“Chimney Sweeper,” is as ambitious as the song itself. Rows of cute kids-drawing people sway cheerfully from side to side before morphing into Russian nesting dolls; footprints track playfully across the screen in time with a bass solo; streaks of primary colors flash across the screen during the song’s psychedelic climax. It’s a perfect match for the Swedish-American artist’s new psych-pop odyssey, the stark black and white animation bringing his song to life with endless whimsy and imagination.

• Two Story Melody (USA)

Set to a strange and captivating music video, “I Hate Myself Now” is an expressive and inviting indie rock ballad. A psychedelic swirl of guitars cut and bend opening our minds to alternate planes of kaleidoscopic reality. In a way, it’s Beatles-esque, though effortlessly it’s purely Grimson; daring, carefree, and fully realized rock.

• Glide Magazine (USA)

“Will He Ride (My Bike)” is a captivating piece of songwriting from Swedish/American songwriter and animator Grimson, released as part of an experimental animated documentary. Reflective vocals and guitar carry initially, with percussive additions and electric guitar past the 30-second mark adding vibrancy. “The wheels when they were apart,” Grimson sings into a delectably twangy series of guitars. The lyrical references to bicyles and biking is “a metaphor for rebuilding and moving in parallel – sharing an experience,” per the artist. Following, as the more acoustic-fronted verses appear, Grimson’s vocals mesh harmoniously with backing vocal effects. There’s a nostalgic quality throughout, enjoyably recalling Elephant 6 acts with a psych-pop glow and rock fervor.

• Obscure Sound (USA)

“I was a mailbox, swallowing post-cards, sending my regards, to Hollywood stars“. “I Was a Moth” is a track that was written and composed by Grimson in his teenage years and now sounds reimagined at age 23. Composed of a six-part string arrangement and focusing on a narrator that proclaims a story, this is still an abstraction from reality and a story that will involve differently with every listener. Based on a folk acoustic vibe that feels almost classical and very simplistic from the production point of view, it is in the raw sonority that it shines the most for us.

• Where the Music Meets (Portugal)

I can tell there is plenty of devilment [sic] going on with Grimson (singer/animator/mysterious jet setter), doesn’t need to shout or make a big racket – instead just take all those Beatles/Grizzly Bear tricks of the trade and turn it into a 21st century anthem that we can all sway along to. Or if the need requires it, fall down drunk to because ‘How Come No One Told Me’ has that kind of lolloping style. But for all its idiosyncratic turns in the road there is plenty of knockabout fun and a tune that is true to an artist who can put his own spin on a treasured old sound. A proper grower.

• MP3Hugger

“Good Dreams” is a psychedelic pop nursery rhyme begging for the simple comforts of rest, while shifting around the somnambulistic, nightmarish states from shadows cast on the basement wall, picture frames that won’t stay straight, and tiny sounds the spirits make through more anxiety-ridden waking thoughts—So where does it end? / I knowingly pretend / The thoughts when I’m awake are not / The thoughts my soul intends.

• American Songwriter

Swelling string arrangements and playful piano melodies add an almost storybook charm to the track, recalling Laurel Canyon pop greats like Harry Nilsson, even as the tight vocal harmonies call back to The Beatles’ kaleidoscopic psychedelic period. Yet, within the track’s colorful chamber pop bliss, there’s an indelible sense of melancholy. Berglund outlines his protagonist’s dream in fantastical imagery, only for the song to return to dreary reality, ending the track with the song’s protagonist once again stuck in their room, unable to gather the courage to leave.

• Under The Radar Magazine