If you think that late 90’s Europop reduces itself to Alice Deejay, The Vengaboys and Eiffel 65, this article will help you get some new views about it.
This pretty curious contamination that happened to music in the late 90’s in our old continent is quite curious, in the sens that nothing from anywhere else sounded like what was produced here hence the rise of the label “Europop”. Most European countries were concerned including Sweden, which as of today is the 3rd most music producing and exporting country in the world.
So in Sweden, among the different bands and artist who also had their period with the genre, we can find the band “Crosstalks” which is more easily associated to this period since the last time they produced something significant was over 10 years ago. For a period composed by 3 people, the band ended as a duo: Sara Nordenberg and Daniel Zangger Borch.
In 1999, the first time the band rose to fame, it was during the “Melodifestivalen” competition after which they released their first and eponymous album; “Crosstalk”.
Even though they never really crossed the Nordic country in terms of fame and that the project didn’t eventually passed remarkably well the test of time ; this album actually is worth a listen.
The opening track “Det gäller dig och mig” translate “It’s about you and me” is the only song in the national language of the whole album and yet not the least pleasant one to listen ; it’s very lively and the Swedish language actually sounds really nice in this song, as it doesn’t so often happen. There’s thus a real catch in the music right from the start but that will be tamed quickly with the second track “Goodbye Little Angel” which is – even though in English – far from being the best of the whole release.
A new rise in quality happens again with “Play With Me”, a very joyful and pleasant piece to listen to, with the masculine voice of the band sounding much better than in the previous song.
This trend is well maintained through the subsequent tracks “Holding On For You”, “Mary Had A Little Baby”, “Movin’On” and “Let Your Love Be Free” all genuinely reuniting all the best elements to be found in the genre specific to this period and surely still have a “party potential” that can be neglected.
“Always Be With You” and the last couple of original tracks closing the album represent on the other side, the few setback better skipped than given a listen especially “Shelter”, the shocking ballad which barely has its place here and sounds more as an “E.T” song than anything.
The overall result remains however pretty good in general, the best tracks I would really recommend to enlarge your musical culture to other countries but not other languages, making it even more accessible to the more recalcitrants, a defining and very cool characteristic of the Swedish culture.