Tag: ionnalee (Page 1 of 2)

IONNALEE Close Your Eyes

10 September 2024 /

Jonna Lee is back as IONNALEE after the more organic IAMAMIWHOAMI record ‘Be Here Soon’ in 2022 which saw her return to her folk singer-songwriter roots.

What’s the difference between the two one may ask? IAMAMIWHOAMI is a full duo effort between Jonna Lee and Claes Björklund who himself works solo as BARBELLE; thus IONNALEE is the solo moniker of Lee although perhaps confusingly to some, Björklund is still closely involved on instrumentation as well as occasionally production and mix.

‘Close Your Eyes’ sees Jonna Lee return to the electronic sound which she launched with IAMAMIWHOAMI in 2009 and continued as IONNALEE from 2018. But this third IONNALEE long player after ‘Everyone Afraid To Be Forgotten’ and  ‘Remember The Future’ and comes with a twist in that it has a Swedish Language twin in ‘Blund’; “I recently moved out of Stockholm back to the area where I grew up in Östergötland” she said, “Singing in my mother tongue gives my artistry a different angle and that feels really exciting – it’s like exploring a new language!”

Lush and airy, opening tune ‘La La love’ begins like classic IONNALEE with a stutter but then bursts into a straight passage of synth bass and strums while questioning whether the physical disconnect in today’s virtual world has muted the ability to feel love.

‘Innocence Of Sound’ is slightly more chilling, reinforced by a rumbling engine room that recalls her earlier IAMAMIWHOAMI albums ‘Kin’ and ‘Blue’ with rich toplines to compliment the delightful oddness with a breathless energy in an anthem for today’s troubled times.

‘Not Your Cherry’ steadies the pace with a zing and a declaration to not play second fiddle using a delightful cake baking metaphor. A combination of droning synths and ethnic instrumentation colours ‘Forgive Her’ and while the vocals dominate, a cutting drum loop takes hold at the end.

The beautiful avant Scandipop of ‘Luminary Rainbows’ is a sumptuously widescreen highlight that declares it is good to chase the dream and thrive. Another is ‘The End Of Every Song’ which surprises with a thumping rhythm and a cacophony of chunky sequences and piercing electronics, the vocals sitting brilliantly like ABBA on helium in outer space!

The punchy digital computer grooves continue on ‘Run Wild’ but as ‘Darkness Is A Real Place’, IONNALEE sounds forlorn on a song that if orchestrated could be Celine Dion; but over a sparse backdrop of chilling synthetic strings and drum machine, it comes over marvellously otherworldly.

The sampled cello and guitar sees ‘You Hold Me Like Water’ project an ominous mood but the bubbling synths provide the contrast that pushes song structure conventions. The cinematic closer ‘Who’ seeks sanctuary and a request to “take me somewhere safe” within a glorious pool of sound design.

By going back to crystalline electronic backdrops on ‘Close Your Eyes’ after the folk and jazz inflected excursions of ‘Be Here Soon’, Jonna Lee has highlighted, whether as IONNALEE or IAMAMIWHOAMI, what actually sets her part for any number of Nordic singer-songwriters. In placing her traditional voice in an otherworldly setting, the contrast is what helps to provide that mysteriously emotive resonance in her sound.

‘Close Your Eyes’ is about how to dream during dark times and maintaining hope in a less than certain future. While there is much melancholy throughout, there are many moments of lifting optimism as well.

‘Close Your Eyes’ and ‘Blund’ are released on 13 September 2024 by to whom it may concern in various formats, available from https://twimc.se/release/448437-ionnalee-close-your-eyes

https://ionnalee.com/

https://www.facebook.com/iamionnalee/

https://www.instagram.com/ionnalee/

https://twitter.com/ionnalee

Text by Chi Ming Lai
Photos by John Strandh
10 September 2024

IAMAMIWHOAMI Be Here Soon

2 June 2022 /


First launched in 2009 with a series of mysterious viral videos, IAMAMIWHOAMI are back after a recorded absence of eight years.

Following the ambitious ‘B.O.U.N.T.Y.’ EP and two acclaimed albums ‘Kin’ and ‘Blue’, the Swedish duo of Jonna Lee and Claes Björklund embarked on solo projects respectively as IONNALEE and BARBELLE. Despite this, the pair did not actually become creatively estranged as the two IONNALEE albums to date ‘Everyone Afraid To Be Forgotten’ and ‘Remember The Future’ featured Björklund in varying studio roles including instrumentation, co-production and final mix.

Although both IAMAMIWHOAMI and IONNALEE were both notable for their delightfully odd cinematic sound that was enjoyed by the electronic music cognoscenti, the new album ‘Be Here Soon’ turns the clock back to Jonna Lee’s artist debut as a folk singer and songwriter in 2007.

With Björklund now a father and Lee becoming pregnant soon after starting the album, the rebonded over parenthood with a collective intent to make a record that was true to where their lives were in the present. Thus the audio / visual journey documents the growing of new life as Lee challenged society’s expectations of her as a mother and an artist.

