elements when it fits or when I feel like they have to be in there. I have to go from what I feel because my theoretical knowledge in music is not enough to give a thorough expert analysis on albums. So I dance to architecture.
      I have to admit, it’s easier in English for me because it is very difficult to write in German without sounding pretentious or cheesy which is why I switched back and forth but ended up in English. In German, I am mainly good with biting criticism of things, though.
      I hope that answered your question and I would never in a million years think that you would make fun of me this way because you’re hardly ever subtle or sneaky with mockery.

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