Lykke Li Creates a Revenge-Pop Opus With ‘The Afterparty’: Album Review

As a Swedish pop auteur who rose to prominence in the late ‘00s, Lykke Li is probably sick to death of Robyn comparisons — but the only one worth making is to point out that by comparison, Li’s work has been dramatically underrated. She was working a similar musical vein at around the same time (her debut album, “Youth Novels,” was released in 2008) and listening to her past work, it’s clear that her influence has been strong, if more low-key influence. Derek Davies, the cofounder of her new label Neon Gold, has said that her music was the major inspiration to launch a record company at all.

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It’s been four years since her last album, and she’s apparently positioning “The Afterparty” as her last. If that’s the case, it’s an auspicious, surgical strike of a swan song. Its nine tracks add up to just under 25 minutes, and any mystery about the lyrical subject matter can be dispersed with a glance at the song titles: “Not Gon’ Cry,” “Famous Last Words,” “So Happy I Could Die,” “Sick of Love,” “Knife in the Heart”… get the picture? The cover is just as unsettling: Li with a stocking over her head, like a 1970s bankrobber or worse.

While the cover certainly reflects the angry subject matter of many of the songs, it’s a misleading entry to a remarkable and deeply layered album, although it goes by so quickly that it’s easy to miss the details.

“The Afterparty” follows a similar strain of ambitious, electronic-based alternative pop as she has in the past, but here strings are nearly as prominent as the synthesizers, adding an organic lushness that offsets and contrasts with the sting of the lyrics — they’re basically the lead instrument on several songs (and there’s even a Max Richter sample on “Lucky Again”). The constrast amplifies the sweet-sour combination has always been a hallmark of Li’s voice, and here it takes a stronger edge than ever: The vengeful sting of the lyrics is offset by the bittersweet melodies, soaring choruses and orchestral flourishes — the stacked harmonies creating a beautiful but angry crowd of Lykkes.

Most of the album is strong but “Are You Happy Now” is the winner — it starts off gently, with strings underpinning a percolating rhythm track and siren-like synth, but then it bursts open on the chorus as the beat kicking in and the strings turning into an “I Will Survive”-esque triumphant flourishes, implying a resilient that’s also reflected in the album’s closer, the ironically titled “Euphoria.”

If this is really Li’s final album — and we’re hoping it isn’t — she’s certainly going out on a strong note.