Sweden’s Jonna Lee is not only a musician, but a multimedia artist; we, the audience, are asked to experience her music not in isolation, but as part of an audiovisual project. Thus each of the individual songs that make up the synth-drenched electropop found on ‘Blue’ is accompanied by a video – beautifully shot, expensive-looking clips with a watery theme, all sweeping seascapes in slow motion and exquisite natural landscapes. They’re populated by Lee herself and several black-clad, faceless figures, representing who knows what – perhaps shadows from her character’s past, or facets of her subconscious.

The visual aspect of the project is so superbly expressive that it feels churlish to denounce something so brave, ambitious, and visually compelling, but the music does need to stand up by itself, and it only occasionally does so – in the likes of ‘Thin’, which is very like some of Kate Bush’s more haunted moments, and in the moving vocals of ‘Blue Blue’. This project falls down in what should be its most important part: the music itself.


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