It’s always worrying when your act has a name that’s so cumbersome to pronounce that you kinda give up halfway through. Luckily for iamamiwhoami, they were one of the first lot to do ‘internet mystery’ perfectly (to the point we even remember someone thinking it was the new guise of Christina Aguilera). More importantly, Jonna Lee’s audiovisual project – soz Bey, they did do it first – was arresting for one main reason: incredible music.
That’s one thing that hasn’t changed through the Swedish outfit’s slow emergence into sunlight. As soon as Fountain kicks off, it’s business as usual for the glacial synths and Lee’s often-clouded delivery. It’s balanced with their most pop attempts to date, as Vista and Hunting For Pearls channels the best of the 80s to produce that distinctly modern Scandinavian sound.
In fact, even though iamamiwhoami are out in the open, there does seem to be a knowing reluctance to fully open the door. Songs like Tap Your Glass still favour an approach that keeps Lee’s lyrics shrouded heavily in the swirling electronica around them; elsewhere, a song like Thin seems to have revealed its game, only to change tack rather wonderfully halfway through.
That’s the beauty of iamamiwhoami, as it has been from the start. They keep us guessing, and nothing feels contrived. Synth-pop and alternative dance are expertly melded around Lee’s effortless choruses, and Blue feels like the first indication of iamamiwhoami showing us exactly who they are.