The disappointment of Röyksopp and Robyn’s recent Australian tour cancellation almost coincides with the release of Röyksopp’s fifth and final LP. Officially, Svein Berge and Torbjørn Brundtland have indicated while this is their last album, it’s not the last time they will work together. Only time will reveal whether the duo envisage producing for other artists, an alternative scoring for film, or just releasing singles and remixes more often.
This album suggests Röyksopp have kissed off the album as a viable means of releasing their music with a break up album that’s all about endings and the possibilities of new beginnings. As the duo work with themes of heartbreak, despair and uncertainty, this is not entirely an uplifting album, but after the successful experiments Robopop featured on this year’s Do It Again EP, this album is peppered with obvious singles intended uplift listeners, and perhaps also rip-up dance floors. Röyksopp seem ready to attract a broader audience without necessarily selling out to EDM.
The sinister filtered disco of Skulls reflects the influence of Daft Punk. A switched up version of Monument unexpectedly improves upon the original while Do It Again is remixed into a more relaxed wonky disco tune. Similarly the instantly likeable Running To The Sea featuring Susanne Sundfør twists their usually chill electronica into what feels like a soulful take on more commercial electronic pop.
As we reach deeper into this album, Röyksopp delve into bittersweet melancholia and introspective down tempo and with fizzing synths they conjure wondrously fuzzy, synthetic soundscapes on tracks like You Know I Have To Go and Caramel Afternoon. A noticeably thick layer of glossy production gives this album a dreamily voluptuous texture. After the inevitable end, it’ll be interesting to hear what rebirth for Röyksopp may sound like.
BY THE SIDEMAN
Best Track: Monument
If You Like These, You’ll Like This: THE KNIFE, ROBYN, PLANNINGTOROCK, AIR, TRENTEMØLLER
In A Word: Bittersweet
