I seem to be covering a lot of Scandinavian artists lately. It’s not down to any deliberate preference, more a reminder of just how many great artists are either emerging or quietly continuing to produce consistently strong work. Josefin firmly falls into the latter category, with this marking her third album release this year as she celebrates 20 years of making music.

The album opens with "Ultimately", immediately introducing both piano and Josefin’s vocals. I already knew she was from Norway when I added the album to my review pile, but there’s also a distinctly Scandinavian quality to the sound. Pop from the region often carries a particular flavour, especially in its female vocalists. It’s not something easily defined, more a feeling than a formula, and it comes through clearly here, with the arrangement gradually opening up to give the track a fuller, more rounded sound.

As soon as "Parallel universe" begins, it’s immediately engaging. A light, jazzy electric guitar and drums set the tone, but the track truly comes alive when the vocals arrive. There’s a wonderfully airy, upbeat quality that feels infectious, lifted further by the strength of the accompanying arrangement.

The tone changes with "Take a bow", a more reflective, melancholic sound. Opening very stripped back, with vocals and acoustic guitar, it soon develops into something a little more lively, but the mood of the song doesn't change dramatically, even when the vocals soar in the latter half of the track.

For me, "Sink" carries a definite 90s vibe. Not quite Alanis Morissette or Hootie and the Blowfish, but there are clear echoes of that era, even if they’re hard to pin down precisely. It’s more in the overall feel, something in the musical DNA that hints at those influences. It helps give a sense of where the track is coming from, without ever overshadowing the fact that it stands on its own as a really strong song.

"Don’t be sorry" continues the upbeat tone, but it’s the vocals that really hold my attention. There’s a gentle trace of her non-native English in the delivery, something that gives the performance its own distinct texture. It’s the kind of voice you can easily get lost in, and it makes me want to dive into her work in Norwegian as well. I’ve found myself connecting deeply with albums in languages I barely understand before, and it always reinforces the same point: good music is good music, regardless of language.

The mood shifts to something more downbeat with "First goodbye". It’s a solid track, but it doesn’t quite grab me in the same way as the songs that came before it. There’s a more subdued feel here, and while it fits the overall flow of the album, it doesn’t leave as strong an impression or linger in the memory in quite the same way.

I’ve always thought the title track should be the album’s standout, the one that defines it. Yet, for some reason, it rarely feels that way, as it is with "Thoughts of you". This song is very much a slow, moody affair. I enjoyed it, though, particularly because of its unusual qualities, especially in the vocal delivery. Perhaps I need to rethink what a title track should be, it might be less about being the strongest song and more about capturing the essence or message of the album as a whole. Or maybe I just overthink these things, it’s not the first time I’ve been accused of that. I especially liked the deeply moody guitar section about three-quarters of the way through, which added a haunting depth to the track.

The moodiness carries on with "No pain, no gain", opening once again with a simple mix of acoustic guitar, bass, and ethereal electric tones. It’s when the vocals come in, however, that the track takes on a distinct character. The voice is very much in the foreground, with the instruments tucked underneath, and for some reason I felt a stronger connection with it. As the song progresses, the music begins to assert itself more prominently, particularly toward the latter part, but it never disrupts the track’s overall flow, everything remains balanced and cohesive.

The album closes with "Forgiven", which begins with an instrument that evokes the ticking of a clock, immediately giving the track a unique and intriguing texture. The song carries a distinctly reflective tone, encouraging a moment of introspection, but it’s balanced by a subtle undercurrent of optimism. That gentle sense of hope provides a satisfying contrast and leaves the listener with a feeling of resolution, a thoughtful yet uplifting way to end the album.

The first two tracks of the album, I feel, give a slightly skewed impression of what’s to come. Once the album settles, however, it reveals a richer, more introspective side, darker at times, often melancholic, and all the more compelling for it. Overall, it’s a remarkable collection, with "Parallel Universe" being my standout favourite. I still think a different track order, placing the opening songs within, could give the album a more balanced flow, but perhaps that’s what playlists are for. Either way, I’m keen to dive deeper into her work, especially her music in Norwegian.