IONNALEE is both a new start and the continuation of a story that began with IAMAMIWHOAMI.
After three enticing bodies of work in ‘Bounty’, ‘Kin’ and ‘Blue’ since 2009 with producer Claes Björklund, Swedish singer / songwriter / producer / filmmaker Jonna Lee presents her solo album ‘Everyone Afraid To Be Forgotten’.
“It’s the result of a period of frustration and anxiety” she explained about her artistic journey, “I collaborated mostly with myself and pushed through from co-producer to producer, experimenting with the mixing of organic and electronic genres, moods, soundscapes and beats, putting my voice in focus”
But Claes Björklund has not gone entirely with the self-produced album mixed by him under his BARBELLE moniker. Accompanied by films directed by Lee and John Strand, ‘Everyone Afraid To Be Forgotten’ is assembled with a companion audio / visual experience.
Although as enigmatic and delightfully odd as IAMAMIWHOAMI, IONNALEE is Jonna Lee’s attempt to be more upfront and less abstract than in the past. No doubt buoyed by the success of touring with RÖYKSOPP, guest contributors such as Jamie McDermott of THE IRREPRESSIBLES, COM TRUISE and TR/ST figure on ‘Everyone Afraid To Be Forgotten’.
The first track presented for the project in March 2017, the stuttering presence of ‘Samaritan’ saw Lee caught passionately in an almost Nordic rap delivery of literally tens of syllables. Meanwhile, the haunting crystalline arpeggio of ‘Simmer Down’ welcomed a more stripped down introduction before the stop/start song launched into a driving percussive cacophony of bass squelches and pronounced vocals layers.
Trailed by this staged online presence, it was actually difficult to see the join with IAMAMIWHOAMI. This was most apparent on the glorious ‘Not Human’ which unveiled itself in June 2017. Co-written with synthwave exponent COM TRUISE, there were still the icy electronic soundscapes, spacey dance beats and uplifting Scandipop vocals associated with her IAMAMIWHOAMI output. But the seamless development appealed to anyone remotely enticed by Jonna Lee’s vocal presence as she announced “the urge is animal, I’m not human”.
In duet with fellow RÖYKSOPP collaborator Jamie McDermott, ‘Dunes Of Sand’ was a widescreen duet that screamed of Scandinavian shorelines with an unexpectedly trancey tempo change in the final quarter.
‘Work’ explored brassier aesthetics at its start before pulses and beats led it to a kooky orchestrated drama. But the eerie presence of ‘Joy’ provided more mystery, gently paced before it expanded in volume and intensity. And while initially more sedate and subtly rhythmic, ‘Gone’ eventually mutated into what CHVRCHES might have sounded like had they been raised next to the Gulf of Bothnia.
Despite half the album already previewed online, IONNALEE does offer further gifts from the serene building opener ‘Watches Watches’ and the paradoxically pretty ‘Like Hell’, to the ornate surroundings of ‘Temple’ and the sparse neo-acapella drama of ‘Here Is A Warning’.
‘Blazing’ offers some stranger things as chipmunk voices, drones and a deadpan demeanour weld together, while on ‘Memento’ with BARBELLE, cello samples and mournful synths shape a much doomier soundscape.
But the mood changes on the frantically paced ‘Harvest’ with TR/ST; it is a mighty album highlight with Robert Alfons restraining his usual “Eeyore gone goth” delivery to compliment Lee’s angelic tones and the lovely pipey synth counterpoints in the track’s second half. Perhaps best of all is the marvellous closing number ‘Fold’, featuring exotic cascading timbres and spacey pulsars while distorted string synths add the appropriate chill as Lee’s passionate vocals complete the filmic vibe.
Much anticipated, ‘Everyone Afraid To Be Forgotten’ is easily equal to Jonna Lee’s work with IAMAMIWHOAMI. Although wanting to be more personal and less mysterious, IONNALEE’s first album is still a spacey immersion into another world with just the right level of disconnect for a wonderful escapist experience.
Yes at fifteen tracks, it’s rather a long trip, but worthy of the time and investment…
A limited collectors edition in CD+DVD format including the album on CD and film on DVD with an image / lyric book is available from https://shop.towhomitmayconcern.cc
IONNALEE plays London Heaven on Wednesday 9th May 2018
It was a year when the veterans re-established their standing within electronic pop.
