"... two forces that combine in their music: on one side, the prowling, lurking post-rock that threatens to explode at any moment into a wall of noise (or, in Audrey's case, an exquisite wall of voices); and on the other side, pretty songs. It's tempting to say they're at their best when they're at their simplest - the treated piano notes that mark time in Leaving/Letting Go; but it's equally tempting to say they're at their best when they launch into a no-holds-barred vocal assault, as on Six Yields and Mecklenburg. A fabulous, shimmering debut, for fans of Sigur Ros, Stina Nordenstam, Björk or Low." - THE SUNDAY TIMES (4/5)

"Between bursts of wind-swept laughter and pianos dripped in reverb, the delicate vocals of Swedish quartet Audrey enters stage left, soaring majestically through string-laden choruses and dissonant waves of guitar feedback. Vocal harmonies are swapped over layers of brazen guitar clashes, while soft words are uttered revealing poignant memories of years gone by. Visible Forms controls emotions through elaborate string sections, narrative lyrics and sweeping vocal arrangements, while adding pianos and keyboards for extra effect ... become embraced by an album produced by a band with a lot of promise, then the coming winter months are sure to seem a whole lot warmer for Visible Forms' existence." - DROWNED IN SOUND (8/10)

"This all-girl four-piece's debut is the most original record from a Nordic country since Ágætis Byrjun by Sigur Rós ... gorgeous ... sublime ... a long time since Björk released anything this good." - THE BIG ISSUE (4/5)

"Audrey dirty-up their translucent sound with proudly flauntered hurt and regret. Four women in their early twenties sharing vocal duties ... using swathes of guitar to disrupt any over-prettiness ... pianos, cellos and flugelhorns give this an individual atmosphere." - UNCUT

"Nine fine songs of Autumnal elegance from four Swedish women, exuding a slowburning melancholy that is sweetly enchanting. Piano, cello and occasional brass paint fill the gaps left by regular rock instruments, as four voices harmonise beautifully. Comparisons to Bjork seem fair enough vocally, but musically Low and Sigur Ros are probably closer. Freezing to death in the dark never sounded so good!" - FLUX

"This album grabs you instantly, sexy vocal harmonies and an uplifting, laid back but wonderfully dark orchestral post rock soundtrack ... will appeal to those who like their pop with a splash of art and anyone who thinks Bjork's music makes sense." - SPILL MAGAZINE (79%)

"... rare gravitas and beautiful composure ... a brooding, spooked Scandinavian Gothic sound that glistens with morning dew and that gives off the scent of yellowed sketchbook pages filled with collaged memoirs and coded scrawls of obsessive recording. Visible Forms is the audio equivalent of the faded glamour that inhabits 19th Century mansions, forlornly abandoned and sectioned into decrepit apartments or seedy hotels as their former owners moved out to suburbia and the country to escape the urban sprawl, leaving behind their ghosts of something old. Beautifully musty, dusty, tattered and torn." - TANGENTS

"The first thing that comes to mind when visible forms sounds flutter, is its texture. Coupling an affection for orchestral landscapes with the minimal harmonies of post rock it leans towards more avante garde musical performance art. The vocals sound somewhere between Bjork and Beth Orton. Think the understatement of low and the textures of Sonic youths more experimental side. They manage to make minimalism sound grand. It is a record of abstract terrains and musical narratives that change moods and tensions. Come enjoy the images and sounds." - SUBBA-CULTCHA

"Another Swedish act who refresh the senses. The four-piece peddle widescreen lullabye rock that recalls the delicacy of Red House Painters and Sigur Rós." - METRO (London)

"Low, and Bjork, and Emiliana Torrini: well yes they all come to mind when listening to this debut EP, the unbelievably delicate debut from four Swedish girls ... they are bound to charm their way into your day." - SUBBA-CULTCHA

"Lawks! This is fantastic! There was an awful lot of this manner of shenaniganing going on in the post-rock heyday, but few of the bands in question have quite nailed Low's grandeur to the extent that this lot have, with the opening 'Box, And Fights' and the mammoth, zither'n'piano-incorporating 'Hymn' standing out in particular. Will undoubtedly bear watching, wethinks." - PLAYLOUDER

