Jonathan Johansson creates his lyrics in Swedish, and provides them in a dreamy croon (frequently doubling himself in falsetto) that’s designated by the highlight of his native Scania area in the country’s southern tip. But his lush, extremely melodic pop can be both stunning and familiar plenty of to quickly transcend language obstacles. A social employee by career, originally hailing from Malmö and later on centered out of Stockholm, Johansson produced his debut in 2005 with Alright, Ge Mig Timmarna (“Alright, Provide Me Hours.”) Released beneath the name Jonathan Och Hjältar (“Jonathan and Heroes”), having a music group that included Emil Svanängen of Loney Dear. The album’s guitar-based indie pop garnered some beneficial evaluations to Håkan Hellström, but small attention general. After many years of trying out and refining his audio, checking out different configurations of music artists and methods to documenting, he strike on a method he loved in the Uppsala cellar studio room of drummer/maker Johan Eckeborn. Producing prominent usage of a vintage Yamaha DX7 synthesizer, their recordings — like those of several of Johansson’s contemporaries — had been extremely similar to early-’80s synth pop and New Passionate music (as emphasized with a Swedish-language cover of Tears for Concerns’ “Everybody Really wants to Guideline the Globe”), while not too much electronic, and having a large, lightly anthemic quality redolent of rings like U2 as well as the Arcade Open fire. In 2008 he authorized with Hybris Information (house to like-minded performers including Juvelen, Montt Mardié, and Vapnet) and liberating the well-received solitary “En Hands I Himelen” (“A Submit the Heavens”) under his rather pedestrian provided name. A full-length Compact disc, En Hands I Himelen, adopted early in ’09 2009.