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One of the most deeply satisfying aspects of this almost wholly satisfying album is the way in which the band succeed in the creation of moods and conveying of emotions.
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Despite earlier successes, European definitively solidifies Sambassadeur as a paragon of Swedish pop: sweet but not sappy, bold yet beautiful, and emotionally eclectic without becoming melodramatic.
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Under The RadarSambassadeur has an uncanny knack for the pop hook, yet its songs remain grounded by percussion that adds a visceral punch to the more airy textures. [Winter 2010, p.65]
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MojoThere's an impressive sense of pop classicism, but these songs are even more melodically insistent, occassionally verging on show-tune mellifluousness. [Apr 2010, p.105]
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By and large, European strikes a nice balance between genuine and theatrical, shambling and shiny.
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As with generations of Swedish popsters before them, Sambassadeur excel at picking up sounds from the U.S. and UK and refining them to their catchy essence.
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On European, this third outing by the Swedish pop group, that sound has been firmly established. The evocation of Emerick’s bright and reverberant production and arrangements complements the group’s simple, if somewhat slight compositions.
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You expect there to be an abundance of vibrancy and passion on European, the band’s third release; though tempered by doubt and restraint, emotion lies beneath the layers of onion peel in the grey gutter of sadness.
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UncutIt's pleasantly winsome, sweetly aranged, but Anna Persson lacks the lugubrious voal presence of Traceyanne Campbell, and you long for sme of the sauce r spirit that inspires a group to name themselves in honour of a Serge Gainsbourg song. [Apr 2010, p.97]