" ... the best new band on the planet. Eschewing the typical penchant for bouncy Scando indie-rock in favour of fragile cello-laden wanderings that make Low's output pre-'The Great Destroyer' sound like Motorhead ... they'll be an acquired taste for many people, but they're certainly one I'm glad to have acquired already." - SOUNDSXP

"This young band impress me on all the tracks on their debut-EP. Low and Björk are two influences but Audrey have their own strong personality. They all share vocals, beautiful arrangements, spellbinding cello. Very promising." - GÖTEBORGSPOSTEN

"Audrey's debut-EP is absolutely essential. Their expression is perhaps a product sprung from over-consumption of Arab Strap, Sigur Rós, Low and Cranes, but the result is very much their own. The songs move almost always in slow-motion but never lose their focus or melody, keeping your attention up. It's something few bands manage to pull-off in the genre, especially not on their first release." - REVOLVER

"It sounds simple. It sounds as though they're using just a few instruments, cello, guitars, piano and drums, and even less effects, but still they manage to change the mood in the room where you're listening. The music makes you feel calm, reminds you of beauty, of a most welcome melancholic state of mind. All the songs are connected by some sort of theme, a theme you want to hear more of." - THE CRICKET

"After this year's The Black Tango, the Gothenburg post-folkie rushes out a mini album. His sad songs and little-boy-lost vocals recall Bright Eyes, but his settings are all his own, mixing lo-fi sensibilities with gnarly electronics, warm cellos, lustrous violins, banjo and sax to lush effect." - THE INDEPENDENT

"On this seven-track follow-up to the acclaimed Black Tango, Gothenburg native Martin Gustafsson takes the pastoral folk-pop of Sufjan Stevens and the world-weary musings of the late Elliott Smith and adds violins, Mellotron and occasional programmed percussion, resulting in something incredibly fragile and perfectly crafted. Underpinning it all is Gustafsson's overwhelming melancholia: on the likes of "For I Cannot Breathe" and the stunning opener "Burn This Flag" (Opening line: "She said she found God in a k-hole...") he really does see darkness." - UNCUT (4/5)

"Sweden's Martin Henrik Gustaffson was born to write and sing. The tracks on this CD are like nothing my ears have heard before. Every one is unique and stands out in their own independent way. They are graceful songs with a lot of oomph put into it ... This really is the album that you have searched for throughout your whole life."- MAVERICK MAGAZINE (5/5)

"No it's not another fish vitamin product for kids, but instead a highly talented singer/songwriter from Gothenburg. Sounding like a marriage between Trent Reznor and Sufjan Stevens ... an intriguing blend of acoustic and electronica ... in terms of charm it has bag-fulls and the song writing is first class." - SPILL MAGAZINE (80%)

"Boy Omegas' 'The Grey Rainbow' begins with the superbly titles 'Burn The Flag', an electro acoustic tale of indulgence and discovery. The intriguing mix of acoustic and electronic whets the palette for things to come ... The standout track on 'The Grey Rainbow' has to be 'A Heart Is A Heart'. Dispensing with the electronics/programming and stripping back the band to vocals, bass and guitar this wonderful track has all the promise and yearning of 'Nebraska'-era Springsteen. Four and a half minutes of beauty that feels like a 'long time not seen' friend administering a hug. Sublime! 'The Isle' completes this 7 song release with military style drums and a Mercury Rev / Flaming Lips feel. A great batch of tunes delivered with style. The end has been reached and Boy Omega sang his heart out." - AMERICANA UK (7/10)

"Fans of Sufjan Stevens and Elliot Smith will feel a kinship to these allusive tunes ... A fascinating series of snapshots, both disarming and engaging." - UNCUT (4/5)

"The second album from this Swedish singer-songwriter is a quasi-concept piece about lost loved ones. It's no party, then. But chamber-group and electronic arrangements shade in the sparse songs, and the Boy's tremulous, Bright Eyes-ish voice elevates fortitude over self-indulgence. One to Watch." - THE INDEPENDENT

