While fellow multi-instrumentalist Sufjan Stevens approaches chamber pop with a bigger-is-better attitude, Swedish songsmith Emil Svanagen brilliantly sprinkles his falsetto-driven tunes with an “only when necessary” use of vast theatrics.

This less-is-more take on sweeping melodies is a stark contrast to his American counterpart. Unlike Stevens, who uses seemingly every instrument under the sun on each track, Svanangen would rather craft his beautiful mid-tempo tunes by strategically placing all those same instruments – horns, strings, hand claps, vibes, pianos, etc. – where their individual impact will be most felt. And while it’s hard to hear a Stevens record and not revel in the sheer magnitude and listen, jaw-dropped, at how obviously painstaking the recording process must have been, Svanangen’s dense crescendos and slowly building tunes deliver a bigger impact because of their appreciation for restraint.

“Loney, Noir” – Svanagen’s Sup Pop debut – is the result of three homemade CD-Rs falling into the right hands. After distributing his trio of delicate, lo-fi EPs through his Web site, this marks his first proper release. With label backing, Svanangen – aka Loney, Dear – created a 10-track album that greatly surpasses even the best moments of his early work. From the heartfelt crash of opener “Sinister in a State of Hope” through the slightly electronic closer “And I Won’t Cause Anything At All,” the 35-minute release plays like a brisk breath of fresh Scandinavian air.

Sounding like a hybrid of Sub Pop’s two current breadwinners – The Shins and Postal Service – Loney, Dear seems poised to fill out the three-act concert bill that is staring his label’s booking agents blatantly in the face.

That is, if his five-piece touring band can handle all those subtle chirps and almost hidden hooks from the near-perfect “Loney, Noir.”