It can be said with as much certainty that any outside observer can have that the Sounds' sophomore effort, Dying to Say This to You, has achieved all of its goals and then some. The Swedish indie rock band by all appearances set out to make a fun, high-quality pop/rock record and they did so, brilliantly. This disc has been rendered with creativity and panache, and it features hooky songwriting so compelling that it's easy to listen to the mere 35 minutes of material (divided into 11 three-minute long, radio-friendly songs) on a continuous loop. Missing Persons comparisons have abounded in reviews of the Sounds, owed mostly to their integrated use of synthesizers, and singer Maja Ivarsson's sassy delivery (not to mention her iconic look, complete with obligatory Nordic platinum blonde hair), but this doesn't really do the group justice. Keyboardist Jesper Anderberg's use of synth on the album finds the instrument's natural place in indie rock, giving it a chance to evolve rather than languish as a tool for the retro and sarcastic. The cock rocking guitar and an unapologetic rhythm section don't let up to make way for the synthesizers; they all simply exist in a cohesive arrangement. This, combined with Ivarsson's spunky voice, brings to life highly danceable tunes that come off as just a little bit punky, despite their strong on-paper adherence to pop sensibilities, which proves that attitude in delivery counts for a lot in the overall feel of a record. Moods of individual songs do vary, from the pissy vibe on "Queen of Apology" to the wry and earnest ballad "Night After Night," which manages to evoke a sense of vulnerability amid the just-out-for-a-good-time songs that surround it on the album. The tone of the disc as a whole, however, is consistent and clear, leaving no question that the Sounds have found their voice. ~ Cammila Albertson, All Music Guide
The Sounds embrace the decades-old bands that have inspired them to an unhealthy, cover band-like extent -- they pose for photographs as if they're Blondie, and they both look and play the part, with black T-shirts, faded jeans, and snappy three-minute songs with trebly keyboard vamps and tightly wound guitar riffs. But the thing you cannot take away from the members of this Swedish group is that they know how to write and play songs that fit into their favorite era without the sense that specific songs are being cloned. More than that, the group has a bright, singular personality in powerful lead singer Maja Ivarsson, who has a multi-dimensional voice of her own -- her Debbie Harry isn't nearly as obvious as the guy from the Hives' Mick Jagger, for instance. If you value fun over originality -- and you should, especially when it comes to guitar bands at this point -- the Sounds' debut will serve its purpose. It's over with in 40 minutes, and it plays out like a collection of A-sides. If a legion of bands can get away with relying on Nuggets fetishes, why can't a handful get away with taking several cues from Missing Persons, the Cars, and Blondie? ~ Andy Kellman, All Music Guide