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Voyage came about after the four band members reconvened in 2018 to record two new songs for a planned TV special. Pop matters to ABBA because people and feelings matter.Įxcerpted from “ ABBA’s New (and Final) Album And Agnetha’s delivery of “ Don’t Shut Me Down”’s opening lines – “A while ago, I heard the sound of children’s laughter/Now it's quiet, so I guess they left the park” – is nothing short of devastating.ĪBBA understand, perhaps better than any other band, the epic importance of pop music against the humdrum rumble of everyday life. On “ I Still Have Faith in You” when Anni-Frid declares her enduring faith after all these years, as if through gritted teeth, you can feel the maculate defiance, her voice strong but still haunted by the passing of time. Their voices are what make the group, and they’re still capable – both solo and in duet – of expressing melancholy and ecstasy within the same breath. They’re also fantastically arranged, with hooks piled on top of hooks, gently arranged on a bed of unusual musical choices, like the suggestion of reggae on “Don’t Shut Me Down” or the gnarled-around-the-edges electronics and irregular cowbell on “Keep an Eye on Dan.” The musical winks to the band’s past are a nice touch, too: “Keep an Eye on Dan” closes with the same piano melody that opens “ S.O.S.,” while the soaring flute opening of “ Bumblebee” is surely a nod to “ Fernando.”īut, as Benny and Björn’s very successful if never entirely satisfying post-ABBA musical Chess demonstrated, without the vocals of Agnetha and Anni-Frid – perhaps pop music’s most durable lead vocal combination – ABBA are just BB. “ Keep an Eye on Dan,” “ No Doubt About It,” and “ Don’t Shut Me Down” are home to some of the best pop melodies of the year – vaguely unpredictable yet glaringly obvious once heard. Voyage is as richly harmonic, smartly constructed, and satisfying as you might expect of Benny Andersson and Björn Ulvaeus, two of the most talented songwriters in the history of pop music. It feels almost rude to ask for anything more.
They may have kept the music on Voyage “absolutely trend-blind” to modern pop production, but Agnetha Fältskog and Anni-Frid Lyngstad’s vocals have a slightly world-weary, aged tone to them, their vocal range a touch lower than in their pomp, while the album’s lyrics frequently speak of old times, faithful friends, and the demands of parenthood. Voyage is a mixture of songs, old and (mostly) new, that have all the glam boogie, scandi-disco bounce, and epic pop construction of the band’s revered catalog, with some tentative nods to the passing of time. Returning with their first new album in 40 years, the Swedish pop titans attempt the seemingly impossible: balancing the lure of nostalgia with the pull of the present day. In the meantime, I’ve compiled the following highlights from five reviews of Voyage, the new album from Agnetha Fältskog, Benny Andersson, Björn Ulvaeus and Anni-Frid “Frida” Lyngstad – collectively known as ABBA. So, yeah, I’ll be paying a visit to the Electric Fetus record store tomorrow! I mention all of this because four decades since their last album (1981’s The Visitors), the Swedish pop legends who comprise ABBA are back, in what one critic declares “may be the biggest event in pop music so far this century.”. And although I was never a huge fan of the group, I did (and still do) appreciated and enjoyed a number of the tracks on Arrival, including “ Dancing Queen” and “ Knowing Me, Knowing You.” In my case, it was a gift from my paternal grandparents, Nanna and Pop Smith, who also gifted my family that year with a pair of bean bags! (There’s even a family photo of Nanna and I sitting in them, with ABBA's Arrival on display nearby.) This was the time when ABBA was at the height of their phenomenal international success. I dare say I was one of many Australian school-aged kids who for Christmas 1976 received as a present ABBA’s album Arrival.
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