Driver Fingerspot Deskpro more. 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. 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. 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. 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. ~ David Jeffries.

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 True was 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 that was very non-'Levels.'

The rest of the album was equally and shockingly rustic and organic, but here, on this full-album remix of True, 'Wake Me Up' is given a 'Levels'-styled, synthetic kick and returns to the category of prime-time dancefloor stuff, while 'Hey Brother' with vocalist Dan Tyminski trades its bluegrass for dubstep and the bass drops ensue. The original album's 'Heart Upon My Sleeve' isn't remixed, although everything else is here and pumped up splendidly, so consider this a worthy alternative to True made for dancing or, seeing as how many Avicii regulars were thrown by the original's acoustic atmosphere, consider this a fan-pleasing release that plays to the producer's strengths. ~ David Jeffries.

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Even if the DJ ran away from such booming, big room sounds on his 2013 album True, signature hits don't come much more signature than 'Levels,' a simple and effective EDM monster that launched Swedish producer Avicii to Swedish House Mafia, Afrojack, or Tiesto, erm, levels. It's a 'you'll know it when you hear it' instrumental for anyone who has set foot near mainstream clubs during the 2011-2013 seasons, plus the single is available in EP, remix, and white-label configurations with remixes by Skrillex and Cazzette scattered about. ~ David Jeffries. Swedish DJ Avicii is a strange case. In 2011, he broke through with 'Levels,' a bleepy and bright bit of EDM that could have been his signature hit, but then his 2013 album, True, was a country-pop and folk-inspired affair that thrilled his fans with its inventiveness, but left others as cold as a meandering Mumford & Sons remix effort.

Two years later, his LP Stories is another genre-busting affair that fits in better with mainstream radio than it does the club, but everything iffy about True has been perfected here, as the producer revisits the song-oriented album and lets the outside genres freely come and go. Country-pop is back in EDM remix form when 'Broken Arrows' offers a spirited Zac Brown song with Avicii pumping it higher during the whirlwind bridge, but 'Pure Grinding' is a highlight that would have never fit on True, and it lives up to its claim to be 'funktronica' with double-dutch lyrics and '70s electro in support. 'Touch Me' is a bell-bottomed delight that owes a debt to the disco movement, specifically Chic, and if the strange 'City Lights' is the album's most arguable track, fans of Meco and Giorgio Moroder could argue it's spot-on with its robot vocals and tiny melody. 'Talk to Myself,' with Sterling Fox, steps into the '80s with a modern version of Matthew Wilder's 'Break My Stride,' and the rest of the prime moments come from the mainstream pop side of the spectrum, with the Martin Garrix and Simon Aldred (Cherry Ghost) feature 'Waiting for Love' leading the pack. 'Can't Catch Me,' with Matisyahu and Wyclef Jean, is reggae, but the kind that Michael Franti and Radio Margaritaville can agree on, while 'For a Better Day' is the same kind of electro and soul that Moby took to the top of the charts. Complaints that this isn't a dance album and doesn't sound like 'Levels' may still be filed, but they're better applied to True. King Kong Pc Game Crack there.

The pleasing, alive, and diverse Stories is a fine reason to think of Avicii as a producer of attractive music, with EDM, pop, and all other genres on a sliding scale. ~ David Jeffries.