Världen kom Tillbaka

This delicate, tinkling debut steals in like fine hoar frost, its Swedish title speaking of the desire to reconnect with a warmer, more living world. Möller's sparse vocals, set to moody acoustic guitar, are reminiscent of the more navel-gazing moments of singer-songwriters such as Leonard Cohen and Josephine Foster.

For the non-Swedish speaker, the music is the most arresting element. Möller accompanies herself on piano and jaunty reed organ while lap-steel guitar, banjo and stray moments of flute add a deep mournful tone. These ten self-penned songs are brief anecdotes of love and longing, some running to little over two minutes. There is a hypnotic repetition to certain lyrical phrases, as heard in ‘Havet Slår’, ‘Sopa Sömnen Ur Ögat’ and the title-track, which help build an atmosphere of calm and contemplation. The overall effect is brief and ephemeral, but has a gentle beauty. While not exactly exploring any new ground, this debut is a soothing dose of Nordic folk, confidently sung without pandering to the Anglophone world.