The chorus, he enthused, where they had the idea of dropping all the music out and just leaving the vocals, “it was”, he smiled, “so clever”. Somewhere in London, there were Björn Ulvaeus and Benny Andersson, being interviewed by Zoe Ball, Andersson allowing himself a rare moment of self-congratulation while discussing how they wrote Mamma Mia in 1975 when the band were still widely assumed to be a one-hit wonder, boosted to brief fame by winning the Eurovision song contest. Online, there was footage of crowds listening to the songs for the first time: in a hot spring in Iceland in Stockholm’s Gröna Lund amusement park in front of St Stephen’s Cathedral in Vienna. The Sydney Harbour Bridge was illuminated in their honour (Abba were always huge in Australia) and BBC radio moved their 6pm news bulletin in order to premiere two new tracks, I Still Have Faith in You and Don’t Shut Me Down.
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The promotion machine went into full swing. In the beginning of the 80s, when we stopped recording, it felt as though Abba was completely done, and there would be no more talk about it In the depths of a miserable year, it seemed, Abba were coming to rescue 2021.
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Not only that, but there was to be a new “immersive live experience”, in a bespoke stadium in London – nobody seemed to have noticed the planning application being published online – featuring futuristic de-aged “Abbatars” playing a potentially never-ending series of gigs. Not only was there a new album, Voyage, the first in 40 years: 10 new songs that brought the original band together in the studio for the first time since a split that had been precipitated by the couples in the band divorcing. By the time an announcement was made on September 2nd, it had fair claim to call itself the most anticipated comeback in pop history.Īnd the details exceeded expectations. The sun rising above four dark planets the only words Abba: Voyage. It’s not that Dum Dum Girls is a cover band of sorts, stealing styles and refashioning them as relevant and hip.It started with a mysterious image on billboards all over the world (and the internet). Lead singer Dee Dee Penny seems to channel everyone from Stevie Nicks and Pat Benetar to Billy Idol and Iggy Pop on “Too True.” Penny and the girls sound completely overcome by the past – and in this latest attempt, they pay homage to their roots, while also reinventing the genre in which they’re working. The vintage feel that permeates Dum Dum Girls’ entire discography may be a product of the member’s origins in Los Angeles – a city consumed by the former glories of the golden age of Hollywood and haunted by the free-love movement of the ’60s: Dum Dum Girls were born in the cradle of wistfulness. However, you don’t have to be a hipster to appreciate the musical craftsmanship that went into the creation of “Too True.”ĭum Dum Girls – who received several accolades for their 2012 EP “End of Daze” – have made choices regarding their sonic identity that set them apart from the rest of the indie-pop category.
Basically, for modern-day hipsters – with their Canon AE-1 film camera, record player (because the sound is just … better) and headband reminiscent of Woodstock – this album is perfection. It’s hard to turn this album off, and for good reason: The tracks will undoubtedly remind listeners of the music their parents loved, but at the same time, they incorporate elements of more current music into the mix. Full of droning melodies, lackadaisical bass lines and shiny synth, Dum Dum Girls’ third full-length studio release Too True” is both fiercely nostalgic and outrageously lovable.