There's just something about the Swedes and how they seemingly have innate ability to make melodic, memorable pop. They exude a sweetness about them that makes much of their music so uplifting � even though all of it isn't always be as positive as it sounds.

Rodrigues is certainly one of those guys that always seem to be looking on the bright side of life. During "So Is Love," for example, he sings the relatively negative lines, "Lover treat me badly/But I love you so," yet still sounds like he's on the top of the world. Perhaps this (Sweden) is one of the last remaining regions on the planet to have not yet discovered the blues. If these people have the blues, they must not have the inclination to sing about it. It's just not in their blood or something.

Ironically, one song that might just be the saddest track in this song-quintet is actually named "Bliss." On it, Rodrigues sings of missing his girl, while all time vowing that nobody can ever tear them apart. He can always see a silver lining, even � perhaps � when others can't.

Rodrigues has a pure, soaring vocal style that perfectly fits the sentiments he sings about. While many of these songs are guitar-driven pop, they're not by any means hard driving, loud & screaming guitar songs, but much more ethereal sounding six string confections.

On the song "Bad Girl," by the way, Rodrigues is in no way describing women in prison � as its title might imply. When he's singing "Such a bad girl/such a sad girl," he does so with a yearning, heartsick and sincere tone in his voice. He's also not singing angrily about some chick that's broken his heart, either. He's likely singing about a love interest, but he does so in a manner where it almost sounds as though he's singly sadly about his daughter or something close to his heart.

The one minor difficulty with this collection is in how its songs tend to run together a bit. It's a little like gazing into a bright bank of lights for an extended period time, which then causes the vision to blur. With all that illumination, it starts to become difficult to make out the various shapes on the horizon.

Rodrigues could also use a little variation in his singing style, as well. Perhaps a little more vocal grit or just a little bit more overall toughness might help his songs standout from each other more. This release can feel like an extreme sugar rush at times.

Such are small complaints, however, when you're dealing with a natural pop tunesmith. It is refreshing to sit with these songs after some overexposure to contemporary pop radio where repetitive dance beats attempt to pass for being melodic, yet usually fail badly.