Though a celebrated artist abroad, Danish songstress Oh Land - aka Nanna Øland Fabricius - has not yet captured the hearts of those in-the-know down under. However, if her sophomore, self-titled record is any measure, her modest profile may be erased yet in favour of serious recognition.

In all probability, Oh Land just might lay claim to being the best electro-pop release to have flown under the radar in 2011. Though hyper-stylised - as per the brief of the genre and indeed as per Fabricius’ expertise - the record rarely bears the obnoxious ingredients of unashamedly commercial abominations. Instead, Fabricius’ endeavours frequently appear sweet, simplified and highly attractive. Oh Land could have easily lowered itself to emerge an all-guns-blazing affair, though Fabricius’ defiance in her choice to avoid such a tact is to her credit. The result is that Oh Land boasts a refreshing audacity in her craft.

That’s not to say Oh Land shuns the playbook, nor does it completely ignore any indulgence in pure pop magic. If anything, Fabricius’ song-craft is somewhat irresistible, as Oh Land - in its eleven outstanding tracks - dares to establish a new infectious zenith time and again. The highlights come thick and fast, the jaunty Sun of a Gun sporting playful attitude. Meanwhile, Voodoo sports a deliciously mechanical aesthetic, the jagged, 8-bit electronic approach akin to La Roux’s finest moments. Later, the boisterous jungle-bounce of White Knights marks a return to pop-tastic form, with its booster shot of fun and frivolity.

Fortunately, the record’s moments of restraint make for equally compelling listening. Oh Land occasionally opts to cultivate a unique tension expressed, an array of tender interludes each as invaluable as the record’s live-wire pop. Perfection, the album’s opener, demonstrates this very notion. The song paints a tender portrait of unashamed worship, a smooth and seductive electro-pop marvel surfacing.

Meanwhile, the follow-up Break The Chain prevails as a key album highlight and the gooey orchestration of Lean offers its own sweet, serene touch. In so many moments, from the album’s beginnings to its dying seconds, Oh Land proves deftly evocative. So much of this is owed to Fabricius herself. The songstress a remarkably talented vocalist, with a touch of beauty evident in her navigation through a shape-shifting record.

It’s difficult to believe this album has not yet made a splash down under, but in boasting such a brilliant and consistently entertaining effort, it may be just a matter of time for Fabricius. Overall, Oh Land is unsung gem of an electro-pop record, exuding an irrepressibly infectious charm. Highly recommended.

Review Score: 8.5/10