Swedish new-wave revivalists The Sounds are in New York to play a couple of shows as part of their North American tour, in support of their fourth album, Something to Die For. More accessible than previous efforts, Something to Die For is ten songs of danceable power-pop, which would explain the raucous crowds that have greeted them at recent shows. Lead singer Maja Ivarsson set aside time yesterday while in Philly to discuss bridging the gap between rock and pop, her die-hard California love, and getting too old to party like a rock star.

On their third studio album, Crossing The Rubicon, the Sounds have, at last, evolved theirs, building upon and honing—at times even discarding—their lip-glossy punk-pop, flirting with beat-driven synth-dance.

Miss Maja Ivarsson is true to her word. When we chatted a few weeks ago, she extended an invite to see her performance with The Sounds for a David Letterman taping. (Airs tonight.) Not soon enough, I found myself taking the subway uptown to Broadway and 54th. Coincidentally, I was seated next to The Sounds’ tour bus driver, Eugene, who thankfully ended up being my buddy throughout the show. I told him about my invite, and all he could say was, “Maja’s the woman! She gives me a big hug every day to say hello.” (Maja is the epitome of a blond bombshell with a huge heart.)

Who wouldn’t like The Sounds? Probably some lame indie-rock snob who’d say the band is too mainstream and commercial. Granted, The Sounds’ sounds could be placed within the pop category -- yet at the end of the day, to me, this fivesome packs a mean punch. The Sounds third studio album, out today -- Crossing the Rubicon -- surprised me with its level of greatness. Its prolific and heartfelt lyrics, layers and layers of synth, and high-pitched guitar melodies belted through my speakers last week. (Ahhh, advance copies.) I knew I’d probably like it, but man, it just went to another plateau of great.