That was not to that comparatively newer acts weren’t making a good impression, it was just that a fair number of established acts gave their all and were producing some of their best work since their imperial heyday. Great tracks by SPARKS, OUTERNATIONALE, SPACEPRODIGI, iEUROPEAN, PARALLELS, FEVER RAY, SOL FLARE, SOFTWAVE, KNIGHT$, 2RAUMWHONUNG, JORI HULKKONEN, FIFI RONG and KITE BASE made it onto the shortlist, but despite their quality, they did not make the final listing.
Also not included are songs from ‘Welcome To The Dancefloor’, the debut album from Rusty Egan; although gaining a physical release this year, it was reviewed by ELECTRICITYCLUB.CO.UK in the Autumn of last year when download versions of the long player were distributed to those who had purchased it in advance via Pledge Music. Meanwhile, its closing track ‘Thank You’ was included in our 30 Songs Of 2016.
So restricted to purchasable releases only and one song per artist moniker, here are ELECTRICITYCLUB.CO.UK’s 30 Songs Of 2017 in alphabetical order…
AESTHETIC PERFECTION Rhythm + Control – Electro Mix
Additionally featuring NYXX on vocals, ‘Rhythm + Control’ saw Daniel Graves take AESTHETIC PERFECTION’s industrial pop to the next level via his new singles only policy. The magnificent Electro Mix successfully realised this oddball blend of Darren Hayes, Britney Spears and Marilyn Manson. With a mightily elastic bassline, when asked whether The Electricity Club had gone crazy coming up with the comparison, Daniel Graves replied “God no. Spot on, guys!”
From only the third solo album in the long career of Richard Barbieri, ‘Solar Sea’ was a sleazy rhythmic excursion into another world. With the one-time JAPAN sound designer using a Roland System 700 for its bassline, the track’s atonal jazz feel was augmented by the haunting voice manipulations of Lisen Rylander Löve through a vintage Soviet submarine microphone and warping noises offset by soothing brass inflections and live drums.
The American electronic rock quartet BATTLE TAPES continued to develop from their 2015 debut album ‘Polygon’ via their ‘Form’ EP. The best track ‘Control’ hinged around a syncopated filtered synth bass and a brilliantly catchy chorus sung by Josh Boardman, with enough guitars for power and texture without distracting from the overall electronic aesthetic, and even coming over like a heavier Stateside version of SIN COS TAN.
“International in flavour, cosmopolitan in style” and sounding like a long lunch followed by a round of cocktails, Australian duo CLIENT LIAISON roped in one-time TV talent show star Tina Arena to duet on a lush slice of romantic pop that also rode on the current fashion for Synthwave. ‘A Foreign Affair’ could have easily been a Rat Pack movie song.
Johan Baeckström made positive waves with his debut solo album ‘Like Before’ in 2015 but reunited with his musical partner Jarmo Ollila, producing an excellent third album with more tempo variation than their 2014 offering ‘Two’. Featuring the guest vocals of Mac Austin from cult synth trio WHITE DOOR who were one of the inspirations for DAILY PLANET, ‘Heaven Opened’ was an uncomplicated but wonderfully poignant slice of classic synthpop.
ELECTRONIC CIRCUS is the musical vehicle of Chris Payne, the one-time Numan band member who also co-wrote ‘Fade To Grey’. With a symphonic theme bursting with melody and musicality like ULTRAVOX galloping across the plains of Normandy, the brilliant neo-instrumental ’The Trapeze’ was given a wondrous tone of humanistic unity when Payne’s wife and daughter joined in on the final straight in Latin.
FADER are the synth superduo featuring BLANCMANGE’s Neil Arthur and Benge; ‘3D Carpets’ captured an independent post-punk intensity, like JOY DIVISION or THE CURE but realised with analogue electronics rather than guitars. While the pair worked on their parts separately, their creative dynamic produced a great debut album in ‘First Light’.
Available on the ‘First Light’ via Blanc Check Records
From the Welsh synth songstress’ first EP, the fabulous ‘Geiriau’ was a driving sequential drama that had more than a passing resemblance to the first part of SPARKS’ ‘No1 Song In Heaven’. Revolving around ANI GLASS’ experience of flying the nest and returning years later to reconnect with her Welsh and Cornish heritage, it was a spacey and futuristic soundtrack for a wonderfully uplifting homecoming.
