Today’s theme is almost “solo females from much-missed groups.”
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[6.11]
Edward Okulicz: She’s dreaming both of houses and playing house, because that’s how some of us lick our wounds after we get dumped — she wants the former because it would logically include the latter. Coupled with verses that remind me a bit of “Life in a Northern Town” and Persson’s wearied voice, one can’t help but swoon and/or relate. It’s a lyrical concept that’s lame (because coping mechanisms sometimes are) but she sells the regret, if not precisely the longing.
[8]
Katherine St Asaph: The way Nina Persson’s voice goes gossamer at the end of every phrase is still one of the most affecting things in music — it’s best showcased on Long Gone Before Daylight — but this isn’t the song for it, a lower-key Camera Obscura track whose story never quite coalesces.
[5]
Anthony Easton: Wood-smoked country desire and electronic overlays — more American than Americans — with perfect piano to boot.
[8]
David Sheffieck: Persson might not be able to pull off a “Lovefool” nowadays, but the years since have lent her sprightly voice a new richness. It’s a good look, and “Dreaming of Houses” is a strong demonstration of her evolution. The best thing here, though, is the way Persson can still nail the balance between inspiring and heartbreaking found in her breakout: it’s easy to imagine belting this with a group of friends while getting a weekend night started, but it’d be equally appropriate if you’re perched on a barstool and singing it alone just before last call.
[8]
Alfred Soto: When “Lovefool” flew up the airplay chart I was a skeptic: too soft, its winks as subtle as Ferris Bueller addressing the camera. Now the Cardigans’ lead singer wobbles unconvincingly through Diane Warren castoffs like “wear a hat to keep the thoughts from flying out into the ether.”
[3]
Josh Langhoff: “Foundry smoke and apple blossoms” is a great opening line, almost countrypolitan, but the rest of the song feels like a meandering attempt to fulfill its promise.
[4]
Brad Shoup: I’ll be prone to scan the title for irony, but Persson’s gone almost completely affectless. Vocally, she views the scenery with a keen, unpretentious eye, like prime Bobbie Gentry. Structurally, she’s deployed all these existential chords, some of which chafe against the more trad verses. It comes off like one of those transcendent karaoke performances I used to slum for.
[7]
Jer Fairall: Lush verging on cloying, but the lyric is an uneasy pastoral worthy of Neko Case. Persson’s voice is such an awkward fit for the material, though, that I have a hard time believing that she’s all that convinced of what she’s singing.
[5]
Megan Harrington: This has Dusty all over it, but her shoes are a little loose on Persson’s feet. Though she’s a time tested industry vet, Nina Persson’s voice is light and youthful while “Dreaming of Houses” is a lyric that hangs on the authority of the singer. Instead of pining for the end of the road, she sounds dizzied by its very beginning and the song is catchy and sweet where it might be soulful with a richer voice. Despite knowing better, I’m often charmed by children singing love songs and Persson’s patent leather and pinafore tone is winning me over with repeat listens.
[7]