‘Demian’ is the third solo album from Helsinki based artist THE HEARING aka Ringa Manner.
The eager Finn composes, writes and co-produces her latest output, which follows the previous two ‘Dorian’ and ‘Adrian’, completing the trilogy of her ever evolving experimental sound.
Delving into a more polished sound, which cannot be easily pigeon-holed and which sits outside all genres, simultaneously being all genres in one, THE HEARING goes for the kill on her third long player.
From loop pedal experimentation to ‘Demian’, it is “the next evolution stage of a being, and the missing piece of an album trilogy. it’s the start of something new, and an end to something meaningful from before. it’s having your broken heart heal just in time for someone to break it all over. it’s crying for people living in nightmares, and for the deafening beauty of one’s own cosmic uselessness. it’s shielding your mind with a pillow fortress, but inviting everyone else in too.”
The opener ‘Loppu’ eases into the world of THE HEARING with delicate melody, which in no way prepares for ‘ICU’ with its tribal beats and vocals sounding like Björk meeting Ellie Goulding. A mixture of Scandipop and moderate techno enveloped in a light cloud of fluffy, carefree feeling leads into ‘Love=Prison’ containing eerie synthesised voices and a multi-elemental mish-mash of sounds and voices. With the insertion of brilliant club connotations and techno, this is a perfect modern rave tune.
‘Overtaking’, predeceased by its own interlude, represents a brand new take on drum n bass done a girly way. It’s weightless and uplifting, providing an endless amount of quirky vocal and capable programming.
The “pain of the world” or ‘Weltschmerz’ doesn’t feel like anything described on the tin.
It’s an uplifting number with poignant lyrics, approaching the issues from an observer angle, while ‘Jello’ with its interesting interlude presents the modern world with the help of various electronic elements and that processed male vocal again.
The inclusion of the above can be disappointing at times, since every Tom, Dick and Harry attempting music making on their Mac seems to make use of it, otherwise rendering the song useless. Still, it may as well appeal to younger audiences, who appreciate the saturation of any modern tune with some sort of synthesised voice. If this is the best you can do THE HEARING, make songs like ‘Best I Can Do’, which showcases your delicate vocal and a plethora of electronic magic instead.
Next comes in the eponymous track and here is where the listener gets invited to enter the charming forest of ethereal melodies presented over gentle choirs and spacious musicality, before ‘WYD’ (or ‘When In Doubt Repeat Those Words’) continues the demure landscapes, delicately painting a vision of calmness and peacefulness.
The closing ‘Just Like You’ is like watching tidal waves come in and drift out. A very filigree piece with stunning nature connotations, it shines like a beacon towards THE HEARING’s musical future. Although ‘Demian’ could be perceived as a mixed bag for some, it is predominantly filled with wonderfully moreish melodies and packed full of lovely vocals. Sitting somewhere between modern synth and plain pop, it is definitely youthful and appealing.
One thing for certain: it cannot be easily defined, so don’t try to label it, because it stands alone, no matter what genre you’re into.
‘Demian’ is released by Solina Records on 25th October 2019 in vinyl LP and digital formats
THE HEARING opens for CHASMS at London O2 Academy2 Islington on 10th December 2019
The Swedish band LADOMIR, who described themselves as “synth and string”, was the jump start for Anna Öberg, who had long been a stand-alone composer and lyricist.
A self-confessed lover of pop, Öberg decided to take the plunge into the ocean of electronica, releasing ‘Härsknar’ as her first solo long player.
This amalgamation of new wave, punk and heavy industrial elements was produced by Charles Storm, known for his collaborations with HÅKAN HELLSTRÖM.
This year sees Öberg’s return with a follow-up, ‘Vafan Har Jag Gjort!’, which sweetly translates as “What the f*ck have I done!”
So, Anna, what the f*ck have you done!?
Promising “further steps into her very personal synth universe and masterful craftsmanship”, Öberg claims that this time she’s pushing “a little harder”, but at the same time “a little more sweet”.
Indeed, the harder pushing, nearly psychedelic sound LSD induced and with rave qualities, introduces the album with ‘Jag Blir Inte Kysst’ (‘I Don’t Get Kissed’), where the artist goes all out with pitch changing vocal, gritty synth and dirty textures, that attack from the onset.