‘Volupsa’, the promising Nordic flavoured debut album from THE GOLDEN FILTER came out in 2010, but the Aussie American duo of vocalist Penelope Trappes and synth programmer Stephen Hindman took their time with the follow-up ‘Still//Alone’, having relocated to London after spending several years based in New York. The hypnotic pulse of ‘Rivers’ with its precise drum machine pointed to a female fronted OMD, complete with a catchy riff and synthy jabbing bassline.
The immensely catchy ‘Systemagic’ was a prize electronic gem from the seventh GOLDFRAPP album ‘Silver Eye’, reminiscent of the lusty and beat laden electronic material from ‘Black Cherry’. But its riff asked the question as to whether you will always find Alison Goldfrapp in the kitchen at parties? In the event of Jona Lewie filing a lawsuit, the lucrative income from the song’s use in a BMW advert may ease any potential net payout.
Available on the album ‘Silver Eye’ via Mute Artists
After three acclaimed albums as IAMAMIWHOAMI with producer Claes Björklund, Jonna Lee went solo in 2017 although it was actually difficult to hear the join on the glorious ‘Not Human’, so seamless was the transition; there were still the icy electronic soundscapes, spacey dance beats and uplifting Scandipop vocals while the delightfully odd visuals were all present and correct.
Available on the download single ‘Not Human’ via To Whom It May Concern
I SPEAK MACHINE is the audio / visual collaboration between musician Tara Busch and filmmaker Maf Lewis. Soundtracking their film ‘Zombies 1985’, the story was one of greed and self-obsession in Thatcher’s Britain as a businessman drives home, oblivious to the zombie apocalypse going on around him. Co-written and co-produced with Benge, the brilliant ‘Shame’ with its cascading synths and noise percussion was a wonderful hybrid of THROBBING GRISTLE, THE HUMAN LEAGUE and GOLDFRAPP.
After a number of years gigging around London, Katja von Kassel finally unleashed released her electro Weimer Cabaret to the world. The pulsating ‘In Little Rooms (Show Me Love)’ captured an aesthetic which closely resembled that of Ronny, a former protégé of Rusty Egan. Attached to Alex Gray’s intricate filmic electronics, Fraulein von Kassel’s deep vocal detachment was art cool sexy.
Swedish duo KITE unleashed their darkest offering yet in ‘Demons & Shame’. Shaped by a ritualistic drum mantra and brooding bass drones, as the title suggested, the song confronted the despair that life occasionally throws up while pursuing visions and dreams. If Ennio Morricone composed music for Nordic Noir dramas, it would sound a bit like this. Vocalist Nicklas Stenemo literally screamed his frustration over an epic synthetic soundscape from Christian Berg, laced with nocturnal Arctic overtones and the spectre of THE KNIFE.
Available on the single ‘Demons & Shame’ is released by Progress Productions
James Murphy returned as LCD SOUNDSYSTEM after seven years with this widescreen musical statement reflecting on the political situation in the US. Glancing across the Atlantic and back to the Winter Of Discontent, this 3/4 synth laden tune that had more than a passing resemblance to THE HUMAN LEAGUE’s ‘Circus Of Death’. So did “The Clown” referred to in that song remind Murphy of someone in particular?
Having started out in a more rave inclined environment, Lizette Nordahl ventured into more synthy climes and her debut mini-album had the air of KITE is all over it, which was not entirely surprising as its co-producers were Nicklas Stenemo and Christian Berg from the acclaimed duo. ‘Rest’ with its swirling synth sounds and widescreen Nordic atmosphere had an optimistic air of acceptance despite the melancholic tone and majestic growls.
Led by British born musician Dylan Willoughby, LOST IN STARS is a floating ensemble which also includes Elena Charbila aka KID MOXIE and producer/songwriter Darren Burgos. The latter takes the lead vocal on the spirited electronic pop of ‘Sky’; now if NEW ORDER were from Los Angeles instead of Manchester, they would have sounded like this.
After releasing her first solo album ‘Crystal World’ in 2013, Helen Marnie added more prominent choruses and guitar onto her second, resulting in a catchy Scandipop style. ‘Bloom’ was an optimistic burst of synth laden pleasure and while not totally dissimilar to LADYTRON, it was without their usual hardness or gothic gloom.
