…is it safe to say I had low expectations going into this record?
Because I remember having the feeling that Tove Lo had so much damn promise coming out of Queen Of The Clouds: clearly ambitious with a lot of personality, aiming to touch on darker, more sexual, more nakedly dangerous and reckless material and with the sharp songwriting and knack for pop hooks that made her a hell of a rising talent in 2014… and then two years later all of that went out the window with Lady Wood, the first half of a two-part project that left a lot of listeners wondering whether the second half would be worth the bother. The melodies had been sucked away, the delivery had shoved the melodramatic impulses and intensity into the murk, and despite clearly trying to convey a potent story, the record felt more conceptually underweight than ever.
And that makes for an awkward admission: for as many times as I’ve listened to Lady Wood, even just a year later I don’t remember it at all, and that’s not a good sign going into the record’s ‘sequel’.
Now reportedly this was aiming to be a more emotive and expressive record, less of the dark house elements and more straightforward dance pop – hell, if your lead-off single is called ‘Disco Tits’, it’s definitely clear you’re even trying for subtlety this time around! But on the flip side, it wasn’t as if she switched up her production or writing teams, so there was a very real possibility this record could wind up as barren and swamped out as her last one. But hey, it couldn’t get worse than Lady Wood, right?