Let’s think about Sweden for a minute, and all that is amazing about it. It borders Norway, the land of black metal and darkness, and Finland, who doesn’t really do all that much that is worth mentioning. Now, Sweden—it has a reputation that precedes it. A past filled with Vikings and pretty amazing medieval empires, all of which are awesome. Now, they boast number one spots on several “Quality of Life” lists, beautiful summers despite the frosty winters, and most importantly, one of the most thriving indie-pop scenes in the world.

Suburban Kids with Biblical Names (SKWBN) has grown out of that long tradition—their members Johan Hedberg and Peter Gunnarson have been delivering cheerful, lo-fi ditties since 2003. Their latest release, #4 EP, doesn’t necessarily lack the same home recording charm that the earlier releases had, but instead, continues with the sweetness sans the toothache.

The opening track, “1999,” is the most similar to the rest of their catalog, featuring toy trumpets, sloppy percussion, and the synth-sensibility fans have come to expect. The remaining four tracks are where the change starts to become apparent. The second track, “Studenter På Flak” (translated as “Students on Truck Beds,” roughly) is a bittersweet, more subtle song with Swedish lyrics. The lyrics roughly translate into being trapped in a city, and if anyone could understand them, who in Buffalo couldn’t relate to that? The feeling of isolation is still present in the music, even without understanding the lyrics. Discordant Pet Shop Boys-esque pianos sprinkle across the verses, with intermittent lonesome whistles. On that note, I have a hard time getting too into it since I don’t understand what they’re saying and have come to appreciate and find their broken-English lyrics charming.

The third track, “Europa,” is arguably the best on the EP, featuring dreamy bossa nova/Africana inspired percussion, chill backing vocals, and subtle accordian. The most interesting aspect of “Europa” is how the vocals are less of the focus of the song and blend in harmoniously with the euphoric music-accompaniment, contrary to what is expected of SKWBN.

The final track, “World Music,” is very reminiscent of work by fellow Swedish indie-darling, Jens Lekman, specifically his most recent release, Night Falls Over Kortadala. The production is similar, and features an attractive mix of congas, cut up voice samples, and flutes.

Overall, it is a strong release from SKWBN and pivotal in their growth as a band. It also builds up anticipation for a potential full-length release later this year and a possible US-tour.

While some might criticize the step up in production, it actually seems to be in the right direction for SKWBN, beyond the cheap cutesiness that many indie-pop acts resort to.