The question of today is ‘Vafan Har Jag Gjort!’, which is repeated several times in the course of the song, pushing further and further like uncomfortable probe, to ease off for seconds before the machine starts up again. From the clear protest song, to this of arm swaying quality, the regretful plea ebbs and flows until it disappears into the abyss of Öberg’s disturbed mind.
‘Daga Att Gråta’ sees a more demure approach with sluggish rhythm, slower beat and poetic verses, interwoven with heavier elements to complete a more uncertain track, full of Pagan imaginary and artistry.
Vintage synth a la FAD GADGET’s ‘Ricky’s Hand’ ushers ‘Jag Såg Dig På En Lördag’ where that Saturday feeling drives the fast paced beats, continuously paying homage to the analogue machinery, showing off the fact Öberg can do “the happy” as well as the harsh and sad.
The unusual returns on ‘Bråk’, which is “fraction” like GAZELLE TWIN meets BJÖRK. The main musical elements are a choir, sparse synth and echoed voices. ‘Ich Bin’ changes the tongue to German and Öberg warns in no uncertain terms the she needs love: “Achtung Achtung Ich brauche Liebe”, over possibly the most interesting musical manipulation on the production.
A PET SHOP BOYS like dance sound enters on ‘Fortfarande 16’. The clash of voices and sounds bursts out like Jack in a Box, paying further homage to synth of the past times, while the closing ‘Omöjligt’ wraps up the album with the strangest of tunes. Dark, smoky and spooky, this persuasive piece evokes uncertainty and fear, with very few sounds, which develop into a plethora of sci-fi light and truly “impossible” imaginary.
Nobody said this was easy listening music, nobody warned against harsh words, nobody prepared against heavy statements, but Anna Öberg cares not. Having Charles Storm taking the reins of production again, as well as the inclusion of the poet Bob Hansson, John Lindqwister and Russ Rydén, Öberg achieves higher levels of musical wisdom, thanks to her ever expanding electronic horizons.
There’s a group of female artists out there, who are doing it for the girls and SARAH P. is certainly one of them.
Sarah Anna Psalti-Helbig started her love affair with music, while studying drama, by fronting the critically acclaimed Greek act KEEP SHELLY IN ATHENS for four years.
Looking for more opportunities, she moved to Berlin where her solo career took off with a bang around the release of a rather mature and deep LP ‘Who Am I’.
This winter sees her returning Greek goddess style with a five song EP borrowing its name from Greek mythology. ‘Maenads’ are female followers of Dionysus, the god of theatre, fertility and wine and SARAH P. feels united with her Hellenic heritage and describes the release as a true representation of herself.
“This record is the link between my previous work and what’s coming” she said, “Free symbolised my rebirth as an artist, Who Am I helped me discover different music paths and Maenads is representing 100% me, both musically and as an individual. I’m not big on classifying my music in genres, because I believe that this process is taking away from the magic of listening. I think that Maenads is way more accessible than my previous work, yet mysterious and uncommon.”
Indeed the opening ‘Sappho’s Leap’ borrows from traditional Greek poetry, and acts as a prelude to breathy ‘Mneme’, with whispered words and sparse guitar, seeing SARAH P. creating an amalgamation between KATE BUSH and BJÖRK vocally, while the musicality of this track hovers between dream pop and alternative, all wrapped in an unlaboured and carefree lullaby; a lullaby where the voice vixen channels her inner Robert Smith.
The need to rely on oneself is expressed in the foxy ‘Lotus Eaters’, which tunefully continues the echoes of THE CURE meeting THE PIXIES; the voice is edgy and sweet with an undertone of seduction. We mustn’t sleep, we must open our minds and make the change.
“We can’t undo our history, but we can learn from it and shape our future” is the message relayed in ‘Cybele’s Dream’, which is a serious tale of SARAH P.’s own heritage told by her ancestors.
The artist calls for a greater consideration of the burning issue of refugees over an easy listening piece, reminiscent of TEARS FOR FEARS. The closing eponymous track changes the tempo and direction, appearing to be more of a dance tune, celebrating the beauty and fun of Athens, MARNIE style.
More accessible than her previous provisions? Perhaps. Different? Hell, yes! One thing is for certain; SARAH P. is ever evolving and is on the right track, creating genre of her own and refusing to be categorised and labelled. The creation of music is a fluid process and no boundaries are required.
Karin Park first found fame in Norway with her 2004 debut ‘Superworldunknown’ before exploring more electronic avenues with ‘Change Your Mind’ in 2006.