"Recorded at home by one Martin Henrik Gustafsson with the help of friends who provide backing vocals, sax, violin and cello accompaniement and “breathing”, amongst others, it all adds up to a richly dark musical miasma of loss and longing, just like all great Pop ought. At times recalling the soft and gentle despair of early Elliott Smith, at others the quirky Pop experimentalism of Beck or Ariel Pink, Black Tango is a tempered ramshackle record of 21st Century folk music that understands the value of brief meanders and intermissions (half it's twenty songs are under two minutes, and almost half of those are under a minute) and the importance of simply great songs (this track, and the wonderful, oddly Cure-esque 'By Midnight We'll Give It A Go' are classy moments you could easily find yourself addicted to)." - TANGENTS

"A collection of velvety folk-pop songs and hallucinatory interludes. The blend of electronic and acoustic is (as expected) wonderful, and a nice contrast to his previous work." - PARASOL

"A very beautiful album, which carries the listener forward 45 minutes long into its own world. And as a stronger human one returns again." - BUBBLEHOUSE

"Everything is better in Sweden and Boy omega is a new superhero to feed this theory." - SPEX

"Buy it!" - THE MIRROR

"The Swedish 3-piece construct a delicate yet powerful angel-carcass of an album that bleeds all over you with pretty guitars and quivering string accompaniments. Instruments rattle around the expanses of nothing until a gathering of sound blooms and will grace your soul with brilliant sadness. Sincerely recorded and always in a low-key vibe, the undeniable vocals from brainchild Johann Krantz guide you through the sort of emotional journey that many an artist promises to deliver but rarely do. This is truly beautiful and should be taken in strong arms and wooed until the pain subsides." - SPILL MAGAZINE (78%)

"Sometimes, and more often than not, it is too difficult to describe the ways in which songs touch and move you. Musica 77 is music that will move you; a subtle sort of tremor beneath your skin, a slightly blurred vision behind your eyes that slowly reveals itself. Their lonely atmospheres are both riveting and compelling. The cathartic vocals of Krantz are inescapable, being, like the music, hushed and tragic but suddenly breaking loose taking on the stars. A song such as Staling, Postcard could swallow you whole with its bittersweet movements from subtlety to orchestral grandeur. Take the embracings of Snow White which warm the heart but ache the bones… but it's a sweet ache. Or the heart bleeding May and Juniper, where the silence is as hard hitting as the guitar crunching, horn howling chorus. Brave You Free May is soul searching music that has a timelessness to it because it digs at the very core of you, and can quite seamlessly take you from drear and tragedy to wonder and realisation. Make it yours." - SUBBA CULTCHA

"Musika 77 are a Swedish three-piece (Johann, Therese and Jimmy) who can go from minimalist moan to full orchestral rumble, all with the same personnel. They prefer to use first take recordings where possible, giving the songs a natural, honest feel. Listening to the sawing violins and pained vocals of 'Llanvair Llew', you're reminded of the sparse and haunting tones of Low or Songs:Ohia, Johann Krantz's aching voice sounding lost and lonely in a wide-open soundscape. There's a melancholy quality to the songs that might be oppressive if it wasn't for the contrast provided by wedges of trumpet and violin and by Therese's voice that takes the edge off Johann's starker tones. This is memorable on 'Staling, Postcard' and 'May, A Magpie, the Softest Feet' (no, I have no idea what any titles mean either) which both take simple, painfully scratchy openings (the latter sounding very like Will Oldham) and gradually become more expansive and melodic, concluding in a splash of technicolour as everything starts playing. It's like that moment in the darkest storm where the final flash of lightning reveals the blue skies flooding in." - SOUNDS XP

