The Dogma film was once a Danish idea. Li Lykke Timotej Zachrisson is Swedish but borrows the concept for her fifth album as Lykke Li. No click track setting the tempo was used for EYEYE, no digital sound generators, but a cheap microphone instead. The result is consequently very direct, very intimate, very fragile. In “You Don’t Go,” Li counts the nights and the tears, fingers can be heard sliding down the guitar neck, and she asks, “Do you not feel? I feel I can’t take it anymore.”
The eight pieces only last a good half hour, but Lykke Li trusts her own concept of dogma completely
not, because together with Peter Bjorn and John bassist Björn Yttling, who had already produced their first three albums, she puts so much reverberation on the voice as if she didn’t want to completely question her status as a pop princess and wrap up the newly gained authenticity in cotton wool.
On the other hand, this contrast is fascinating: some pieces seem to want to break out of the corset, can hardly contain themselves, and the melancholy seems rather fragile. EYEYE is like a teenager who has bought this chic short coat in the trend color beige, but still wears the bright yellow T-shirt underneath.
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