Share on Facebook Share on Twitter Share on Google+ Share on Reddit Share on Pinterest Share on Linkedin Share on Tumblr In 2014, Tove Lo, nee Ebba Tove Elsa Nilsson, received much praise that spoke of how her debut album “trad[ed] in pop clichés but flipp[ed] them.” Honestly, Tove Lo’s never done anything all that revolutionary. Her grunge-tinged electropop was foretold early in the ‘10s by the Weeknd, Natalia Kills and Kesha, and her excessive party animal image was already introduced to the mainstream by the latter. Though not quite a revelation, Tove Lo does excel at writing fantastically catchy music. The problem is that stellar cuts like “My Gun ,” “Cool Girl” and “Moments” are always lost in albums with shaky concepts and frankly forgettable music. It’s because of those qualities that Sunshine Kitty feels like a beacon of hope, a collection of danceable and distinctly ToveLoian cuts. The calculated hedonism still exists, but it seems more sincere than her Twinkie binges or Muppet fantasies. In the past, she made such an effort to not G.A.F. that songs lost their authenticity. Thankfully, this album and its nod to her own feline nickname place Tove Lo in an environment that’s suitable for her proclivities but doesn’t make them come across as props. “I want attention, commitment, intertwined” presents Tove’s expected candor while implying her anxieties: she craves more than just physical attention on “Sweettalk my Heart,” but sex is one of the ways you can go about (possibly) eliciting more. Another way is through allure, which she boasts an abundance of on the dancehall-influenced “Equally Lost.” “Turn my charm on/ Hoping you thinking I look awesome” she sings, risking a backwards glance as she saunters past her target. Sunshine Kitty, like anyone with a crush, hints at its true desires rather than naming them freely, but it always keeps the cracks visible just in case the target is too oblivious. Even when straight-shooting on “Stay Over,” she muddles her conviction by tumbling through 6/8 tempo rather than strutting above one at 4/4. Oddly enough, she saves her honesty and her finest hour for none other than the new girl, the one who’s replaced her. “Really Don’t Like You” takes a Eurodance beat and refashions it as an R&B confessional. The night never has to stop, but she needs to get this off her chest, and she knows the new girl will understand. “Wish it wasn’t real, girl/ But you know how I feel,” explains the bitter words of wisdom from pop music visionary Kylie Minogue, one of the many features on the album and easily the best. Sunshine’s other standout feature, Jax Jones, brings the exact same formula he’s brought for years to “Jacques.” His productions always carry a light undertone of mischief, and Tove Lo’s own humor plays in well with the deep, pounding percussion. It allows for what is also the album’s best line, “I can be an assstronaut.” It’s a ridiculous metaphor, but it relays everything you need to know about Tove Lo: she’s a Romantic, she’s horny, and when she wants to, she has the most entertaining way of tapping into both sides.