In the US, Melpo Mene’s music is known only for its use in a Volvo commercial. That’s too bad, because Melpo Mene’s unique blend of acoustic and electronic pop sounds, at its best, like a combination of Stars, Architecture in Helsinki and Iron and Wine. Frontman and songwriter Erik Mattiasson deserves credit for the group’s lush arrangements and catchy melodies. Though Mattiasson records with other musicians, he tours on his own. He is an impressive vocalist, achieving Torquil Campbell’s smoothness and earnestness without the corresponding theatricality. That said, Mattiasson’s voice may be the most divisive aspect of Melpo Mene. I find it striking, but its appeal isn’t universal.

With two albums and an EP, Melpo Mene is fairly established in Sweden but has yet to find a following (or even a Pitchfork review) stateside. The closest Melpo Mene has come to a hit is “I Adore You” from Bring the Lions Out (2008), the group’s sophomore LP. “I Adore You” is a bleak pop song driven by acoustic guitar and piano. It is delicate, genuine, and still absolutely infectious. Bring the Lions Out is a solid album throughout. “Kling Klang Clock” is a psychedelic trip through clock sounds, horns, and eery vocals. Mattiasson’s mult-tracked harmonizing on “Jedi” is sure to get stuck in your head, along with its salsa-influenced instrumentals. “The Sun” features a jazzy upright bass line, a catchy vocal melody, and some very 1960’s guitar solos. In some ways, it sounds like a more interesting version of She and Him. “Society” is probably the catchiest song on the album, with vocal harmonies and organ lines that would almost sound at home on a Mates of State album.

Melpo Mene’s 2006 debut LP, Holes, may be even more impressive than their sophomore album. The album’s best tracks are “Holes” and “Hello Benjamin.” “Holes” is, in many ways, similar to “I Adore You.” Both songs are driven by acoustic guitar and piano; both feel melancholy; both are unapologetically pop. “Holes” is both more fun and more serious than “I Adore You,” chronicling Mattiasson’s struggle with schizophrenia. “Hello Benjamin” is dramatically more electronic than “Holes,” featuring a full range of synths and drum machines over Mattiasson’s acoustic guitar.

Both Holes and Bring the Lions Out are truly excellent albums. Holes may be the better album overall, but both are well worth a listen. If you can get past the association with Volvo, you might find that Melpo Mene is the best thing to come out of Sweden since the p1800.

Photo credit: Melpo Mene

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Unknown Quantity is a series in which I review bands you’ve probably never heard of, no matter how much you read about music. In order to be eligible for this feature, a band must not be reviewed in either Pitchfork or Rolling Stone. Some weeks I’ll revisit a lesser-known band from decades ago, other times I’ll hype a band that is so new they haven’t released a physical CD. Unknown Quantity knows no geographic constraints either: one week will feature a band from Providence and the next will highlight an act from Provence, France. I’m always looking for new music; if you have a demo you’re proud of or think a band deserves some recognition, leave a link in the comments and I’ll take a listen.