“Afters” have been an elusive topic of discussion this year across Substack and in queer media, a demographic ever-attached to Lykke Li’s career. The Afterparty–the Swedish singer’s newest, nine-song album with four singles–is no exception to mystifying what happens more intimately after an eclectic gathering. Trends now often revolve around ideas like the disappearance of public, third places which only makes the idea of an invite-only event more captivating as a site for breaking new stories.
The direction of the accompanying artwork on streaming involves the listener, with a visual approach larger than Li’s self, updating motifs like a ‘Marilyn moment’ with that of a contemporary vaping against the wind. The Afterparty encompasses what winding down feels like, despite nighttime’s leftover buzz, and it returns to the accessible, pop structure/sound of 2018’s smash So Sad So Sexy. In a lyrically contemplative way, the project matches past urban collaborations and output by Lykke despite a solo vocal performance. With pantyhose compressing her visage eerily, the front cover is adorned with Sharpied smilies, perhaps to mark it as lighthearted, despite big feelings of restraint.
“Not Gon Cry” is a welcome ditching of sad vibes and features instrumentals reminiscent of her debut album, Youth Novels. While in recent talks regarding this drop in a press statement, Li called the percussion an “apocalyptic departure” from usual, the drum lines have a jungle quality that is almost signature to her biggest hits. Other aspects that fit this bill of distinction are the low octave piano lines and higher-register, Minogue-like harmonies to swoon audiences.
Now, these traits share the stage with a 17-piece orchestra that has woodwind compositions at the forefront, as well as analog glitching, perfect for the mid 2020s landscape. She cuts herself off in the final reprise of the hook with bravado. By track two, “Happy Now,” also the fourth single, allows for Lykke Li’s palette to truly evolve while unique samples form riffs to back simpler choruses. A melodramatic flavor profile suits the developing “afterparty.”
“Lucky Again” begets overhead valley shots with its cinematic and sweeping character. Disco elements on track three complement adlibs marking Li’s return to utilizing reverse engineering of vocals, the defining feat of 2024’s ƎYƎYƎ, a remixed companion to EYEYE, her last LP that kept things more lowkey. Falsetto exclamations feel like needed relief, and for this reason, this song is a favorite that’s not grown old despite it being the first excerpt shared. The strings are extremely catchy in a way that not many have managed to fine tune since 2012’s Born to Die by Lana Del Rey.
Track four, “Famous Last Words,” is a masterful declaration that repeatedly sounds like it’s about to trail off then reignites the flame each pause. The memorable dynamic shifts build a beautiful ballad where soft cymbals persevere. Absolutely fitting for the storytelling album-wide, the standout track is insidious, due to its ability for creeping into arranged playlists characterizing any of the four seasons, perfect for any weather.
Next, “Future Fear” is unlike anything else on a Lykke Li album, as it calls to mind Frank Ocean’s pitching on Blonde/Blond or Robyn’s Sexistential, which I reviewed for Staged Haze last month. Serving as an interlude on an already brief project, past collaborator Bon Iver’s schtick feels relevant here too, a keynote scaled wearily like on the two’s jointly contributed-to soundtrack for “Twilight.” This medley of genres is becoming a decade defining sound with FKA twigs’ dedication to similar passions. Acoustic guitar layers well with mired word chops, and you won’t want it to be over.
“So Happy I Could Die” farms for joy within doomsday antics…Lykke Li wonders indelibly aloud whether the company she has found will be lost to the sands of time. We’re then left with birdcalls and nature scoring the wilderness of newfound love. The third single and seventh track, “Sick Of Love” uses internet verbiage like “I can’t even” to poetically let the narrator feel her feelings at the party; it is full of hollering not quite stomp-clap-hey that gorgeously contrasts with arcade-like bells and doo wop crashing out.
Track eight and second single, “Knife In The Heart,” is an anthem with 2010s whistling that comes out modernly suave, flooding the senses thanks to droning electric guitar and MJ-esque chirps of glee. Closer, “Euphoria” is the antithesis of fleeting fun, curating indolence in the face of letting a journey be complete. All in all, it feels timely as the synonymous and similarly exaggerated HBO series will allegedly wrap following its third season.
This habitual champion of side-profile mogging has been releasing discography retrospectives, anniversary expansions, and most recently festival season singles. Amid the attention from Major Lazer’s Coachella show–alongside their questionably provocative, founding member M.I.A.–the act redirected digital crowds to the spooky “GUAYANDO,” a Lykke Li and Tokischa collab that also earned an ethereal remix by Li, despite her already being present on the source tune.
Lykke, no stranger to adapting with sonic partners, had unfinished business after putting out career-highlight songs under the band name “liv” with The Afterparty’s co-producer/performer Björn Yttling; working together again now, on what she told NME may be her very last album, is a full circle moment. Hopefully later this year, on a release supporting tour–following her run of unrelated, live appearances globally–we can catch a glimpse of the post-party glitter; until then, tune in for confessional swan songs.
The Afterparty is out now.
Words by Maxwell Williams for Staged Haze
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