Record Review Abba’s 40-year break-return comeback is disappointing after great singles – the whole thing is syrupy and dramatic

Voyage’s new themes of joy are scarce: Abba’s sense of style deceives with an incomprehensible Christmas carol and general dilemma.

Pop / albums

Abba: Voyage. Polar / Universal. ★★★

So it just happened that after all the good departure of Abban “All-time comeback” does not rise as such a celebration of joy as we already had hope .

Abba’s ninth and final studio album Voyage – the first few days of what appeared less than 40 years ago The Visitorsin (1981) – shrinks to painfully pretentious syrupiness, lethargy, and general dilution.

At its worst, the album offers downright outrageously bleak audiences, followed by an unbeliever embarrassed and disappointed. Couldn’t one of the most powerful pop bands in history really do better?

There is too much of the opposite on offer than great singles Don’t Shut Me Down and Just a Notion anticipate; the tastings swung astonishingly gratifying, recognizable retros, and time-patinated endearing without pretense.

Voyagen seven of the ten songs will be released on Friday’s album for the first time. Of these, only the downstream ones go Keep an Eye on Dan and No Doubt About It cause moderate nodding.

The former includes a clever floating hook and a reference to the classical in the composition SOSto the song. The chorus of the latter throbs the annoying jää-Abba of a familiar nose.

However, there is far too much to sprinkle, even creepy.

The most confusing and incomprehensible style flaw is embedding a cliché Christmas carol on the record, even at the top end as a third song.

Anni-Frid Lyngstad and Agnetha Fältskog in the recordings of Voyage.

Little Things is such a thick Disney-inspired soap that the song can’t stand even at Christmas: Agnetha Fältskog and Anni-Frid Lyngstad sweet to the beat of a piano, a music box and a horrible children’s choir from Christmas stockings full of nice little stuff and kids playing with new toys.

Could it even be a strange parody, in the midst of admiration you have to hope.

The focus song of the album that is, a song offered to playlists When You Danced With Me sucks silly folk-like jogging to the beat of a synthetic bagpipe effect, strings and flutes.

The output that loves the good old days in lyrics sounds tailored to the folk interests of the neighbor. You can almost see the boomers beating mental bumps against Skansen’s benches, caressing “I miss the good old times when you danced with me!”

Towards late, snapshots, a relationship feeling I Can Be That Woman and garden metaphors digging Bumblebee may touch in the right state of mind, but the soapiness of the songs evokes sheer passive-aggressive anger.

Ode to Freedom sounds like a stunt orchestral decision that sways like an empty costume drama.

Benny Andersson (right) and Björn Ulvaeus are behind Abba’s new songs as well.

Jos Singlet tasted the brisk, powerless Abba retro without the feeling of squeezing, Voyagen The “time travel” falls far short of the spirit of Abba’s fantastic airy and polar pop expression.

Meininki at the Abba camp has seemed sympathetic, but none Benny Andersson and Björn Ulvaeuksen the novelty track would have no relevance to the band’s compilation album. Don’t Shut Me Down hits the nearest.

Finished and carefully executed Voyage is not unhappy. It’s just a clear disappointment with the material.

“I still have faith in you,” Lyngstad sang on the album’s opening single, full of promise that made me want to get involved.

Unfortunately, Abba’s curds weren’t enough for an album the world would have earned.

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