11 Songs, 37 Minutes

EDITORS’ NOTES

After the glorious atmospheric pop of Falling Out and Writer’s Block, Swedes Peter Bjorn and John confounded fans with a couple of releases that were edgy and experimental (Seaside Rock) and borne of darker, colder pop tones (Living Thing). But those were only the de rigeur detours budding artists sometimes feel compelled to take. Gimme Some is one of those records that speaks simply and truthfully to the core of an artist’s sound, and pleads a good case for staying the original course. From the gleeful proclamations — all spirited vocals, hooky chorus and buzzing guitars — of “Tomorrow Has to Wait,” it’s clear the ride ahead will be a rollercoaster pop thrill. There are fantastic nods to vintage sounds: the bubbly “Dig a Little Deeper” recalls Squeeze, and the breathy swagger of “Second Chance” feels like the Shins meets XTC. They infuse old genres like new wave (“Lies,” “Breaker Breaker”) and punk (“Black Book”) with a unique energy, and the gleaming tidal wave of closing track “I Know You Don’t Love Me” is a brilliant end.

EDITORS’ NOTES

After the glorious atmospheric pop of Falling Out and Writer’s Block, Swedes Peter Bjorn and John confounded fans with a couple of releases that were edgy and experimental (Seaside Rock) and borne of darker, colder pop tones (Living Thing). But those were only the de rigeur detours budding artists sometimes feel compelled to take. Gimme Some is one of those records that speaks simply and truthfully to the core of an artist’s sound, and pleads a good case for staying the original course. From the gleeful proclamations — all spirited vocals, hooky chorus and buzzing guitars — of “Tomorrow Has to Wait,” it’s clear the ride ahead will be a rollercoaster pop thrill. There are fantastic nods to vintage sounds: the bubbly “Dig a Little Deeper” recalls Squeeze, and the breathy swagger of “Second Chance” feels like the Shins meets XTC. They infuse old genres like new wave (“Lies,” “Breaker Breaker”) and punk (“Black Book”) with a unique energy, and the gleaming tidal wave of closing track “I Know You Don’t Love Me” is a brilliant end.

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About Peter Bjorn and John

Peter Bjorn and John formed in 1999 in Stockholm, Sweden, comprising members Peter Morén on vocals, guitar, and harmonica; Björn Yttling on vocals, bass, and keyboards; and John Eriksson on drums, percussion, and vocals. Although influenced by the sounds of classic '60s baroque pop, power pop, and new wave, the band shunned the "revivalist" tag and, instead, created some of the most exciting and original indie rock of the mid-2000s.

Peter Bjorn and John began playing gigs soon after forming and eventually found themselves on music compilations alongside artists like Sahara Hotnights, Badly Drawn Boy, and Holiday for Strings. After releasing the Forbidden Chords EP and a pair of singles ("Failing and Passing" and "I Don't Know What I Want Us to Do"), the band released its self-titled first album in 2002 on the tiny Beat That! label. After more shows, more EPs (People They Know, 100m of Hurdles), and another single ("See Through"), the group jumped to the Planekonomi label in 2004 and released the Beats, Traps & Backgrounds EP. It was soon followed by the 2004 album Falling Out, which was picked up for American release by Hidden Agenda in late 2005. The record placed them -- along with the Concretes, the Shout Out Louds (both of whom Yttling has produced records for), and the Legends -- at the forefront of the sparkling wave of promising pop bands coming from Sweden.

The band's third album, Writer's Block, followed a year later and became a minor international hit, buoyed by the catchy single "Young Folks." The song's video also boosted the band's profile, gently propelling Peter Bjorn and John into a very 2000s kind of fame that culminated in them playing the tune with Kanye West at the 2007 Way Out West Festival in Gothenburg, Sweden. After completing various tours in support of Writer's Block, the band focused on other projects (including Yttling's production work and Morén's 2008 solo album, The Last Tycoon) before coming together to record and release a largely instrumental album, Seaside Rock, in the autumn of 2008. Living Thing, the band's darker, more experimental fourth full-length album, was released several months later in early 2009. In 2011, Peter Bjorn and John returned to their melodic pop roots with the decidedly more accessible Gimme Some.

After that album's release, the trio members once again went their separate way and worked on a wide variety of projects. Morén released a solo album in 2012, the Swedish-language Pyramiden; Yttling maintained his busy production career, working with Chrissie Hynde and Lykke Li most notably; and Eriksson released two albums under the name Hortlax Cobra. Inevitably, the trio regrouped and went into the studio to record its seventh album, calling in collaborators like Patrik Berger (Icona Pop, Robyn), Paul Epworth (Florence + the Machine, U2), Greg Kurstin (Sia, Adele), Emile Haynie (Lana Del Rey, Kanye West), and Pontus Winnberg (Miike Snow) to help out. Breakin' Point was released by INGRID in June of 2016. ~ Tim Sendra

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