{"id":13674,"date":"2026-03-08T13:45:35","date_gmt":"2026-03-08T17:45:35","guid":{"rendered":"https:\/\/wecb.live\/?p=13674"},"modified":"2026-03-08T13:46:32","modified_gmt":"2026-03-08T17:46:32","slug":"annie-saw-the-future","status":"publish","type":"post","link":"https:\/\/wers.org\/wecb\/milkcrate\/annie-saw-the-future\/","title":{"rendered":"Annie Saw The Future"},"content":{"rendered":"<style>.wp-block-kadence-spacer.kt-block-spacer-13674_d1a7a9-13 .kt-block-spacer{height:30px;}.wp-block-kadence-spacer.kt-block-spacer-13674_d1a7a9-13 .kt-divider{border-top-width:1px;height:1px;border-top-color:var(--global-palette3, #1A202C);width:100%;border-top-style:solid;}<\/style>\n<div class=\"wp-block-kadence-spacer aligncenter kt-block-spacer-13674_d1a7a9-13\"><div class=\"kt-block-spacer kt-block-spacer-halign-center\"><hr class=\"kt-divider\"\/><\/div><\/div>\n\n\n\n<h5 class=\"wp-block-heading has-text-align-center\"><strong>Every Sunday, <em>milk crate<\/em> revisits an iconic piece of music history\u2014artist, album, or otherwise\u2014as a part of our weekly crate digging series.<\/strong><\/h5>\n\n\n<style>.wp-block-kadence-spacer.kt-block-spacer-13674_43069f-93 .kt-block-spacer{height:60px;}.wp-block-kadence-spacer.kt-block-spacer-13674_43069f-93 .kt-divider{border-top-width:1px;height:1px;border-top-color:var(--global-palette3, #1A202C);width:100%;border-top-style:solid;}<\/style>\n<div class=\"wp-block-kadence-spacer aligncenter kt-block-spacer-13674_43069f-93\"><div class=\"kt-block-spacer kt-block-spacer-halign-center\"><hr class=\"kt-divider\"\/><\/div><\/div>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"409\" src=\"https:\/\/wers.org\/wecb\/wp-content\/uploads\/sites\/4\/2026\/03\/annie-banner-1024x409.png\" alt=\"\" class=\"wp-image-13675\" srcset=\"https:\/\/wers.org\/wecb\/wp-content\/uploads\/sites\/4\/2026\/03\/annie-banner-1024x409.png 1024w, https:\/\/wers.org\/wecb\/wp-content\/uploads\/sites\/4\/2026\/03\/annie-banner-300x120.png 300w, https:\/\/wers.org\/wecb\/wp-content\/uploads\/sites\/4\/2026\/03\/annie-banner-768x307.png 768w, https:\/\/wers.org\/wecb\/wp-content\/uploads\/sites\/4\/2026\/03\/annie-banner.png 1169w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p>Design By Bennett Himmel<\/p>\n\n\n<style>.wp-block-kadence-advancedheading.kt-adv-heading13674_1f5e02-5a, .wp-block-kadence-advancedheading.kt-adv-heading13674_1f5e02-5a[data-kb-block=\"kb-adv-heading13674_1f5e02-5a\"]{font-style:normal;}.wp-block-kadence-advancedheading.kt-adv-heading13674_1f5e02-5a mark.kt-highlight, .wp-block-kadence-advancedheading.kt-adv-heading13674_1f5e02-5a[data-kb-block=\"kb-adv-heading13674_1f5e02-5a\"] mark.kt-highlight{font-style:normal;color:#f76a0c;-webkit-box-decoration-break:clone;box-decoration-break:clone;padding-top:0px;padding-right:0px;padding-bottom:0px;padding-left:0px;}.wp-block-kadence-advancedheading.kt-adv-heading13674_1f5e02-5a img.kb-inline-image, .wp-block-kadence-advancedheading.kt-adv-heading13674_1f5e02-5a[data-kb-block=\"kb-adv-heading13674_1f5e02-5a\"] img.kb-inline-image{width:150px;vertical-align:baseline;}<\/style>\n<h2 class=\"kt-adv-heading13674_1f5e02-5a wp-block-kadence-advancedheading\" data-kb-block=\"kb-adv-heading13674_1f5e02-5a\"><strong>By Bennett Himmel<\/strong><\/h2>\n\n\n\n<p>With all the love it gets these days, it\u2019s surprising to remember that pop, as a genre, has long had to fight for respect in critic circles. It\u2019s seen as bottom-of-the-barrel slop better suited for dancing than thinking. Someone like Britney Spears wasn\u2019t seen as an artist, but rather a vessel for Swedish producers and record label heads to maximize profits and win over people who had recently gained the financial stability to pick their own music. Even if pop music had won over the mainstream, the indie world still saw it as pure slop. Publications such as <em>Pitchfork<\/em> wouldn\u2019t even justify many pop artists\u2019 reviews; it was a product, not a genre. That was, of course, until a little-known Norwegian pop auteur came onto the scene.