Nearly seven years have gone by since the last Sissel album. But after seven lean years, follow seven fat, if we judge by the contents of "All Good Things."

Here there's namely enough ballads to hold Sissel highest on the hitlists throughout the new year. "All Good Things" is a well-produced, broadband - in the true sense of the word, with demographic reach from nine until 90. And the word is that the advance orders are at a record 100,000.

The Best
It cost Sissel about 10 million Norwegian crowns ($1.1 million US) to trash a whole album recorded in the USA, to the benefit of Norwegian resources. And "All Good Things" is just such a manifestation of the high qualification we have here at home. It doesn't sound Norwegian, but it is a collection of the best pop know-how in Norway which makes this an album that, with pride, we can brag about, even internationally.

Here are the songs:
"Weightless." The only survivor from the USA-recording. A beautiful song with Celtic influence, which more than points to Sissel experimenting with being a new Enya. Jørn Dahl og Kim Ofstad (d'sound) have given the song an updated touch with programming and drum samples.

"Carrier Of A Secret." Sissel at her most insistent. A ballad which grows in the refrain when Sissel's soprano has freedom to play.

"Should It Matter." Lene Marlin's first of two contributions. Unassuming but emphatic lyrics which stand out on an album where the lyric clichés abound. Sensitive and longing ballad where the violins strengthen the atmosphere rather than drown it. Luckily.

"All Good Things." Morten Abel's title track is actually among the album's most stagnant tracks. A defiant situation which is never resolved despite it's swaying refrain.

"Lær meg å kjenne." The album's only Norwegian track. Everyone who has previously heard Sissel sing relgious folk tunes will not be disappointed here, either. Terribly beautiful.

"Keep Falling Down." The author's favorite track. Jørn Dahl's hypnotic programming forces Sissel's voice through a well of feelings. Moreover it's good with some faint beats after long stretches of harmony.

"Better Off Alone." Light and easy. Strongly reminds one of Elton John's "Nikita" in the intro. That's not meant as a compliment. An anonymous and unfortunately characterless song.

"Sarah's Song." Lead in by the littlest daughter Sarah's laughter, and is originally enough an homage from Sarah to mama Sissel. The song is sweet, but puts one to sleep. So perhaps it's a lullaby?

"One Day." Previously reviewed with a 5 (out of a possible 6) in VG.

"Where The Lost Ones Go." This is the duet with Espen Lind. In many ways it's an irresistible and grand song with a refrain so dramatic that it tends to pomposity. Espen and Sissel's voices go well together.

"We Both Know." Sissel whispers forth Lene Marlin's second contribution. A quite subdued hymn without any other function than to conclude the album in a peaceful manner.

"All Good Things" is neither a sensational nor an innovative pop album, but it is solidly carried out and a qualified contender in a genre which is dominated internationally by overproduced products without distinction. The distinction Sissel has, namely the voice, and it should be mentioned that the album would have gone down in quality with any other vocalist.

But it was a Sissel album we were waiting for and a Sissel album it has luckily become.

STEIN ØSTBØ, translated from Norwegian by ROBERT A JONES








Verdens Gang and The Sissel Website -- 20. November 2000



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