Having worked successfully in 2013 with Guy Sigsworth on ‘the minutes’, an acclaimed album which saw Alison Moyet return to the synthesized music forms to compliment her powerful and self-assured voice, the follow-up ‘Other’ was a natural progression. The startling orchestrated electro-dub drama of ‘Alive’ gave Moyet’s two former classmates in DEPECHE MODE a stark lesson in how to actually fully realise electronic blues. Indeed, it was ‘In Chains’, the lame opener from ‘Sounds Of The Universe’ gone right…
With the narrative of ‘Savage’ provoked by Donald Trump’s withdrawal of the United States of America from the Paris Climate Accord, the mighty apocalyptic rock of ‘When The World Comes Apart’ was something of a revelation for Gary Numan. Using synths as the dominant instrument and having guitars less obviously prominent in the mix, with its richly anthemic chorus, this was the magnificent crossover song that both old and new Numanoids had been waiting for.
Michael Oakley is a talented Glaswegian who describes his music as “Melancholic postcards from my heart wrapped up in synthesisers and drum machines”. The melodic ‘Rabbit In The Headlights’ came complete with Italo “woah-oh” chants and whether it was Synthwave, synthpop, electropop, Italo or whatever, it showcased Oakley’s fine songwriting abilities, regardless of genre.
The excellent ‘One More Time’ was a classic bittersweet OMD stomper, where “everything you gave me didn’t last”. Using electronic percussion as opposed to drum machines, the enticing verse and uplifting bridge were set to a plethora of gorgeous textures and distorted synth to add a touch of enigmatic weirdness. While Andy McCluskey cried “you can break my heart just one more time”, the track’s star was Paul Humphreys with his crystalline synth sounds laced with some portamento bounce.
As well as keyboards and violin, Hannah Peel can also play the trombone. Featuring an array of analogue synthesizers and a 29-piece colliery brass band, ‘Mary Casio: Journey to Cassiopeia’ was her instrumental story about a fictional elderly musical stargazer. Beginning with the lift-off of ‘Goodbye Earth’, Miss Peel’s electronic arpeggios and synthetic noise built up to a crescendo of brass and timpani for a quite unusual combination of two very different musical worlds.
Available on the album ‘Mary Casio: Journey to Cassiopeia’ via My Own Pleasure
From the ashes of ANALOG ANGEL came forth RAINLAND. Their self-titled calling card was a vibrant synthpop statement, embroiled in a musicality that provided a journey through the Grampian Mountains. Ian Ferguson had already proved himself a worthy vocalist in his previous combo with dulcet tones not dissimilar to a certain Midge Ure and this was allowed to reign free on ‘Rainland’. Meanwhile, the ivories of Derek MacDonald stylistically aped the symphonic overtones of ULTRAVOX’s Billy Currie.
Between 1980 to 1984, RHEINGOLD were at the forefront of Die Neue Deutsche Welle, releasing three albums and achieving their first domestic hit ‘3klangsdimensionen’ in 1981. Led by Bodo Staiger, ‘Im Lauf Der Zeit’ was their first album of new material for many years. The melodic synth of ‘Paradieshafen’ drove along a beautiful instrumental that came over like a dream collaboration between OMD and Michael Rother.
Available on the album ‘Im Lauf Der Zeit’ via Lucky Bob Records / Soulfood
With hypnotising hints of Kate Bush and percolating Ryuichi Sakamoto style textures, ‘Who Am I’ by electropop goddess Sarah P. was an ode to “humanity, the world we live in and our importance (or unimportance) as individuals and/or as a whole”. And as the Greek-born songstress announced that “I don’t know where I come from… do you know my name?”, a metronomic beat kicked in to lead a dramatic house-laden climax.
Available on the album ‘Who Am I’ via EraseRestart Records
The normally flamboyant Welsh duo SHELTER surprised all with their darkest and most accomplished song yet in ‘Karma’. “What you want is what you’ll get…” sang Mark Bebb, “…you will get a lot more that you planned”. A vibrant but edgy production from Rob Bradley complimented the sentiment as the message was relayed loud and clear…
Available on the single ‘Karma’ via Ministry Of Pop
From ‘From Deewee’, the first new SOULWAX album since 2004’s ‘Any Minute Now’, ‘Conditions Of A Shared Belief’ was a modular synth lover’s wet dream from the Dewaele brothers. With a retro-futuristic collage of detuned blippy sounds and a backbone of smashing white noise percussion recalling THE HUMAN LEAGUE in their Martyn Ware and Ian Craig Marsh phase, it was complimented by some suitably abstractly pitched TALKING HEADS inspired vocals.
