A long-in-the-making debut from the Skurup native Miriam Pettersson, also known by her musical moniker MIRIAM. Färgstarkare is a colorful display of Miriam’s musicality, awareness of pop music trends, and outstanding ability to craft compelling melodies.
Literally meaning ‘more colorful’ MIRIAM’s debut is a modern pop album through and through. Pristine, sharp production, layer upon layer of vocal and melodic charm, and an attitude that’s hip, honest, and in touch with what’s modern, exciting, and intoxicating in pop music.
The songs on Färgstarkare are not minimal or simplistic just to be digestible and radio-friendly. The music instead is nuanced and calculated, with influences drawing from a wide range of artists, from the soft jazz of George Benson on Lyckevägens Strand to the syrupy sweet vibes of early Taylor Swift on Ensamheten, and many, many more in between.
Varför Inte Säga Pt.1 starts the album on an explosive notion, musically and vocally. The Funk grooves and snappy, tight drums, and Miriam’s infectious vocal delivery on the dynamite chorus all make this song an incredibly compelling start. Måste Veta is a fantastic hit with a strong presence. Dangerous and charismatic, Miriam’s delivery is effortless, lulling, and almost rapped, with another stunning hook with interesting chords that manage to add sufficient spice to the tune. Ser Er Sees MIRIAM borrows a page from St. Vincent’s 2014 self-titled album, with a fuzzy, filthy, hypnotic synth riff over captivating progression and concise production. Ensamheten has an ever-familiar stab-y synth, playing an ever-familiar 4-chord loop, creating an atmosphere that feels immediately familiar and inviting. This is made complete by MIRIAM’s processed vocals and the wonderful, delicate melody on the instrumental medley, which has an emotional chord progression that uses dark diminished chords and bright borrowed ones in a musically wholesome moment.
Note the sharp contrast between the distorted guitar and the cloudy synth on this medley, one of the best put-together moments on the album for sure. Hitta Hem is a sweet tune with a bouncy, brilliantly performed, and written bassline. The vocal delivery is smooth and relatively low, giving an approachable, personal quality to this song. On the other hand, the second half has one of the most challenging and capable vocal performances on the entire album. The descending melody that closes the song is haunting. To my sleepy head, Lyckevägens Strand easily wins the title for my favorite piece on this album. This stunning piece is dominated by a chorused, delightful organ, playing a soulful backing to MIRIAM’s intimate singing. The sound is soothing and homely, while being capable, and showing a challenging restraint from all partakers. Barn is built on a warm acoustic guitar line, the first, and only time a guitar features this prominently in the album. The vocal part, which has rapid jumps between the upper and lower registers, shows impressive range and control in this inviting, chill cut. Färgstarkare is a sweet note to end this beautiful collection of songs. Mild, inviting pop musings, with nuanced vocal chops, an enticing, minimal rhythm, a dancy, intricate bassline, and a gorgeous, lengthy instrumental medley.
Wonderful production, immense musicality, beautiful singing, and lush soundscapes all make this album an incredibly rich and inviting listen. Easy too! The songs have suitable lengths, and the melodies are compelling. An immensely enjoyable listen.
