As the band was active in Sweden the album was predominantly reviewed by Swedish newspapers and magazines.
Olle Sjögren of Norrländska Socialdemokraten begins his review of Wermland
by noting that the album's "shining gold-metallic artwork with measured
typography [...] could have been part of a luxury PR-campaign from
Louis Vuitton." He also notes that "Detektivbyrån separate themselves
from other folktronica artists by allowing the folk music to play a big part".
Olle concludes the review by writing "Detektivbyrån's Wermland is so far the
prettiest approach to integrating Swedish folk music with modern electronic
elements, without coming close to the awful Nordman and
Sarek."[2]
The review in Norran by Per Strömbro beings with "An improbable debut,
improbably good that is." About the genre he writes "they offer intrinsically
Swedish instrumental music with particularly contagious accordion and synth
melodies." Per concludes his text with "One of this year's big
debuts."[3]
Nancy Baym of Scandinavian music journal "It's a trap" provides one of few
English language reviews where she notes that "the sheer fun of their sound has
won them and an enthusiastic following. 'Wermland' [...] is fun." She also
writes "it demonstrates impeccable melodic pop sensibility." And closes with
"This serious contender for album of the year will sounds just as good decades
from now."[4]
In the Swedish music magazine Groove, Per Lundberg GB wrote "With Wermland
Detektivbyrån continues to embrace the melancholy. [...] While on their way
they meet up with Cougar and Aphex Twin. Wermland is
cabaret, pop and folk music in one package."[5]
Some reviews were not entirely positive. Helsingborgs Dagblad referred to
the album as "pre-school pop" that "too often veer into accordion-circus-music
on drugs". Still the review stressed that "the joy of the music is contagious"
and that the best part of the album is its "melancholic, french sound". The
review summarized the album as "a 40 minute long lullaby for three year olds".[6]
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