TINY MAGNETIC PETS had their best year yet with a UK tour opening for OMD and to accompany it was their second album ‘Deluxe/Debris’. Featuring Wolfgang Flür, the album’s best song ‘Never Alone’ sounded appropriately like SAINT ETIENNE fronting KRAFTWERK. Paula Gilmer has one of the best voices in modern synthpop and her alluring tone no doubt added to the song’s breezy dreamlike state.
Available on the album ‘Deluxe/Debris’ via Happy Robots Records
The adventurous third VANBOT album ‘Siberia’ was composed and recorded during a 17 day journey on the Trans-Siberian railway. The crystalline ‘Collide (Krasnoyarsk)’ though captured a more Nordic vibe with its gorgeous melodies, while the surrounding rhythmic pace of a train ride made its presence felt. An aural exploration of the relationship between time, location and emotion, ‘Siberia’ was a bold musical experiment.
Like Germany and the UK, Sweden has an established history in electronic music.
With a melodic tradition rooted in traditional Nordic folk music and the region’s long dark nights causing bouts of melancholy, the Swedes are more than well suited to stay indoors and further the art of synthpop. In addition, Clavia Digital Musical Instruments, founded in 1983 and based in Stockholm, have emerged as a world leader in modern virtual analogue subtractive synthesizers with its distinctive red Nord Lead series as well as its digital stage pianos.
The iconic Energy Rekords provided a platform for modern electronic music in the country while today, labels such as Progress Productions, Labrador and Wonderland have maintained their support for domestic talent. Meanwhile, COVENANT maintain an audience across the Atlantic for their resonant futurepop and ROBYN has become so much part of the mainstream that her songs are regularly murdered by reality TV talent show wannabes.
Probably the most influential act to come out of Sweden are THE KNIFE. Their influence internationally on countless acts such as GAZELLE TWIN, GRIMES, AUSTRA, THE HORN THE HUNT and BECKY BECKY to adopt darker colours and mess with the very fabric of sound, has held a flag for inventive artful experimentation.
So what’s so special about Sweden then? Listed chronologically and then alphabetically from its UK perspective with a restriction of one song per moniker, here are 25 SVENSKA SYNTH SONGS…
LUSTANS LAKEJER Diamanter (1982)
With a shortened title, ‘Diamanter’ was a more synth driven re-recording of their second single. LUSTANS LAKEJER were labelled Sweden’s answer to DURAN DURAN and like the Birmingham combo, Johan Kinde and Co were heavily influenced by JAPAN. Their third album ‘En Plats I Solen’ was produced by Richard Barbieri with Mick Karn popping up with his sax on three of its tracks.
Founded in 1980 by Eddie Bengtsson and Marina Schiptjenko, PAGE are often credited with bringing the more purer form of synthpop as pioneered by Vince Clarke to Sweden. Their debut single ‘Dansande Man’ was a frantically percussive excursion suitable for dancing to as the title suggested. Bengtsson and Schiptjenko were to become key figures on the Swedish music scene in many guises, as we shall see…
Originally released as a single via Eskimo, currently unavailable
With their name inspired by a JAPAN song, THE MOBILE HOMES were another Swedish band adopting purer synthpop colours . For their second single ‘Feeling Better’, they signed to Sonet, a Scandinavian independent who coincidentally handled the early publishing of Martin Gore and Vince Clarke. Eschewing the quirkiness of PAGE, THE MOBILE HOMES reflected the more pessimistic side of life often associated with Sweden.
Available on download bundle ‘Feeling Better’ via Universal Music
An almost cartoonish trio originally comprising of Alexander Bard, Jean-Pierre Barda and La Camilla, ARMY OF LOVERS countered their outlandish visual presence with catchy electronic dance tunes influenced by the hippy musical ‘Hair’. While the epic ‘Crucify’ was the huge worldwide hit, the musically more subtle ‘Obsession’ offered a softer side while still maintaining the cinematic drama.
In parallel with PAGE, Eddie Bengtsson joined vocalist Alexander Hofman to write and perform some ‘Star Trek’ themed songs for a friend’s Trekkie themed birthday party. . Originally called MR SPOCK, the band name was changed to an acronym for ‘Star Pilot On Channel K’ after threats of legal action from Paramount Studios. ‘Never Trust A Klingon’ is still their crowning moment, a genius combination of deadpan vocals, bubbling synthpop and samples from Captain James T Kirk.
