Swedish singer-songwriter Molly Nilsson is no stranger to exercising her independence. Writing, producing, and publishing her own music — through her independent record label Dark Skies Association — allows for Nilsson’s unreserved, forthright impression of contemporary zeitgeist to broadcast on full blast. In a freethinking fashion, these proposals reveal amongst synthy melodies and dark pop.
In her previous album, 2020, Nilsson sets the stage for a dystopian world subject to the confines of late stage capitalism where income inequality and powerful corporations reign. While 2020 acknowledges the reality of the present, her 10th studio album, Extreme (2022), surfaces as a hopeful, honest gaze toward the future. In the solitude of the ongoing global pandemic, Nilsson creates an anthem of optimism. Extreme does exactly what its namesake recites; meet the postmodern condition with force, recognizing power imbalance by acknowledging it, overcoming it, harnessing it, and embracing the unity that can subsist in its exchange. Nilsson explodes with vigor; societal commentary has always been an underlying force in her music, but here, we see it in its most explicit form. Unapologetically, she expresses the condemnation of power structures over her signature gothic synths.
Opening track “Absolute Power” is a fighting call to the state of today, transporting the listener to a hypnagogic galaxy made up of blaring electric guitars and punching drum beats. “Absolute Power” sets the stage for a fight between Nilsson and “a black hole at the center of the galaxy”. Rather than fearing potential spaghettification, she is excited to use the power she has harnessed against it. Nilsson is confident, unfaltering, upbeat, and hopeful.
The second track “Earth Girls” blatantly confronts misogyny through the acknowledgement of the male gaze. Over an 1980s-esque drum machine, she vocalizes, “You’re the nude in the painting/ You’re the girl in the song” and “In front of every brave woman / There’s some guy just blocking the view”. She comes to the realization that as the naivety of her youth fades, this veil of progress is lifted, revealing the same patriarchal systems that have and continue to be upheld. However, Nilsson does not sheath her sword. Rather, she uses this sentiment as a means of feminine empowerment in protest of this institution. Smokey vocals cascade over piano and saxophone as Nilsson recites, “Women have no place in this world”. In the eyes of Nilsson, women have no place in this world because the world we currently live in is simply not good enough for them. We must reform or navigate to an unadulterated terrane. Nilsson contrasts these upbeat sounds with a faithful sentiment, resulting in a danceable, head-boppable track that is fresh and articulate.
The sixth track “Sweet Smell of Success” challenges capitalist regimes, specifically in the music industry. The haunting sentiment “At home when we’re retired we’ll finally get to cry”, questions the stakes necessary to achieve mainstream success. The song makes use of Nilssons melodious voice over the contrast of a punchy electric guitar and kick drums.
The ninth, stand-out track “Take Me to Your Leader” could be straight out of a high school prom scene. Bursting with reminiscence, I cannot help but picture Nilsson on stage serenading, “Baby take me to your leader/ I really need to see her/ I’ve got some suggestions”. With love, Nilsson plans to ameliorate her condition. The song prepares for a transgalactic voyage, leaving the troubles of today behind. There is stark contrast between her ever apparent gothic voice and an optimistic message.
The tenth track, “They Will Pay”, is an instant punk rock classic — Nilsson’s final fight song. These lyrics speak for themselves, as Nilsson projects, “Bill calls himself a philanthropist/ But I think maybe he’s just taking the piss/ And little Elon wants to join the race/ Another white man to colonize space”. This epic, unadulterated critique of the all-powerful bourgeois, manifests as an anti capitalist cry for action. Nilsson is confident and ready for combat.
Closing track “Pompeii” tells of a love lost, but not forgotten. Nilsson recognized that while she and her partner could not be together, the love they shared is immortalized in their memories of each other and this very fact contributes to her resilience. The same type of extreme resilience we’ve been shown throughout the album leaves the listener with both initiative and hope.
The album’s monochromatic cover features a multidimensional “X”, composed of alternating triangles and trapezoids. In mathematical terms, “X” represents an unknown variable, awaiting classification through algebraic simplification. “X” denotes the extreme, the means of conquering the contemporary, and embracing the end. To Nilsson, our “X” is achieved through her sentiment of extremism — the cure to our discontent is rebellion — and what better way to achieve this than with a banging album as the score to our defiance.
Written by Ally Flygare
Featured image by Silvia Conde