<\/p>\n\n\n\n<p>Annie Strand has a pretty similar story to many artists: she comes from rather humble beginnings, singing in choirs growing up and playing in a short-lived band as a teenager. In her 20s, Annie began to DJ around her hometown of Bergen, Norway and met an underground house producer named Tore Kroknes. The two began to date and made a song for fun together. \u201cGreatest Hit,\u201d built off a sample of Madonna\u2019s \u201cEverybody,\u201d stands completely on its own as a bizarro, chilled out piece of synth-pop. Annie is not the most technically gifted vocalist, but the airiness of her vocals lends itself perfectly to this after-hours house-pop. \u201cKeep it coming baby, can you dig it?\u201d Annie sighs. Her slight Norwegian accent and ability to convey emotion make this track irresistible, and the song became a pretty respectable club hit in Europe. The song got Annie some label attention, and she and Kroknes began work on a second single called \u201cI Will Go On.\u201d Then disaster struck.<\/p>\n\n\n\n<p>Kroknes passed away in 2001 from a heart defect. Annie grieved heavily during this time, not making much music, even considering leaving it all behind. In an interview, Annie said, \u201cI was so depressed I just wasn&#8217;t able to do anything. I stayed at home, away from everyone, completely in my own world. I wanted to make the album with Tore\u2014that was the plan. After he died I just didn\u2019t think I had the heart. But then I thought, \u2018Right, you\u2019re really depressed now but you have to make this album. Tore would be quite pissed off if you just stopped doing anything.\u2019\u201d<\/p>\n\n\n\n<p>The album that did materialize, 2004\u2019s <em>Anniemal, <\/em>produced mostly by Timo Kaukolampi, R\u00f6yksopp, and Richard X, is one of the most forward-thinking pop records of its time. Through a mix of bubbly \u201980s chords, noisy synth-bass, and sticky minor-key melodies, Annie envisioned a version of pop music that was mature, sexy, self-assured, and smart. The beat of the lead single, the Richard-X-produced \u201cChewing Gum\u201d sounds like a ringtone; it beeps and boops and pops with no real rhyme or reason, while Annie\u2019s vocal line gives the effect of a schoolyard chant. \u201cOh NO! Oh NO! You got it all wrong\/ You think you\u2019re chocolate when you\u2019re chewwwing GUM!\u201d she chirps, and the effect is immediately magnetizing. It\u2019s very representative of the songwriting all over <em>Anniemal. <\/em>It brushes up against the line of nonsensical, but still remains emotionally resonant.<\/p>\n\n\n\n<p>The other Richard X track, \u201cMe Plus One,\u201d is also an absolute delight. It\u2019s clearly inspired by early Madonna, with yet another intoxicating hook. The song, penned by X and Hannah Robinson, is rumored to be a diss towards former Spice Girl Geri Halliwell. As the story goes, for her solo album, Halliwell wanted another Richard X track called \u201cSome Girls,\u201d (which is incredible and would later go on to be released by Rachel Stevens) but was repeatedly turned down. \u201cI think you\u2019ll find the song is me plus one,\u201d she wrote in a letter to X. It got to a point where she <em>allegedly <\/em>locked herself in Richard X\u2019s car, demanding she get the song. \u201cTake a look at yourself\/ Get out of the car\/ Can\u2019t you see it\u2019s gone on long enough?\/ It\u2019s done,\u201d Annie intones on the track\u2019s bridge. It\u2019s a brilliant pop song loaded with fun turns of phrase, best suited for hairbrush-in-hand mirror performances.