It was Bergling’s father, Klas, who approached him to complete the album. He co-wrote One Direction’s What Makes You Beautiful and Nicki Minaj’s Starships, which he modestly calls his “poor attempt to do a Swedish House Mafia song”. Sitting at his desk in Kinglet, Falk has ordered meatballs for lunch (“What a cliche,” he says. It is the most nakedly pop-sounding of all of his albums, edging away from the buzzsaw riffs typical of EDM towards gentler melodies with romantic rather than hedonistic lyrics. These producers, who considered Bergling both a collaborator and a good friend, completed six songs on Tim. In the centre of Stockholm are Kinglet Studios, run by Carl Falk, and, a few streets away, Studio Gottefar, occupied by Vincent Pontare and Salem Al Fakir, AKA the duo Vargas and Lagola. And the task of finishing the work of a person who dies in shocking circumstances presents obvious difficulties – especially when the creator was a producer, not a vocalist: how can you honour their sonic intentions? Previous posthumous records, such as Aaliyah’s I Care 4 U, Eazy-E’s Str8 Off tha Streetz of Muthaphukkin Compton and Joy Division’s Closer, have served as more than just albums they are memorials to their creators. It was during this period that he began working on Tim. In the final scene, Nina Simone’s Feeling Good blares out as Bergling sunbathes on a tropical beach. “I know I am blessed to be able to travel all around the world,” he said at the time, “but I have too little left for the life of a real person behind the artist.” In 2017, he released a documentary, Avicii: True Stories. He fired his manager and retired from touring. He later had surgery to remove his gallbladder, was prescribed drugs (including the addictive opioid Percocet) for physical pain, depression and anxiety, yet continued his gruelling schedule.īy 2016, he’d had enough. After being hospitalised in 2014, he was diagnosed with acute pancreatitis caused by excessive drinking. Bergling became one of the world’s highest-paid DJs and collaborated with Madonna, Coldplay and Nile Rogers, who called him “one of the greatest natural melody writers I’ve ever worked with”.Īs Bergling’s fame intensified, so did his problems. His 2013 song Wake Me Up, with soul singer Aloe Blacc, spent 26 weeks at No 1 on the US Billboard dance singles chart and was for a time the most-streamed song in Spotify history. His was the defining voice of EDM, the bombastic, Technicolor dance music that has dominated the charts in this decade. Released this week, the album was roughly two-thirds finished when Bergling killed himself on 20 April 2018 aged 28. Album DescriptionL ast summer, a carefully chosen group of producers was given a challenging task – to complete Tim, the third album by the late Swedish DJ and producer Avicii, AKA Tim Bergling. See More Your browser does not support the audio element. In the end, it's an admirable and interesting effort where the highs offset the lows, but those with molly in hand and dancing shoes on feet should just cool their jets and get ready to sit a spell. Country music and bluegrass keep winding their way into the album, and while it rarely smacks of a gimmick, these rustic numbers often evolve into EDM around their drum machine-introducing choruses, as if True was a remix album commission Avicii picked up while vacationing in Appalachia. Adam Lambert reins in his glam tactics on the Nile Rodgers-assisted "Lay Me Down" for a disco and Daft Punk swerve, while the kinetic down-on-the-farm "Shame on Me" offers a knee-slapping, EDM-meets-country rave-up that threatens to go hambone with a solo on the spoons.
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With the hypnotic and bright Grammy-nominated track "Levels," Swedish EDM DJ/producer Tim Bergling aka Avicii unleashed a global dance hit the size of "Beachball," "Blue Monday," "Starships," and maybe even "The Hokey Pokey." If the masses leave the dancefloor, "Levels" brings them back with sunshine and light, but Avicii's debut album is a sharp left turn, kicking off with the acoustic guitar strum of "Wake Me Up," a pleasant, well-written heritage pop track where "I Need a Dollar" vocalist Aloe Blacc gets thrown in a synthetic Mumford & Sons surrounding for something very non-"Levels." It's a strange jumble that works, but even more surprising is the seductive "Addicted to You," where Oklahoma singer/songwriter Audra Mae gets sultry on a song co-written by country and pop legend Mac Davis, and don't wonder long about how the results ended up sounding so Nina Simone, because the curve balls keep coming.
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Purchase and download this album in a wide variety of formats depending on your needs.
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