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So much is expected of a debut album in 2014. Although Karen Ørsted has only released one EP, last year's Bikini Daze, the hype ahead of the release of her debut full-length has been relentless.

This torrent of pressure and expectation can sometimes lead new artists to play it safe with their first offering. Maybe this is why two out of the four tracks that appear on 's EP show themselves again here; a safety net of sorts.

Despite a heavy sense of pressure regarding what people want her to be, No Mythologies To Follow manages to twist and turn through a number of genres and styles, and Ørsted's astonishing vocal ranges adapts itself to each and every one remarkably.

Opener 'Fire Rides' has a synth line Crystal Castles wish they wrote, but verses that slither around menacingly underneath. This unwillingness to be tied down into simple categorisation is what prevents No Mythologies To Follow from merging into the output thousands of young singer-songwriters trying to do what she is doing.

'Maiden' strays into hip-hop territory, a style which Ørsted has consistently referred to as a big influence for her, and is as competently tackled as every other style that Ørsted tackles here.

The album's most direct moments lie in its middle. 'Pilgrim' is the main showcase of MØ's vocals, and 'Don't Wanna Dance' sees her almost rapping before the chorus of the album enters with vigour and doesn't leave.

If No Mythologies... flaws are to be picked at, it's for a lack of flow and consistency. Ørsted can't be heavily criticised, though, for she has written twelve stunning pop songs and thrown them wildly onto an LP; filler would have no place here even if it were present.

'Glass' sends the album off in a blaze of summer, and is perhaps the album's strongest track, leaving no room at all for a half-cooked trail off. Maybe a 70-minute concept album will come next, such is the unpredictability of MØ, and it is this that allows No Mythologies To Follow to triumph when it could've easily been drowned by the massive expectation for it to be one of 2014's great debuts.

The saturated levels of Scandinavian pop and the mounting pressure on such artists' first albums all could've worked against Karen Ørsted here, but No Mythologies To Follow remains dynamic and expressive enough to work past these blocks and hint at very, very bright things.