Peter Bjorn and John were formed in Stockholm, Sweden, in 1999. Made up of members Peter Morén on vocals, guitar, and harmonica; Björn Yttling on vocals, bass, vocals, and keyboards; and John Eriksson on drums, percussion, and vocals, the band is influenced by the sounds of classic '60s baroque pop, power pop, and new wave, but the guys aren't revivalists. Instead they created some of the most exciting and original indie rock of the mid-2000s.

The band began playing gigs soon after forming and quickly began appearing on compilations alongside artists like Sahara Hotnights, Badly Drawn Boy, and Holiday for Strings. After releasing three singles ('The Forbidden Chords EP', 'Failing and Passing', and 'I Don't Know What I Want Us to Do'), the band released its self-titled first album in 2002 on the tiny Beat That! label. After more shows and more singles ('People They Know', 'See Through') and an EP ('100 M of Hurdles'), the group jumped to the Planekonomi label in 2004 and released the 'Beats, Traps and Backgrounds EP'. It was soon followed by the wonderful 2004 full-length release 'Falling Out', which was picked up for American release by Hidden Adenda in late 2005. The record placed them, along with the Concretes, the Shout Out Louds (both of whom Yttling has produced records for), and the Legends, at the forefront of the sparkling wave of great pop bands coming from Sweden. Their third album, 'Writer's Block', followed a year later.

Peter Bjorn and John's third album deserves every bit of attention and hype it's received, from large media outlets right down to the lowliest blog. It's a major work of post-everything indie rock that has enough hooks, production genius, and emotional strength to make other rock acts (indie or otherwise) sound like they are just wasting everyone's time. The group's previous two albums were excellent power pop records with an excess of brains and style, whereas 'Writer's Block' scales back the guitars in favor of subtler arrangements that deliver just as much power sonically and ups the stakes in every other way. Every song has that kind of stripped-down, well-thought-out, whatever-works production style that brings the music fully to life. Check the steel drums on "Let's Call It Off," the shh-shh-shh percussion on "The Chills," or the majestic tubular bells of "Roll the Credits" for Phil Spectorian shoegaze production magic. Or look at the infectious single "Young Folks" for the key to why the record sounds so right. Here they added the whistling as a marker for a future instrument but realized the offhanded whistle was just what the song needed. These are the decisions that make for greatness. Sure, the songs would have worked fine with just guitar-bass-drums backing, but the arrangements are like huge hooks that catch you and won't let go. The band also isn't content to stick to a formula. From the reverberating New Order sound of "Up Against the Wall," the small-group balladry of "Poor Cow," and the dynamic indie rock hum of "Objects of My Affection" to the austere synth pop of "Amsterdam," each song has a unique feel that adds up to an album that works as a whole as well as a collection of great songs.

While the sound of 'Writer's Block' is varied, the lyrical content is pretty black-and-white, focusing on the highs and (mostly) lows of romance. On the high side there's the giddy us-against-the-world "Young Folks," which is as nice a love ballad as you'll hear anywhere. Victoria Bergsman and Peter Moren's duet is enough to warm the heart of even the grumpiest romance snob. The lilting "Paris 2004," which features the perfectly sweet line "while I'm sleeping you paint a ring on my finger with your black marker pen," is also heartbreakingly romantic. The lows are as low as the highs are high. You have lovers about to break up ("Let's Call It Off," "Up Against the Wall," and "Roll the Credits"), guys feeling wistful as hell ("The Chills"), and absolutely desolate heartache ("Objects of My Affection"). Without the love songs, this would have been a very bleak listen; as it is, the balance is just right. It's pretty rare for a band to get better after being together as long as PB&J. Usually they peter out quickly and start releasing retreads or desperate attempts to make a statement or keep a record deal. 'Writer's Block' is the work of a band at the absolute peak of its writing and performing skill. It's hard to imagine Peter Bjorn and John getting better than this. Hopefully they will, but if not, they'll always have this album to call their masterpiece.

You can judge for yourself, you can see them play live at The Vogue Theater on November 27th. Tickets are available at Indy CD & Vinyl in Broad Ripple, The Vogue box office and any Ticketmaster outlet. Check out http://www.thevogue.ws for more information.