If the basis is the band’s massive and ubiquitous hit single “Young Folks” of 2006, then Peter Bjorn and John’s latest release might be taken as a distant departure in sonic style. However, if one is familiar with the band’s entire discography, then one will realize that its current sound is simply what many musicians claim as a slow and natural stylistic progression that occurs from album to album as the artists mature and become exposed to a wider spectrum of sounds and to more avenues of opportunities and become more adept with their respective instruments. Add to that, as they become more successful, high-quality equipment and better studios and production processes become available and accessible, inevitably resulting in a slicker or more polished sound; and there is nothing wrong about all these. The sell-out accusations that some fans and journalists hurl at their former idols just because the latter’s music became slicker and better produced are usually borne out of these criticizers’ ignorance about the behind-the-scene factors involved in songwriting and music production, which can literally change an artist’s music from one album to the next, often for the better anyway. In the case of Peter Bjorn and John, the transition was from raw and edgy to smooth and polished; from Garage Rock, to New Wave, to Indie Folk, to Synthpop.
Formed in Stockholm, Sweden in 1999, Peter Bjorn and John is actually Peter Morén (vocals, guitar, harmonica), Björn Yttling (bass, keyboards, vocals), and John Eriksson (drums, percussion, vocals). The trio released its self-titled, ’60s Psychedelic Folk/Garage Rock-influenced, guitar-dominated, and drums-driven début in 2002, following it up after two years with the similarly Psychedelic-tinged, yet more Pop-oriented Falling Out, harking to the early sound of The Beatles (“I’m Happy Just to Dance with You”) and the ’60s outputs of The Hollies (“Bus Stop”), The Lovin’ Spoonfuls (“Summer in the City”), The Turtles (“She Always Leaves Me Laughing”), and The Zombies (“She’s Not There”). Their breakthrough album came next, 2006’s more polished Writer’s Block, where their most popular single may be found. Two more albums were released before the decade ended – the theatrical, partially instrumental-with-spoken word, and Surf-Rock-flavored Seaside Rock; and Living Thing, which may be regarded as the band’s starting point in incorporating elements of Funk and Electronic Dance music in their style. In 2011, the prolific Peter Bjorn and John released the angular, upbeat, Pastoral Pop–inspired Gimme Some. And then the follow-up was this year’s Breakin’ Point.
Released on June 10, 2016, Peter Bjorn and John’s synthesizer-oriented seventh offering focuses on the Electronic danceability aspect of its music. It starts with the direct-to-the-dancefloor Disco-driven “Dominos,” complete with heavily-effected backing vocals and ABBA-reminiscent falsetto-vocal styling. Following in the same pulse is “Love Is What You Want,” which exudes sensibilities of ’80s Italo New Wave; it will fit seamlessly on a playlist that includes Den Harrow’s “Taste of Love,” The Creatures’ “Starting from Here,” Gazebo’s “Lunatic,” and Silver Pozzoli’s “Around My Dream.” And then there is the smooth and syrupy “Do Si Do,” whose sunny sheen may remind a New Wave enthusiast of bands like Haircut 100 (“Love plus One”) and Jimmy Jimmy (“I Met Her in Paris”). On the other hand, the tin-whistle melody of “What You Talking About” may recall Men at Work’s “Down Under.”
The midtempo title track is certainly also the album’s mid-part breather. “A Long Goodbye” returns the listener to his feet, owing to the engaging beat and easily hummable keyboard melodies. “Nostalgic Intellect” stands out in style, combining James Bond–influenced cinematic flare, ’60s Pop a la The Beatles and The Monkees, and lively ’90s Britpop of the likes of Boo Radleys (“Wake Up Boo!”) and Rialto (“Monday Morning 5.19”). In the next track, “In This Town,” the trio seem invoking the rock-sugar sonic sensibilities of their fellow Swedes, the Indie Pop band Popsicle (“Undulate”). “Hard Sleep” is another poppy track that features a catchy, cheer-type chorus, complete with the customary claps. The dancey vibe flows immediately onto the glittery and mirror-ball shiny “It’s Your Call.” The second-to-the-last song, the acoustic-seasoned “Between the Lines,” is another trek back to the folky sound of the late ’60s. Finally, Morén, Yttling, and Eriksson finish off their latest release with the big sunshine sound of the buoyant, ironically titled “Pretty Dumb, Pretty Lame.” Pretty dumb and lame? Not really!
The trio of Peter Bjorn and John proves that they really have a broad palette of styles with which they paint their aural expressions. The distinct characteristics of each of their albums make it stand out individually without getting overshadowed by the others. The willingness of the three to experiment and create various shades and hues is what makes their music interesting. Breakin’ Point shows that Peter Bjorn and John still have so many surprises to offer from their box of sonic tricks. CrypticRock gives it 4 out of 5 stars.
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