For a musician who describes herself as a noise-pop artist, Fågelle can be quite quiet. On “Gränslös,” the final track of her recent debut album Helvetesdagar, her words unfurl gradually, almost as though she’s singing incomplete fragments of sound rather than actual lyrics, as ambient drones and slowly sleeping strings provide a fragile but nevertheless traceable backdrop. About halfway into the song, Fågelle begins harmonizing with herself, and shortly thereafter, the track explodes into a cacophony of drums that pound distantly, with a gorgeous excess of reverb, without much in the way of a standard rhythm, threatening to lead to a full-on explosion that never quite arrives. Instead, “Gränslös” fades into fireworks and bird-like screeches, a series of sounds that pop with noise. If that’s what Fågelle means when she describes herself as noise-pop, then she’s right on the money.

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