"Singer Johann Krantz sings beautifully, especially when augmented by pianist Therese but the wandering melodies and abrupt changes in tempo take some patience to understand and absorb. Although compared to Will Oldham, Low and Jason Molina, my first impression was something closer to 60's beat poetry; a lone voice, some oblique words occasionally emphasised with the occasional musical flourish. Everything but the bongos. Often interesting. Often beautiful. Often tedious. On the plus side, if you're willing to meet them halfway, it's hard to fault Krantz' voice nor Therese's haunting harmonies. The arrangements, sprawling as they are, do demand your attention and, when he gets the chance, Jimmy on drums steals the limelight so perhaps this will be a grower. For an album recorded on first-takes with a minimum of rehearsals, it's remarkably polished but, for many, the relentless melancholia-by-numbers and self-regarding artiness will tarnish it's otherwise finer and subtler moments." - AMERICANA UK (7/10)

"It's a great end of season set, and will light up the Autumnal air with a spooky majesty not unlike that of, say, Low, Will Oldham or Red House Painters. Recorded quickly in their self-built studio as 2005 turned into 2006, the sounds reflect the low-key, first-take attitude and are brittle beauties of spotlit cobwebbed corners, shivering in the draught of cool breezes. Not that these are cold recordings; there is a warmth that glows soft like the embers of wood stoves dying in the night or the crinkling autumnal warmth of piles of fallen leaves." - TANGENTS

"Don't be misled by the opening Llanvair Llew with its scurrying guitar and restless urgency, the Swedish trio almost totally trade in barely there backwoods folk music, hushed, fragile and so cold you almost hear the breath freeze as they sing. But there's a tremulous passion here too, singer Johan Krantz bleeding desolate emotion over such atmospheric numbers as May, A Magpie, The Softest Feet (that's one title by the way, not three), Snow White and Mountain, Rhine, Ball. Using silence like a force, the music haunts you to the extent you almost want to rush out and rent a log cabin in the snow encrusted fjords so you can hear it in its natural surroundings." - NETRHYTHMS

"This is a bloody essential compilation and an even better introduction to the current Swedish music scene - get it!" - SOUNDSXP

"This is an essential sampler of Swedish Pop Now. There's something for everyone here ... and plenty of highlights." - TANGENTS

"Should we generalise about a country? Of course not, but space is pressing - so let's do it! Seems like the Swedes are a dreamy, ennui-drenched bunch, given over to playing classic 'indiepop' as practised by the C86sters and David Roback (Mazzy Star, Opal). The first volume in STK's new series dedicated to highlighting independent music from around the world features fifteen bands from Sweden, all of whom fall roughly within those lines (with a little alt.country thrown in).

Heikki feature Maria from The Concretes and thus are blessed. Audrey sound like Slint with a decent singer....Björk say. Er. Does that even make sense? Most of the rest (Björn Kleinhenz, Sambassadeur et al) wouldn't have sounded out of Place on Sarah Records circa 1990. That can be taken as a recommendation." - PLAN B MAGAZINE

"Club 8 use the studio to bring the best out in every song ... shafts of melodica shine a light through Komstedt's dewy fatalism. It may be bleak, but you can't stop returning." - MOJO

"A well crafted record, with the edges and surfaces smoothed and varnished but with some quaint folk art scratched into the veneer ... should be one of the softest hits of the summer." - TANGENTS

"Club 8 are my favourite purveyors of a certain Scandinavian sound ... fragile softness with a deliciously natural Pop instinct for wonderful melodies and restrained instrumentation." - CARELESS TALK COSTS LIVES

"The title track is lovely, shimmering and glowing ... they surpass anything that St Etienne could muster." - COMES WITH A SMILE

"As summer slips away, wallow in some Scandinavian sadness with this Swedish duo's wonderfully soothing (UK) début." - TIME OUT (London)

"Breathy vocals hold the same sort of sensual allure as do those that anchor St. Etienne." - ROLLING STONE

"From a Swedish duo, dream pop with the undertow dream pop needs." - SALON

"Hushed atmospheres gleaming with 60s pop style and breathy female vocals, tempered by subtly modern laid-back electronic beats. Lovely and mesmerizing ... sweet and catchy." - ALTERNATIVE PRESS

"Sweden's Club 8 seem to have struck glacial, melancholic pop gold." - LOGO

"Club 8's music cuts against blandness, offering superb songcraft wrapped in a stylish package." - POP MATTERS