Music: Peter Bjorn And John - Writer's Block

Peter Bjorn And John
Writer's Block
[Guitar Pop / Indie]






Over the past few years, Sweden has certainly had a lot to offer to the world of indie and alternative music. Bands such as The Hives, The Concretes and The Knife, for example, have all enjoyed degrees of critical or commercial success. However, no act has, of yet, successfully transcended the divide between acclaim and sales. It comes as no surprise, then, that on their second full-length release, Peter Bjorn And John attempt to fuse friendly, bitesize guitar pop with occasional (yet substantial) experimentation. Needless to say, while this approach is at times triumphant, it can also lead to some decidedly mixed results.

However, that is not to say that the trio have particular difficulty in either field - as the two opening songs immediately demonstrate. "Objects of My Affection" is bombastic, loud, messy and soulful, recalling My Bloody Valentine and Neutral Milk Hotel in equal measure. Crashing guitars, pounding drums and distant whistles provide a suitable template for Peter Bergsman's forced, slightly offbeat tone. 'I laugh more often now / I cry more often now / I am more me' is one among a host of memorable lines, all of which fit the defiant, emotive nature of the song.

Following on from such a strong opener is the tune that, I would hazard a guess, is the reason most people will buy Writer's Block. "Young Folks" has been on extremely heavy rotation since the summer, and deservedly so. Unfolding as an awkward, idyllic conversation between two...young folks (with The Concretes' Victoria Bergsman on hand to add an even dreamier touch), it's infectious whistled melody, groovy bass line, bongos, maracas and simple, programmed beats combine to gorgeous effect. While I wouldn't go as far as calling it pop perfection, it's damn close.

The sludgy "Amsterdam" then provides an interesting diversion, combining withdrawn vocals, another good backing beat, more piercing whistles and prominent bass to create an eerie (yet strangely relaxing) song quite unlike anything I'd heard before. Fourth song "Start To Melt" is the first disappointment of Writer's Block, attempting to recycle the overblown guitars of "Objects..." but coming off as slightly lacking in structure and direction. The lyrics also leave a lot to be desired; 'I start to melt / With your arms around my waist.' It's two minutes are easily forgotten, especially given the calibre of superb album centrepiece and last song of Part A (more on that later), "Up Against The Wall".

At seven minutes in length there is certainly room for creative manoeuvre, yet it is the song's charming simplicity that makes it so memorable. Pulsing drums and a gently plucked melody form the foundation for the verses, in which Bergsman details a difficult relationship: 'Bones are trembling, hands are cold / You don't know how it feels / You got me up against the wall'. In between each section, an additional guitar overlaps and winds around the main melody while moody synths hover in the background. It is at this point that Writer's Block (albeit briefly) achieves the ideal balance between creativity and accessibility, and when the spiralling extended outro then kicks in with two minutes remaining, it is a challenge not to grin with unbridled joy.

And so ends Part A - not a PB&J label but one which I have applied myself, one which describes what could also be known as "The Good Part of the Record". You see, Writer's Block is an extremely top-heavy record, to the point where roughly 80 percent of the latter half is completely disposable. "Paris 2004" tries to be sweet and ends up sickly; "Let's Call It Off" is barely listenable, early Beatles mimicry; "Roll The Credits" is over six minutes of strummed guitar, poor lyrics and dull vocals, and "Poor Cow" is more of the same but at an even slower pace.

Only "The Chills" - a song which easily matches the calibre of Part A - is a worthwhile listen on the second half of the album. Combining dense bass, an unconventional beat and frantic "shh-shh-shh-shh-shh"-es, it is certainly the most interesting song musically on Writer's Block, despite the fact that the chorus is quite weak and does nothing but restrict the momentum of the song.

In conclusion, it would be easy to write off Peter Bjorn And John as yet another group with a strong single, some bright moments and lot of dull ones; and perhaps that is what they deserve after producing Writer's Block. However, with such substantial and inspired creativity brimming in certain songs, it is puzzling as to why more of that energy could not be expended on every track. Whether that's down to writer's block, or just plain laziness, I guess we'll never know. 68