The re-release of Fortress Around My Heart marks something of a celebration of independence for Ida Maria after parting company with her record label RCA on the 1st of January this year whilst still managing to retain ownership of her album. The new version is affixed with three new tracks, some fresh cover art and a sense that you are supporting something of an honest, brave talent rather than filling the pockets of a fat music exec in a suit.

The most well known track on the new album is ‘I like you so much better when you’re naked’, a ridiculously catchy and slightly surprising romp of a tune which seems to chronicle the affects of alcohol on the brain of a single, fun-seeking female. You can’t help but get to the end of it and think, ‘ah yes, that was me three years ago/last year/last night’ and enjoy the solidarity that comes from a sense of shared drunken mistakes. ‘Oh my God’ which contains the lyrics that are the album title, just makes you want to stand up and sing along, it’s such a loud and compelling statement of fact. The frantic drumming and guitar playing and the gravelly vocals, occasionally interspersed with actual screams make this account of those bad days we all have just a joy to listen to. ‘Queen of the World’ is a wonderful hand-clap-inducing jig of a tune, complete with a splash of barbershop vocals, that perfectly captures the opposite moment when you feel exactly the way the title describes and never want it to end.

There’s just the right amount of bitterness in ‘Forgive Me’ a fast-paced resolution of a song containing vengeful rhythm changes in all the right places and a relentless sense of spirit despite (or because of) sentiments like ‘I’m treated with cold cold kisses and I’m treasured like a piece of junk.’ ‘Morning Light’, ‘Louie’ and ‘Stella’ convey the same entertaining honesty through some seriously sing-along melodies and enjoyably intelligent vocals that are about more than just love, hormones and wanting.

Of the three new tracks, ‘Leave me, let me go’ is the best. A slow ballad-esque piece, slightly heartbreaking in its gentle sadness which is conveyed through slow guitar chords, brush drumming and some emotive vocals. ‘In the end’ is similar in its tempo but lifted by its folky, lilting chorus and piano solo. ‘We’re all going to hell’ is probably the least arresting of the three but still very well put together. You can see why these there were struck off from the original release but they are still gorgeous in themselves, if a little slow.
I suppose this album is ‘indie pop’, whatever that means, but there’s nothing manufactured about Ida Maria, just a wonderful earthy goodness to the unique vocals perfectly offset by some skillful writing and a slick backing band. What is really compelling is the fact that her voice is such an effective tool of communication that it’s hard to listen to it without feeling exactly what is meant by every word that she sings. Whether, without a big label behind her, she will be consigned to the scrapheap of ‘talented with only occasional profile’ with the likes of Emiliana Torrini, always coming second to the manufactured bands with the serious money behind them, only time will tell. However, at this point in time, with the divorce of interests behind her, a Norwegian Grammy in the offing, this re-release and a place on the NME Shockwaves tour, it would be a big mistake to underestimate what she will do next.

[youtube]http://www.youtube.com/watch?v=cySmUjQB05I[/youtube]

Ida Maria likes you better when you’re naked….