Whatever became of the Swedish musical invasion which was constructed and purported to be the next big thing around 2002? Part of the answer can be found in hearing this release from Maria Andersson. She was previously the lead singer of Sahara Hotnights, a Swedish female foursome who were on the verge of a mainstream American breakthrough a decade or so ago. This mature and elegiac solo effort is something entirely different from Sahara Hotnights’ Joan Jett takeoffs and emulations of the Eyeliners. It’s imbued with that Scandinavian sleekness, spareness and streamlined elegance that is both familiar and foreign. The rousing and sweeping opener “Lift Me Up” would not sound out of place on the “The Official Music of the 1984 Olympics” record and would have aged better than the actual Loverboy inclusion. The standout “Birches” expresses the “Life in a Northern Town” desire to return to a time when things were seemingly less impeded, but also acknowledges a pragmatic take-it-as-it-comes acceptance of the forces pushing in particular directions. This bend-with-the-wind theme would not be out of place on a Jens Lekman recording. Echoing the airy, but grounded dance & retail floor vibes cast by New Order, “End of Conversation” was selected as the lead-off single of this album. The closing two songs, “Wild Thing” and "The Girl who Loved Islands" are somewhat hushed under blankets of sound and layers of snow swept up by those relentless Nordic winters winds. Andersson’s voice frequently expresses the persevering determination to slice through life's noise and nonsense and get to the elusive essence-which frequently, surprisingly and paradoxically shows up in the noise and nonsense. Succession presents eight variations on the theme of the attuned adjustments that are necessary for heightened awareness of the ongoing moment, branching out and growing towards the light.