Available on the album ‘Five Year Mission’ via Energy Rekords
Founded in 1988, ELEGANT MACHINERY were another act who preferred a purer synthpop stance; they even covered SPANDAU BALLET’s ‘To Cut A Long Story Short’ in the style of Vince Clarke for an excellent 1995 Energy Rekords tribute collection of the same name. Many consider ‘Hard To Handle’ their finest song, an excellent blend of dance friendly beats and blippy melodies.
Formed in 1986 in Helsingborg, the Eskil Simonsson fronted COVENANT managed to gain a footing in both synthpop and EBM camps, achieving great success in North America from touring the alternative electronic club network established following the stateside success of DEPECHE MODE. Still going strong, 2016 saw the release of their ninth long player ‘Blinding Dark’.
Sibling duo THE KNIFE are probably the acclaimed electronic act to emerge from Sweden. Their uncompromising approach has won them many plaudits. But there was a time when with their experimentation came a tune too. The wonderful ‘Pass This On’ took Karin Dreijer’s unsettling pitch shifted vocals and placed them over brother Olaf’s soundtrack of primitive string machine and uplifting steel drums. Things got much darker after this…
Available on the album ‘Deep Cuts’ via Braille Records
Tired of her label BMG trying to turn her into the Swedish Christina Aguilera, Robyn Carlsson began taking an interest in the electronic movement closer to home. Inspired by THE KNIF, she collaborated with them to produce what is now possibly the key song which transformed Robin Miriam Carlsson into the successful independently minded artist she is today.
Available on the album ‘Robyn’ via Konichiwa Records
Best known as a member of the cult Swedish indie band PARIS, singer and keyboardist Emma Nylén had aspirations to produce something that was more decisively electronic. Her first recordings immediately showcased a catchy dance friendly sound as exemplified by ‘Rock D’Amour’. Subsequent albums ‘Closet Wanderings’ and ‘Nomme’ have maintained the standard, although EMMON is currently on a career break to raise a family.
Eddie Bengstsson’s solo project, also referred to as SMPJ, saw him unafraid to mine his Synth Britannia influences. ‘Allt Är Klart’ was an ULTRAVOX tribute and effectively a Swedish vocal version of the instrumental B-side ‘Alles Klar’. The hard, staccato synth bassline was borrowed from the original, but the track was bolstered by some superb whirring synths in the tradition of Billy Currie’s adventures with the ARP Odyssey.
Combining dual male / female vocals with a danceable electro goth backdrop, Anders Hagström and Yasmine Uhlin achieved success in Germany as well as Sweden with ‘Spiders’. ASHBURY HEIGHTS came out of hiatus in 2015 with a new female vocalist Tea F Thimé and a new album ‘The Looking Glass Society’ after a settling a despite with their label Out Of Line.
BODIES WITHOUT ORGANS or BWO saw PAGE’s Marina Schiptjenko teaming up Alexander Bard from ARMY OF LOVERS in a project that has probably come closest to exploiting the musicality of ABBA for the 21st Century. Fronted by the extremely handsome Martin Rolinski, the classic pop tradition of the original Super Swedes was more than obvious on the mightily bonkers ‘Lay Your Love On Me’ which they entered for Eurovision.
Available on the album ‘Pandemonium’ via Capitol Records
Producer Andreas Kleerup hit paydirt with ‘With Every Heartbeat’, a collaboration with Robyn. A marvellous self-titled album followed with ‘Longing For Lullabies’ featuring Neneh Cherry’s sister Titiyo being the tearful highlight. Despite being driven with raw mechanical beats, the simple vocal melody was simple, almost keyboard-like going up and down the ivory scale in the best tradition of OMD while Titiyo’s vocal range made it a bit Agnetha and Annifrid too!
One established artist who made a volte face in the wake of THE KNIFE was Karin Park. It was on more her Robyn-esque third album ‘Ashes To Gold’ that she sowed the seeds of her current electronic template. The synthpop disco of ‘Ashes’ fused electronic counterpoints and a live bass guitar with an incessant groove while Miss Park provided her enticing vocal presence.
Available on the album ‘Ashes To Gold’ via Young Aspiring Professionals
Another act formed under the spectre of THE KNIFE, Stockholm duo Malin Dahlström and Gustaf Karlöf released ‘Mother Protect’ as a free download to launch NIKI & THE DOVE. Then came ‘DJ, Ease My Mind’; shaped by a ritualistic percussive mantra and whirring sub-bass, Dahlström’s witchy mannerisms provided the surreal scenario of what the Dreijers might have sounded like if they had decided to enter Eurovision.
