Calmly confessional indie folk, with an original artistic trajectory but traditional, long-form melodies alongside. Noting ethereal harmonies initially akin to the Imogen Heap style of decades past, later venturing further into the wonders of indie pop and folk from across the eras – Greta Svabo Bech delivers something bold and beautiful, with the honest lyrical outpourings and playful ambient design of Beautiful Obscenery.
Beginning with the brief but engaging you, we’re introduced to a thoughtful and revealing songwriter, for whom expressive melodies and unfiltered writing are seemingly cathartic, and so in turn, the music provides the same kind of original embrace and healing for those who listen.
song for bella is second in line, and we reach a more grounded melody and groove, for something exceedingly gentle and beautiful as it fills the space. Authenticity is key, this kind of raw recording style, the live guitar sound and the natural voice – something like Eva Cassidy meets Laura Marling – it’s interesting, unpredictable, but comforting in its humility and introspection.
The album continues in this way, mildly warped production elevating the pure acoustic elements of music, and Greta Svabo Bech’s voice and lyrics, her melodies and progressions, delivering something genuinely new, unique, and fascinating. over the moon is gorgeous, hopeful and happy, gripping, and as unpredictable as ever, but still carefully satisfying.
Beautiful Obscenery is slowly but surely a stunning project to spend time with. The album keeps on giving, and it’s easily one I’ll be sharing and returning to in the coming weeks. But then, with over 200,000 monthly listeners already tuned in, I’m far from the only one. A pleasure to know about.
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