In 2009, the Swedish born songstress released her third long player ‘Ashes To Gold’ before signing to UK label State Of The Eye for her acclaimed 2012 album ‘Highwire Poetry’.
Co-produced and mixed by Christoffer Berg whose credits include THE KNIFE, FEVER RAY and DEPECHE MODE, it has been a steady burner embraced through word of mouth. But even this combination of industrial, dubstep, ambient and synthpop couldn’t prepare for the spectacle of a Karin Park live show.
A druid pig arrived to overture with a most unsettling voice collage, before Karin Park took to the stage for the starkly discordant ‘6000 Years’. Easing the crowd in, the blasting schaffel stomp of ‘Restless’ suddenly snapped in like a strike to the head, provoking animated stares and jerky movements from her. Vocally quite obviously from THE KNIFE and BJÖRK school of song, Karin’s fervent concentration though was quite unlike FEVER RAY or GAZELLE TWIN who each prefer to project an enigmatic detachment from the audience. Despite her towering demeanour, Karin Park was welcoming and inclusive.
Relishing the art of performance, her smiles certainly didn’t lie and the enjoyable rapport observed with her brother David on drums was often just a knowing look or a nod of appreciation as together, the siblings enthusiastically entertained.
Visually, Karin’s striking androgynous persona contrasted heavily with that of her metal head sibling, the pair looking like a mutant genetic experiment to cross LADYTRON with SLAYER! But the incongruous combination worked and was probably one of the most refreshing presentations of electronic music within a concert setting for a quite a while! The difference was one of the key elements in the energetic but tight chemistry of the show.
Both Parks were impressive multi-taskers with David primarily on drums but also providing backing vocals and even venturing onto keyboards while Karin was the perfect front woman who dabbled with a Korg MS20 and keytar. The esoteric mood pieces such as ‘Tension’ provided important spatial counterpoints to the evening, showing real melancholic depth and raspy emotion.
But there was also a real pop sensibility as quirky but danceable synthpop tunes like ‘Explosions’ proved. This was none more apparent than with ‘Can’t Stop Now’, a superb electro funk number that came over like Michael Jackson gone Goth! Meanwhile ‘Ashes’ was cut from a similar disco vibe and musically DURAN DURAN Nordic style! And these qualities made Karin Park more Robyn than THE KNIFE, yet she still managed to maintain her mistress of darkness credentials.
But would the other Karin (Dreijer Andersson that is) have actually written a song for the Eurovision Song Contest? Although not part of the set, ‘I Feed You My Love’, which is being sung by Margaret Berger as Norway’s entry in 2013, displays an accessibility in Karin Park that will either subvert conventional pop forms or open up intense musicality, depending on one’s artistic standpoint.
As Marc Almond once said, one cannot be truly subversive unless there is access to the mainstream and there can perhaps be nothing more mainstream than Eurovision! So ELECTRICITYCLUB.CO.UK wishes her the best of luck in Malmö.
As the set continued, the trancey ‘Out Of The Cage’ played with lovely panoramic textures to add another dimension to proceedings while ‘Fryngies’ was boosted by some feisty aggression that included even more MS20 action. The superb ‘Thousand Loaded Guns’ finished the main set with a dramatic climax that saw both Karin and David frantically drumming in unison before the formal conclusion via her own favourite song, the beautiful ‘Bending Albert’s Law’.
It was a dynamic hour long set that had the crowd transfixed with a powerful, resonant soundbase. It’s not often that a superlative such as awesome is appropriately used, but tonight, it was pretty damn close with how KARIN PARK performed on that stage in London.
‘Highwire Poetry’ is released by State Of The Eye Recordings on CD, vinyl and download
After a year’s delay, it is finally here – the comeback album of Swedish trio DAYBEHAVIOR, ‘Follow That Car!’.
The trio have not been exactly prolific even by today’s standards; their first long player ‘:Adored’ came out in 1996 while there were delays for its follow-up ‘Have You Ever Touched A Dream?’ which was finally released in 2003.
However after nearly 9 years, Paulinda Crescentini, Carl Hammar and Tommy Arell have made a full return. The three singles released last year were all very promising, but how did the rest of the record turn out? The answer is: simply brilliant. This is grown-up synthpop, with tons of atmosphere, incredibly stylish, yet sometimes a bit rough with arrangements that fit remarkably well with Paulinda Crecentini’s stunningly beautiful vocals.
