Where the Gothenburg-based songstress made her name making the most depressed, downcast take on '60s girl-group pop ever heard, pre-Pale Fire jams are now two-for-two for eerie, icy, synthesized soundscapes. Where one song is an anomaly, two is a trend; and "Innocence Is Sense" suggests a radical departure for Sarah Assbring on her fourth EPDM LP.
There's no singing and, in turn, no lyrics to interpret; which makes it a completely different proposition to Assbring's beauteous back-catalog, which is full of lyrics loaded with emotion and meaning. "Innocence Is Sense" feels a lot like an overture, a tone-setting piece with —in spite of its uneasy mood— a big build. It's setting the stage for the LP as a single, but I'm also wondering if it won't be the first song on the album. From there, with the tone set, hopefully the rest of the album finds Assbring getting back down to some singing...
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