There are stripped emotions, tribal rhythms and mixed themes caged within Lykke Li’s second album. The Swedish singer has grown considerably – if her likeable debut alluded to love and other such things, then ‘Wounded Rhymes’ is told through experience, the allusions have all but died in a bloody, broken heart car crash.

An album that can carry pop alongside darker, rhythmic tones is a rare kind, but Li has managed just that. There are tragic tales of love, from the empty swing of ‘Unrequited Love’ to the more resigned ‘Sadness is a Blessing’ – a close to breaking vocal, thumping beat and a meditative deconstruction of melancholy. And as the 60s tinged balladry of ‘Lust out of Love’ echoes timelessly, it’s clear this is a huge artistic step for the artist.

But Li has only become stronger through life experience. ‘Get Some’ transposes prostitution to the mind – women, it seems, have the power. The music is just as adamant, charging through the realms of ghostly pop with shaking beats, chanting backing and fast scratching guitars. More kicking out comes via ‘Rich Kid Blues’, rolling, tumbling toms and a huge chorus make for an exhilarating ride. And if the stunning ‘I Know Places’ doesn’t grab your attention with just a voice and acoustic then nothing ever will.

The singer openly admits that ‘this album is an intense love story gone wrong’, but other tracks tackle different barriers, like album opener ‘Youth Knows no Pain’. Aggressive Hammond organs, broken down passages and drum-heavy refrains makes for a no-holds barred take on what you knew then and what you know now.

Along with producer Björn Yttling (from Peter, Björn And John fame) Li has maintained a stylistic piece of bruised and damaged music that you can’t help but admire. And if the occasional melody falls short, there is always more than enough imagination to compensate. So in the kindest possible way Bowlegs hopes Li’s love-life is a continual disappointment, meaning we can all reap the musical rewards. BW