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by K. Ross Hoffman From the opening seconds of "Don't Mess" - two crisp snare hits and a sudden blast of syncopated, celebratory synth-funk - it's clear that Juvelen is aiming for pop's big leagues. Crucially - because modern popstardom is nothing if not a self-fulfilling prophecy - Jonas Pettersson has the cocksure, charismatic swagger, and the songs (also important), to make you think he's already there. Look no further than the banal but still perhaps slyly boastful title of the suave Swede's first full-length. 1's stunning kick-off track "Don't Mess" has all the excitement of a vintage Michael Jackson floor-filler (think "Wanna Be Starting Something"), while "Hanna," among others, channels classic Prince in its terse funk-pop, histrionic falsetto and pure-heart/dirty-mind confessional lyrics. Sidestepping the inevitable anxiety of obvious influence, Juvelen's work here could be described simply as "traditionalist" electronic dance-pop, but he has enough personality to make it both impressively fresh and surprisingly heartfelt. His unfiltered sentimentality and infectious positivity shine through on additional party-time contenders like the easy-going disco charmer "Facts of Life" and especially the propulsive "Money Don't Talk," which contains the defining couplet "I never made any money/always preferred to make love." The album's several quieter moments - not quite ballads, they're more like slow jams - are somewhat less musically distinctive, though often touching (notably the lush "A Dream"), the striking exception being the understated, gorgeously lovelorn minimalism of "Watch Your Step," reprised from Juvelen's debut EP. Apart from a few slightly less memorable cuts (and what would a great pop album be without its filler?) the only real potential sticking point to enjoyment here is Pettersson's voice, which shifts ably enough between song, speak-singing, whisper and falsetto, but frequently strays into an oddly strained, throaty timbre that can come off as forced and insincere (a serious problem for such a soulful singer), and which some listeners may well find inescapably grating. For the most part though, it's easy enough to acclimate to this vocal quirk in view of the record's other merits, and well worth it; it's the lone notable flaw in a nearly impeccable pop debut.