I changed schools midway through high school, and as a result, I took U.S. History two years in a row, missing out on any kind of European history curriculum. Consequently, I've always felt a little unenlightened about the numerous, and no doubt unique, political systems and cultures of Europe, particularly in countries that didn't play a major role in world wars, or otherwise generate historical hype. So, if my wildly successful writing career suddenly began earning me huge amounts of money in addition to massive notoriety and critical acclaim, I'll have to base my extensive European travel plans on what little I can surmise from my musical knowledge.

As far as I can tell, Sweden's got two distinct cultures. There's the black jean ghetto, populated by Refused fans and dark metal devotees. Then there's a stylish contingent of people who enjoy both kitschy bubblegum legends like Abba and Ace of Base, and the more self-conscious sounds of their indie peers: Komeda, the Cardigans and Girlfrendo, amongst others. But there doesn't appear to be any middle ground-- you either embrace angst or go for all-out whimsy.

The Concretes indisputably fit in better with the latter group, but despite singer Victoria's breezy, accented vocals, the Concretes aren't as lightweight as their nationality might indicate. But they have a surprising country twang for a band who probably haven't obtained the extensive knowledge of the American West provided by a double shot of U.S. History.

"Teen Love," the opening track on Boyoubetterunow, is the Concretes at their most unabashedly poppy. As Victoria chronicles the highs and lows of adolescent romance, a bouncy bass line and keyboards ascend from the background. "Be Mine" finds the band in a mellower mood, adding a strangely affecting trumpet solo to a song dominated by soothing strummed guitars. "Vacation," while not quite the chaotic teen riot of the Go-Go's classic, boasts a simple melody that seems ideally suited for campfire sing-a-longs. "Give a Little" finds the band veering between Euro-pop and country before eventually settling into a long, almost drony jam.

The Concretes have managed to combine the fun elements of Swedish pop with a musical sophistication often lacking in their synth-obsessed contemporaries. They supplement the standard rock line-up with strategic deployment of strings and horns on nearly every song, peppering the mix with occasional harmonica when appropriate. I've actually had a difficult time coming up with bands to compare to the Concretes, but fans of clever, quirky pop should find plenty to like here. Thanks to them, Sweden has claimed the highest priority spot on my Nordic itinerary.

-Meg Zamula