Avicii - True

It is usually an unwritten rule that all superstar DJs, after a stream of fine singles, come to the debut LP process and come undone. David Guetta's proved the best example of this: early on he couldn't quite find the right material to support the excellent Love Don't Let Me Go, and later on he was trying too hard to throw in star names that he let the good creations go unnoticed. Major Lazer, too, have produced mixed bags of hits and misses, although they were helped by being genre-bending trendsetters the first time around. And the less said about Calvin Harris the better (if just out of fear of him releasing another track from 18 Months).

This, though - the debut from Swedish giant Avicii - isn't just a rushed collection of his most successful works. Some, like myself, may be surprised to discover that hits like Silhouettes, Levels and I Could be the One (although a collaboration with Nicky Romero, they usually find ways to keep everyone happy on LP duty) are nowhere to be seen here. Instead, real name Tim Bergling started afresh with a new batch of singles - and, duly, they've come to be hits, too. He has the Midas touch with singles, but what about the album? Especially an album that features a cover of the sacred Antony & the Johnsons' Hope There's Someone?

Perhaps a little too suspiciously, the first 3 tracks are the album's singles to date, in order of release. 'Wake Me Up!' is a canny combination of Bergling's ear for a stomping pop hook with guest Aloe Blacc's slightly soulful, slightly annoying vocals. I personally don't like him at all (can anyone remember the insipid I Need a Dollar?) but I can see why the song became so popular with... well, the entire world, apparently (Wikipedia tells me it reached #1 in 30 countries, so there were probably more). The quirk is traded in for a darker, disjointed vibe on 'You Make Me', where awkward piano chords let Salem Al Fakir (of previous Avicii hit Silhouettes) shine and make another unique Avicii production. 3rd single 'Hey Brother' is much less traditional for Avicii, and clearly attempts to tap in on that tiresome folk-pop-crossover trend (that's seen dull hits made for Of Monsters and Men, the Lumineers, and Noah and the Whale); the track is by no means memorable, sadly.

In fact, truly memorable songs are a rarity on True, but 'Addicted to You' does its best to remedy that problem. A brief song that gives full attention to Audra Mae's vocal (Mae herself is Judy Garland's great-great-niece, which is fun), and oh boy is it a showstopper. Many have likened her to Adele, and the big-name comparisons to comparatively smaller names are a common trend on True: 'Dear Boy' features Danish up-and-comer Mø but anyone could be forgiven for thinking Lana del Rey had made an appearance. The track sadly rushes by without much intention of making itself memorable, and at just under 8 minutes long that's a great pain indeed. Still, at least it's not as unnecessarily shrill and irksome as 'Liar Liar' with its horror-organs hook and an alienating, barking vocal from Blacc again. In fact, del Rey's coproducer for her breakthrough hit Video Games pops up here on 'Shame On Me', a jarring attempt at retropop that's given synths that completely drown any of its charm.

If there's anyone still listening after that triumvirate of hideous songs, then I can at least offer some consolidation in the form of Nile Rodgers. The year's biggest smile pops up on the suitably funky and catchy 'Lay Me Down', which utilises Adam Lambert's voice to greatest effect (i.e. slightly second-rate to the music, rather than overpowering it like much of Trespassing - his second studio album - showed). That dreaded cover then breezes by quite pleasantly although with the grim realisation that some listeners will inevitably either a) prefer it to the original or b) be unaware that it isn't original. Linnea Henriksson - basically the Swedish version of Diana Vickers - does a beguiling and breathy spin on the beautiful ballad, but there is little point in giving it time when Hegarty's version is floating about. Dramatic strings close us off in the oddly instrumental 'Heart Upon my Sleeve'.

In answer to my earlier question: Avicii does not have the Midas touch with albums. Not this one, at least. It's a cut and paste job, and offers very little in the way of potential hits.

Rating: 4.5/10
Highlights: Addicted to You; You Make Me; Lay Me Down; Heart Upon my Sleeve
Avoid: Liar Liar; Dear Boy; Shame on Me

Artwork Watch: I can only assume there was a power cut at the most unfortunate time.
For fans of: Swedish song craft (everyone); constant clubbing; buying paracetamol
Up next: Danny Brown