because you're frightened: TTIHPLTY part 1; Electronic Music from Scandinavia

Of the things that I have particularly enjoyed this year, electronic music from northern Europe is fairly near to the top of the list. My particular personal favourites are diskJokke and Kleerup, both of whom released albums of distinct and unique joy in 2008, although there are others I might give props to in summation later on.

I almost feel frustrated that it should be the Scandinavian stuff that gets me going most in this genre, as much of the indiepop I listen to streams over from there too. I feel a mite predictable in my tastes in this area. It's not my fault that they do it best though.

So first fave from last year is diskJokke's Staying In. It's a luscious, varied onslaught of deeply layered and intricate synth delight. Opening track Folk i Farta introduces the album's themes perfectly, with a rolling piano riff leading into a driving disco beat and an obscene synth jerk. The main reasons that I like this record are fairly straightforward; it is fun to listen to, and it is very aurally satisfying. I love phat synth sounds, and I love Moroder disco. This record has enough to keep my Moroder cravings in check, and enough depth to yield new pleasures through repeated listening. I could barely sit still the first time I listened to it on the bus home from work. It is a classy, funky belter of an album that it is actually worth staying in for (sorry).

Next up is Kleerup's self titled album, which is on a slightly different tip to the diskJokke, but retains quite a lot in common with it despite this. This is a pure pop album, featuring guest vocals from the likes of Robyn, Marit Bergman, Nenah Cherry and Lykke Li. Kleerup is best known for his work with Robyn on international smash With Every heartbeat, which features here. Possibly the most surprising thing about this album is the fact that that single isn't the tallest poppy in the field. In my opinion, it is one of, if not the, best number ones of the decade and the rest of the album manages to keep the quality as high. There is more than a dollop of Moroder on show here too, but used to a different end. Whereas diskJokke uses the disco beats and rhythms as foundations upon which to build his own more modern melodies, Kleerup takes the essence of songs like The Chase as instruction for the atmosphere of his own pop. It is a glossy, shiny album full of songs that sound like the sort of things that sit in the charts for months on end, the zenith of which is the Titiyo collaboration Longing for Lullabies, which I'm almost tempted to call a classic. The strange thing about this album is that it hasn't provided a year's worth of chart fodder. It hasn't even been released in the UK, and looks set to be a "What's this? It's really good- type album forever more. I am willing to confess that it has probably missed it's window for major success, and it does sound a couple of years old now. That does nothing, however, to diminish the pleasure that high-quality, ethereal pop can induce.