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Swedish four-piece Audrey formed in 2002 and started performing gigs in April of the same year. Having recorded a demo in the studio of an artist's collective in Gothenburg in the summer of 2003, the positive responses were immediate. During the summer and autumn they played more shows, selling over 500 demos in the process.




Moving forward a year or so, Audrey began to develop their sound. The embryo of their dark, suggestive pop took its first form in a run-down music house in the archipelago of Gothenburg. "It was really the worst place, the building was about to be demolished as we rehearsed there. The toilet was broken, the pipes had frozen and there were mice running around on the floor", says guitarist Victoria Skoglund.

Describing Audrey's music is no easy task. If the group has succeeded in finding a central theme, it's a balance in the melodies - shimmering, beautiful moments of pop meet dark sadness.




The harmonies (everyone in the group shares vocal efforts) shift quickly between keys and moods. Straightforward, conventional narrative is replaced by abstract meanings which strengthen the melodies. "I like it when the lyrics can mean different things, that we give clues to our audience. Sometimes we can write quite incoherent things, but we are looking for a feeling in the music", says Victoria.



-) 2003 : 'Demo'.



-) 2004 : 'Audrey' on Tenderversion.

Sound XP's point of view :

You may not expect it from a band sharing their name with that god awful woman in Coronation Street (you know, the one that used to be in Rentaghost), but everything about Audrey’s self-titled debut EP is exceedingly pretty. Not least the band themselves. They’re four Swedish indie girls, barely out of their teens judging by the press photo, and therefore they are automatically the best new band on the planet.

Okay, so that may be hysterical heterosexual hyperbole but this is really rather pleasant. Eschewing the typical penchant for bouncy Scando indie-rock in favour of fragile cello-laden wanderings that make Low’s output pre-’The Great Destroyer’ sound like Motorhead, they take turns to sing in accents ranging from full-on Bjork-alike to crystal clear anglicised tones. Like their looks, they’ll be an acquired taste for many people, but they’re certainly one I’m glad to have acquired already.




-) 2006 : 'Visible Forms' on Tenderversion.

Drowned In Sound's point of view :

Between bursts of wind-swept laughter and pianos dripped in reverb, the delicate vocals of Swedish quartet Audrey enters stage left, soaring majestically through string-laden choruses and dissonant waves of guitar feedback. Vocal harmonies are swapped over layers of brazen guitar clashes, while soft words are uttered revealing poignant memories of years gone by. In the distance, the curators behind the noise are revealed to us - an all-female collective whose music conjures up dreams of stumbling through dense fog, or a stroll down a country lane in the early hours of a winter morning. Visible Forms holds the key to these succinct pleasures and, as a debut album, there’s a vast amount to discuss.

It’s a difficult task to pinpoint exactly where you become encapsulated by Audrey’s music. Perhaps it’s the lyrical charm presented in opener ‘Mecklenburg’, or the drawn-out atmospherics that prove to be an obvious aesthetic success throughout the record. The opening two tracks strike with immediacy, traversing genres while baiting melodic hooks and alternating vocal harmonies. In stark contrast, ‘Leaving/Letting Go’ takes half-a-dozen listens to for its beauty to unravel, with echoed pianos and the obligatory atmospheric guitar jaunt proving unequivocally that Audrey are substance over style.

Sadly, where Visible Forms succeeds with its lyrical charms and tangible atmospherics, it fails in its lack of diversity across the record – many a song sounds not too dissimilar to the one that preceeded it. Despite this, certain tracks work brilliantly on their own. Examples of this come in the form of ‘Plain Pieces’, sounding like a female-fronted Jeniferever, or ‘The Significance Of Being Overt’, which flirts with their experimental pop sound, while sustaining the elegant tone of the record.

Visible Forms controls emotions through elaborate string sections, narrative lyrics and sweeping vocal arrangements, while adding pianos and keyboards for extra effect. Probably best listened to during the twilight hours, or those aforementioned winter mornings, Visible Forms thrives on creating atmosphere – in this case a tense and moody one which relies on the listener making sense of the lyrics and creating their own themes and images.

Some will dislike Audrey’s debut album – certain listeners will tire of it due to its lack of immediacy. If you are able to wait, though, and bypass a lack of diversity to become embraced by an album produced by a band with a lot of promise, then the coming winter months are sure to seem a whole lot warmer for Visible Forms' existence.





One track can be downloaded here, and you'll find a video there.



-) Official site.
-) Myspace page.
-) Tenderversion.