Available on the album ‘Instinct’ via Mercury Records
Having issued their first album ‘:Adored’ in 1996 and their second ‘Have You Ever Touched A Dream?’ in 2004, ‘Silent Dawn’ was a single released as part of DAYBEHAVIOR‘s much vaunted comeback. The song was an exploration in laid back filmic pop and breathy continental vocals that wouldn’t have sounded out of place in Italian art movie. Indeed their most recent single ‘Change’ was also released in an alternative Italian language version, naturally titled ‘Cambiare’.
KITE have been called “Sweden’s best kept pop-secret”; Nicklas Stenemo and Christian Berg have undoubtedly been producing some of the best electronic pop of the last few years. Only releasing EPs, things started to truly come together on their fourth release ‘IV’. From it, ‘Step Forward’ with its sharp percussive drama and pentatonic overtones was the undoubted highlight. More recently, the duo have been commissioned to provide a song for a new Steven Segal film.
With Karolina Komstedt’s dramatically assertive vocal and a bursting bassline from Johan Angergård, CLUB 8 showed in a crisp 180 seconds with ‘Stop Taking Time’ that a danceable electronic tune didn’t have to be a journey into death by four-to-the-floor. Formed in 1995 as a more conventional pop act, CLUB 8’s most recent album ‘Pleasure’ celebrated 20 years for the duo.
MACHINISTA are seasoned hands, John Lindqwister was part of CAT RAPES DOG while Richard Flow was in VISION TALK with the late Krister Petersson. Their mantra is produce synthpop with a rock’n’roll edge. Like THE CURE gone electronic, or ALPHAVILLE crossed with SUICIDE, ‘Molecules & Carbon’ is both catchy and danceable with some suitably rousing elements too.
Available on the album ‘Xenoglossy’ via Analogue Trash
First launched via a set of mysterious viral videos with alphanumeric code titles, IAMAMIWHOAMI helmed by vocalist Jonna Lee and producer Claes Björklund premiered a delightfully odd cinematic electronic sound. From the second album ‘Blue’, the rich Scandipop of ‘Chasing Kites’ sees Jonna Lee hitting those ABBA-esque high notes with ablomb before adopting a huskier register for the second half.
Available on the album ‘Blue’ via To Whom It May Concern
A touching tribute to Messrs Clarke, Gore, Hütter and Schneider, JOHAN BAECKSTROM said “I guess I just wanted to reflect on the fact that there still IS a synthpop scene with some really great bands, both old and new. In another way, the song is sort of my ‘thank you’ to some of the artists that inspired me for several decades – some of them are mentioned in the lyrics, but far from all of course”.
Available on the EP ‘Come With Me’ via Progress Productions
Founded by Dan Söderqvist and Karl Gasleben, TWICE A MAN were the opposite to many Swedish acts in that they used synths and electronic effects for more sombre atmospheric soundscapes rather than performing outright pop. Still operating as a unit, their 2015 album ‘Presence’ featuring epic environmental message songs like ‘High In The Clouds’ showed their talents have not waned over the years and indeed have become more accessible.
Available on the album ‘Presence’ via Ad Inexplorata
After her inconclusive self-titled debut album in 2011, VANBOT aka Ester Ideskog had a rethink and started venturing into artier climes with the dreamy and enigmatic ‘Trooper’. With layers of vocals and rushes of lush synth, it started a journey towards the otherworldly template of IAMAMIWHOAMI. Her icy journey continues on her next album ‘Siberia’ which was written and recorded on a 17 day trip aboard the Trans-Siberian Railway.
REIN I Don’t Get Anything But Sh*t From You (2016)
Feisty, ambitious and not to be messed with, REIN has certainly caused a stir with Europe’s male dominated EBM scene. A true Rebel Girl as suggested by one of the highlights from her self-titled debut 2016 EP, even within the inherent shouty nature of the genre and Joanna Reinikainen’s debut song ‘Can’t Handle Me’ effectively being a mission statement, things are ramped up to 11 on ‘I Don’t Get Anything But Sh*t From You’. She’s an artist to watch for sure…
Despite what appeared to be an existential crisis within their domestic independent synth community in 2016, Sweden continues to be special.