<\/p>\n\n\n\n<p>The album\u2019s emotional centerpiece is \u201cHeartbeat,\u201d which is a love song, a party song, and an introspective song all at once. It\u2019s a heartbreaking tribute to Kroknes. \u201cThere was a time\/ Everybody was around and I was dancing with youuuuu\u2026\u201d<em> <\/em>she sings, dropping conventional meter and slipping into a conversational rhythm. The track has a bunch of different phases, going from ballad to disco to airy dance-pop and back again. Over just three minutes, the song mutates like Annie\u2019s phases of grief. It\u2019s catchy and heartbreaking at the same time. It completely paved the way for dance-pop mixed with melancholy, like Carly Rae Jepsen\u2019s <em>Dedicated <\/em>or <em>Brat <\/em>or the entire second leg of Robyn\u2019s career. It approaches perfection. Pitchfork even had a change of heart(beat) about pop music; they called it their song of the year.<\/p>\n\n\n\n<p><em>Anniemal, <\/em>as a whole, was welcomed with open arms by the indie scene and music critics alike. Through sheer word of mouth, dance-pop had suddenly earned a seat at the table in indie music. With tracks that commented on class, like the title track, or freaky, slinky breakup songs like \u201cAlways Too Late,\u201d Annie reshaped a genre that was at times campy or cheesy into something undeniably cool. They weren\u2019t songs about huge emotions, or parties for the end of the world, but rather songs about <em>life. <\/em>Friendships and nights out and one night stands, and I guess manic Spice Girls. It could be argued that, without <em>Anniemal, <\/em>dance-pop may never have gotten the respect it deserves. Despite its obvious genius, <em>Anniemal <\/em>was not a commercial hit overseas, and only a modest hit in Europe. Off of all the critical acclaim, Annie went on to sign an incredibly shitty record deal with Island Records in the USA, resulting in a 6-year delay for her sophomore album <em>Don\u2019t Stop. <\/em>That record was good, if not as immediately brilliant as <em>Anniemal. <\/em>It was then over 10 years before Annie would release her most recent record, the David Lynch and Lana Del Rey-indebted <em>Dark Hearts. <\/em>It\u2019s unfortunate to see how little love <em>Anniemal <\/em>gets these days though. Pop today couldn\u2019t have happened without it.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Anniemal, as a whole, was welcomed with open arms by the indie scene and music critics alike. Through sheer word of mouth, dance-pop had suddenly earned a seat at the table in indie music. With tracks that commented on class, like the title track, or freaky, slinky breakup songs like \u201cAlways Too Late,\u201d Annie reshaped a genre that was at times campy or cheesy into something undeniably cool. They weren\u2019t songs about huge emotions, or parties for the end of the world, but rather songs about life. Friendships and nights out and one night stands, and I guess manic Spice Girls. It could be argued that, without Anniemal, dance-pop may never have gotten the respect it deserves.<\/p>\n","protected":false},"author":101,"featured_media":13676,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-13674","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Annie Saw The Future - wecb<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/wers.org\/wecb\/milkcrate\/annie-saw-the-future\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Annie Saw The Future - wecb\" \/>\n<meta property=\"og:description\" content=\"Anniemal, as a whole, was welcomed with open arms by the indie scene and music critics alike. 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Through sheer word of mouth, dance-pop had suddenly earned a seat at the table in indie music. With tracks that commented on class, like the title track, or freaky, slinky breakup songs like \u201cAlways Too Late,\u201d Annie reshaped a genre that was at times campy or cheesy into something undeniably cool. They weren\u2019t songs about huge emotions, or parties for the end of the world, but rather songs about life. Friendships and nights out and one night stands, and I guess manic Spice Girls. 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