Susanne Sundfør and the Nordic musical renaissance no one’s talking about

So this article started off as just a quick piece in my introduction series about Susanne Sundfør, how I think her collaboration with Röyksopp is one of the greatest tracks of the past decade and she needs more appreciation from outside the Nordic countries. However as I started to put fingers to keyboard keys I realised two things: firstly I listen to a lot more Nordic music than I thought, and, secondly I felt that way about pretty much all of those acts. 

Even commercially successful artists who have achieved critical acclaim like industry veteran and production God Röyksopp seemed just ignored from our musical frame of reference. As I began investigating (googling) I found a distinct lack of articles about Nordic music, a lack of discussion of its leaders and up and comers. We too often hear in-depth analysis about the recycled melodies and words repeating through the chart darlings, yet these Nordic artists who challenge themselves creatively offering something new seem to be ignored. With the wave of talent that’s arisen from the Nordic music scene it always surprises me that we don’t hear more music journalism about a region leading the way in reviving true electronica and folk- two genres that definitely needed a fresh approach. 

Sundfør's last album Ten Love Songs is a profound reflection on existence and relationships all tied together with a dramatic yet soothing fusion of synthetic tunes, haunting arrangements and her powerful voice. Similarly Lykee Li has show from release to release the depths and variety of her influences and talents, particularly in naturally and electronically manipulating her voice in surreal ways to great affect. Robyn invaded the charts years ago with her incredibly witty and soulful verses, awesome collaborations, masterful blending of musical styles and frankly superhuman choreography (See ‘Call Your Girlfriend’ and tell me you don’t want to be able to bust those moves!). Then there is the funky stylings and biting lyricism of musicians like Miss Li whose 'Plastic Faces' is one of my favourite tracks about the often superficial millennial age. While iamamiwhoami's 2014 audiovisual album Blue was a perfectly complete and emotive concept album which paid homage to the sea and the rise and falls of human emotion in ways few artists are capable of.  

Meanwhile on the folk scene you have fantastic acts like Eivør of the stunning Faroe Islands, whose earlier reinterpretations of traditional Faroe music and more modern recent albums which carry that spirit, are shamefully underappreciated outside the region.  (Oh and you’ve probably heard of Sweden’s José González who has a place on everyone’s hard drive or playlist!)

The point is we are missing something that these artists are clearly engaging with, a perspective or appreciation of musical culture that doesn’t regurgitate so much as meditate upon the musical traditions and icons of the past, bringing them into the present in new and exciting ways. There is an unusual sensibility and depth to the current renaissance of music coming out of the Nordic scene that desperately needs attention and appreciation.