As the New Year begins in earnest, one fine work to emerge from Scandinavia’s dark winter haze is ‘Collide (Krasnoyarsk)’, the new single by VANBOT. The work of Ester Ideskog, this supreme slice of glacial elegance was written while Ideskog was travelling on the Trans-Siberian railway. It was part of an adventurous 17 day journey from Moscow to Beijing with her collaborators Johannes Berglund and Petter Winnberg to compose a new full-length work.
Signalling a move into the more delightfully odd Nordic Noir territory of artists such as IAMAMIWHOAMI, ‘Collide (Krasnoyarsk)’ acts as a fitting trailer for the album ‘Siberia’.
The finished recording successfully captures the atmosphere of its genesis and with a newly unveiled promo video to accompany the tune; the visuals capture the tension of the region’s extreme and expansive landscapes in the form of an abstract modern dance choreographed by Clara Björck and Eos Karlsson.
Already a veteran of two albums, it was “Late night bike riding and endless love for retro synthesizers” that inspired VANBOT into venturing into the world of electronic pop. Drawing comparisons with fellow Swedish songstress ROBYN, the driving standalone single ‘Got To Get Out’ gained her favourable attention and a slot at the SXSW Festival in Texas in 2012.
However, the enigmatic ballad ‘Trooper’ from her second album ‘Perfect Storm’ in 2015 showcased her developing avant ethos, with songs central to the core while utilising a wider cinematic spectrum.
Embracing the technological limitations of recording on a train compartment, the threesome purposefully made no additional recordings upon their return home to ‘Siberia’. With constant motion and new locations looming throughout, ‘Siberia’ will be an interesting conceptual listening experience if nothing else.
‘Collide (Krasnoyarsk)’ is available as a download single via the usual digital retailers through Lisch Recordings
Over at The Finland Station, Helsinki-based musician Ringa Manner has been making crystalline sine waves with her project THE HEARING.
There are obvious parallels with SUSANNE SUNDFØR, as a singer / songwriter from a folk laden tradition influenced by Freddie Mercury and Kate Bush, slowly developing with enhanced technological support and innovation. Like MARSHEAUX, THE HEARING has also opened for 30 SECONDS TO MARS. Her debut album, ‘Dorian’, was released in Finland in 2013 by Gaea Records. The solemn but frantically percussive ‘Wohu Wohu’ was a good representation of her initial template while ’Sands’ utilised synths and drum machine.
Now signed to Solina Records, home of SIN COS TAN, ‘Backwards’ from the new album ‘Adrian’ is a great bleep forward. Romantic and dreamy, yet harmonically tense in the way that makes Nordic electronic pop so intriguing, ‘Backwards’ sets the tone for ‘Adrian’ with an expanded palette of synths, soaring pop melodies and busy rhythm construction.
‘Straight Teeth’, the opening song on Adrian’ is sharp with profanity, while a stark arpeggio provides the backbone for the sub-bass laden ‘Rehearsal’. Both ‘Too Happy’ and ‘Color Code’ are songs of many intricate layers that recall GRIMES and THE KNIFE respectively before the lively percussive chant of the album’s title track.
But the highlight is the sub-eight minute ‘Kabeldon’, the most frantically electronic item on the album and perhaps the one with the closest affinity SUSANNE SUNDFØR’s more recent work with bows to DAVID BOWIE’s ‘I’m Deranged’. A mad cascading piano kicks in alongside the steadily building drum ‘n’ bass cacophony of noise before it all slows down into an eloquent Nordic dubstep ballad!
After all that, there comes the comparatively conventional and sweet Scandipop of ‘Faint’ while the dramatic closing number ‘I Dream Of Demian’ wouldn’t sound out of place on an IAMAMIWHOAMI long player. A worthy sophomore offering, ‘Adrian’ paves the way for THE HEARING to make even further artistic gains; after all, SUSANNE SUNDFØR’s international breakthrough ‘Ten Love Songs’ was her fifth album proper.
‘Adrian’ is released by Solina Records as a vinyl LP and download on 22nd April 2016
The HEARING plays The Great Escape in Brighton on 20th and 21st May 2016
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is released by Progress Productions
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The excellent ‘One More Time’ was a classic bittersweet 
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gained her favourable attention and a slot at the SXSW Festival in Texas in 2012.
from her second album 
is available as a download single via the usual digital retailers through Lisch Recordings
is released by Solina Records as a vinyl LP and download on 22nd April 2016
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