Despite the intricate soundscapes, the overall sound is still both restrained and effective. Calm and faster songs succeed each other and even if the variation in sounds and rhythms is vast between the different songs, there is still a cohesive auditory theme through the album. All twelve songs are of high class and overall, this is certainly one of this year’s best albums – well produced, varied and beautiful top of the line music.
Carl Hammar and Paulinda Crecentini from DAYBEHAVIOR talked about the present and the future in Carl’s cozy home studio in Stockholm which actually has a genuine Jupiter 8…
Can you tell me about the band’s background for your new fans?
Carl: It started with me and third member, Tommy Arell. Each time we met, we only talked about synths and synth music. We also had a strong common interest in the early 80s synthpop. We were both a little sick of what we were doing at that point so we decided that we should do something together instead. We started to create a prototype of something and in our mind this was not something synthpop really. It was more like another type of music from the early 90s. But when we started sending out stuff to record companies, we soon became aware that it was still synthpop! *laughs*
It could not be avoided – it was always there in our subconscious, the kind of melodies and sounds we liked to use. Then we got hold of Paulinda, we were looking quite a while before we found her. Before that, we were a bit on the wrong track. But then when we heard Paulinda’s voice and felt that this was the piece that was missing from the music, her beautiful, beautiful, soft voice to the rather heavy music with lots of bass and a lot of beats.
Where did the name come from?
Carl: Yes, actually! That is stolen! *laughs*
One of our early songs was called ‘Daybehavior’. In the song, we have stolen a little thing BJÖRK did in ‘Human Behavior’; the chorus just goes up a semitone in one turn and then it goes down again. It’s a pretty weird chorus – quite unusual. Then there was something on MASSIVE ATTACK’s ‘Daydreaming’ which also inspired us so it was like: ‘Daybehavior’ – ‘Human Behavior’ – ‘Daydreaming’. But then we did an interview with the Swedish journalist Linda Skugge in ‘Expressen’ (a well known Swedish tabloid newspaper) before we were really a band…we were kind of forced to come up with a band name … “Let’s say we are called DAYBEHAVIOR – for now anyway” …
Paulinda: Yeah, right! *laughs*
Carl: Then we realized it was a bit too late to change it…
Had you been singing in any band before you joined this band?
Paulinda: Sort of, I had always wanted to sing. I actually did my own songs on a small synthesizer when I was about eight years old. I had been nagging and nagging at my parents to get me a synth for Christmas and finally I got one. I actually wrote English lyrics then as well, which I barely understood myself… I used the dictionary where I found words and sentences I liked, “that sounds good”*laughs*
Unfortunately, I deleted all that stuff, because I was ashamed of it when I became a teenager. “God, how embarrassing – let’s throw this stuff away”. It would have been a blast to have that material now! I did about ten songs with that little synth that I had plugged into a tape recorder. It was great! *laughs*
But I always wanted to sing in a band. In those days there was no internet, so I bought the Yellow Pages and there was a small ad: “seeking vocalist, influenced by…” and it was a little list of different influences. I remember that it was BJÖRK, MASSIVE ATTACK and maybe something a little more synthpop-esque. So I thought: “Oh, what the heck – I’ll go to that audition!” I was really nervous and I was awful! But I got given a little tape of songs and then we met a week later … I had sung some lyrics on it and then I was in!
What made you reunite?
Paulinda: It started with Tommy who had moved to Thailand by then. He began to email and it was very nostalgic; “My God, wasn’t it nice it was back then … shouldn’t we try to do some songs together again?” We had gone our separate ways, but when he wrote about things like that, you felt that; “God – yeah, it would be quite nice to do it again”. It also just happened that he would be moving back to Sweden for a period so we thought “great – we’ll do some songs”. So we started up DAYBEHAVIOR again.
Is there any long-term plan with this or is it just for one album and seeing what happens?
Paulinda: Nah, we want to make yet another album – absolutely. We feel that we want to continue with this. It has gone really well. We’ve had our internal battles, I can’t deny that and it’s a bit hard to work when Tommy is living sometimes here in Sweden and sometimes in Thailand. It has been a bit difficult logistically to get it all together, but it worked out fine in the end anyway .
The difference in the music business must be pretty big now compared to when you made your last album ‘Have You Ever Touched A Dream?’?
Paulinda: Oh, yes! Enormously; many things have happened.
What are the advantages and disadvantages?
Paulinda: The first question you get from people when you say you make music is: are you on Spotify? Spotify is big and will only get bigger.
Hopefully they will change the deal so that you get a little more money for it, but I do not think they will do that. So it’s a downside, the economy – there is no money in music anymore. You make music because it’s fun and hopefully don’t lose any money at least. The advantage is that the internet makes it easier to spread the music and have fans all over the world, which you may not have had otherwise …
Carl: Because it is easier to spread music, there is also the increase in competition. It is not as exclusive to receive an email with a song or some links to get a physical record in a package. So that is one drawback – anyone can do quite a large mass mailing.
In other words, there’s a risk of drowning in a large variety of garbage then?
Carl: Yeah … or maybe you are garbage yourself? *laughs*
No, but it is quite true. It’s not only good music that is so easy to distribute over the internet and what you said is a good point … then of course, you have the illegal download spread of course and very low paid listening services such as Spotify, LastFM and similar streams. It’s very good for users but for musicians, it’s not.
What have the reactions to the new songs been like?
Carl: Good! Very good…
…internationally, too?
Carl: Yeah, especially internationally. I do not even know if we had any feedback in Sweden …yes, we have!
But Sweden is small. It feels good that we have an international market and that we can reach really far. It’s great to get feedback from Argentina, Brazil, Italy, Japan etc. It’s sometimes odd places that you did not expect … it’s like you do not have a clue: how did they found out about it? But there is always a unique group of people who are true music lovers and they find things. Through them, you often get help to distribute it further too via their connections.
There is a lot of melancholy in your music – but of course beautiful melancholy … why is that?
Paulinda: Good question! All three of us are probably pretty nostalgic and like this melancholic feeling …
Carl: Yeah … and there is a lot of influence from movie scores as well. Both me and Tommy like film music and to make things atmospheric. People often say that our music feels like a movie and they see pictures in front of them while listening. It may have to do with the melancholy and harmonies you work with and the sound as well.
But even in the lyrics, for example ‘Silent Dawn’…
Paulinda: Yes, I write pretty much sad lyrics – it’s almost as if there are only two modes – either/or. You often end up in that melancholy vibe when writing. It’s the emotions which are strongest – sadness or things you long for – it touches you. And then when Carl and Tommy send over a basic song sketch for me, then the feel of it influences the lyrics.
So you make music before lyrics, then?
Paulinda: Yes, that’s it.
Never vice versa?
Paulinda: No. It works fine like this. We are happy with it. Then I usually send over a sketch back to get feedback and then we send it back and forth. When we feel we have a good lyric, we usually start working on the sound.
What are your inspirations?
Paulinda: It can be anything. Tommy wrote a while back, “Oh my God, I just saw the movie ‘The Orphanage’ and sat there weeping to the theme song”…
Carl: …is that Morricone?
Paulinda: Yes, Tommy said: “I could not let go of the feeling from the movie, so I sat at the computer” and then he made a basic sketch of a song that he sent over. It was really beautiful! It had a lot of Ennio Morricone … bombastic … it will definitely be on the next album, I think! But otherwise, it is often both new and old music that inspires.
And there are all sorts of genres…
Carl: I just listen to one genre! Do you listen to something else?
Paulinda: Than what? Synthpop?
Carl: Yeah … made in 1981 … *laughter*
Paulinda: No, that’s what I don’t do … I mostly listen to new music.
Carl: Tommy doesn’t like music made after 1982! *laughs*
What about software versus hardware? Do you work mostly with the computer or do you use real instruments as well?
Carl: Shall we admit it? We are also lazy actually, unfortunately. We sometimes use recorded sounds from real analogue synthesizers. But it is so much easier and quicker to work with digital, so it’s of course what you do.
Are there plans for live gigs?
Paulinda: No, unfortunately. It seems unlikely. There is no time to practise.
ELECTRICITYCLUB.CO.UK gives is sincerest thanks to DAYBEHAVIOR
‘Follow That Car!’ is released on the Graplur label and available on CD from DAYBEHAVIOR’s website
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is released by Xenophone International as a CD and vinyl LP, download available from 
are female followers of Dionysus, the god of theatre, fertility and wine and 
is released by State Of The Eye Recordings on CD, vinyl and download
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