The opening song ‘Don’t Wait For Me’ is a suitably airy in the manner of Angelo Badalamenti, but it is more organic sounding and distinctly less electronic with sax thrown into the mix, a farewell to the past and a start of a new chapter. Gently beat laden but augmented by six string, ‘Canyon’ is a duet with veteran singer Lars Winnerbäck which exudes a more folkie presence in that GOLDFRAPP ‘Seventh Tree’ fashion.

Meanwhile ‘Zeven’ adds more of a manual percussive swing before livening up and the shuffling ‘I Tenacious’ offers icy Nordic jazz. The spacier moods of ‘Changes’ recall earlier IAMAMIWHOAMI works but the live drums and flute throw off the scent. The sparse but filmic ‘Flying or Falling’ makes subtle use of timpani, castanets and operatic soprano.

Embracing piano, ‘A Thousand Years’ is suitably demure before the appearance of a choir and the surprise of tinkling ivories over a skippy backbone. The acoustic guitar driven ‘Thunder Lightning’ brings in a range of woodwinds including the big bassoon but ‘Call My Name’ recalls EXIT NORTH with an eerie feminine twist before ‘Walking On Air’ with its cosmic synth solo closes what is a very different IAMAMIWHOAMI record.

With traditional colours and jazzier inflections, these songs are presented with the minimum of electronic seasoning. If you appreciated the approach of GOLDFRAPP’s ‘Seventh Tree’, you will enjoy ‘Be Here Soon’. With Jonna Lee now a proud mother, that joy can be celebrated collectively in the music.

‘Be Here Soon’ is released on 3rd June 2022 by to whom it may concern as a nude vinyl LP, CD and download available from https://twimc.se/release/301039-iamamiwhoami-be-here-soon

https://ionnalee.com/

https://www.facebook.com/iamamiwhoamiofficial

https://twitter.com/ionnalee

https://www.instagram.com/ionnalee/

Text by Chi Ming Lai
Photo by John Strandh
2nd June 2022

2019 END OF YEAR REVIEW

15 December 2019 /

2019 was a year of 40th Anniversaries, celebrating the synth becoming the sound of pop when ‘Are Friends Electric?’ reached No1 in the UK chart in 1979.

While GARY NUMAN opted for ‘(R)evolution’ and two of his former sidemen RRussell Bell and Chris Payne ventured solo for the first time, OMD offered a 7 disc ‘Souvenir’ featuring a whole album of quality unreleased material to accompany a concert tour to celebrate four decades in the business. That was contrary to DEPECHE MODE who merely plonked 14 albums into a boxed set in a move where the ‘Everything Counts’ lyric “the grabbing hands grab all they can” became more and more ironic… MIDGE URE partied like it was 1980 with the music of VISAGE and ULTRAVOX, while SIMPLE MINDS announced an arena tour for 2020 so that their audience could show Jim Kerr their hands again.

HEAVEN 17 announced some special showcases of the early material of THE HUMAN LEAGUE and got a particularly warm reception opening on tour for SQUEEZE as a trailer ahead of their own ‘Greatest Hits’ jaunt next year.

Celebrating 20 years in music, there was the welcome return of LADYTRON with a self-titled comeback album, while Swedish evergreens LUSTANS LAKEJER performed the ‘Åkersberga’ album for its 20th Anniversary and similarly GOLDFRAPP announced a series of shows in honour of their magnificent cinematic debut ‘Felt Mountain’.

Cult favourites FIAT LUX made their intimate live comeback in a church in Bradford and released their debut album ‘Saved Symmetry’ 37 years after their first single ‘Feels Like Winter Again’.

As a result, their fans were also treated to ‘Ark Of Embers’, the long player that Polydor Records shelved in 1985 when the band were on the cusp of a breakthrough but ended with a commercial breakdown.

Modern prog exponents Tim Bowness and Steven Wilson got back together as NO-MAN for their dual suite electronic concept record ‘Love You To Bits’, but an even more ambitious undertaking came from UNDERWORLD with their boxed set ‘Drift Series 1’.

Also making live returns were one-time PET SHOP BOYS protégé CICERO with a charity gig in his hometown of Livingston, WHITE DOOR with JOHAN BAECKSTRÖM at Synth Wave Live 3, ARTHUR & MARTHA and Mute Records veterans KOMPUTER.

After a short hiatus, the mighty KITE sold-out three gigs at Stockholm Slaktkyrkan and ended the year performing at an opera house, while GIORGIO MORODER embarked on his first ever concert tour where his songs were the stars.

Although their long-awaited-as-yet-untitled third album was still to materialise, VILE ELECTRODES went back on the road in Europe with APOPTYGMA BERZERK and THE INVINCIBLE SPIRIT. Meanwhile, Chinese techno-rock sextet STOLEN opened for NEW ORDER on their Autumn European tour and EMIKA performed in a series of Planetariums.

Despite the fall of The Berlin Wall 30 years ago, there were more evident swipes to the right than there had been for a long time, with the concept of Brexit Electro becoming a rather unpleasant reality. So in these more sinister times, the need for classic uplifting electronic pop was higher than ever.

To that end, three superb debut albums fitted the bill. While KNIGHT$ offered quality Britalo on ‘Dollars & Cents’, the suave presence of Ollie Wride took a more MTV friendly direction with ‘Thanks In Advance’. But for those wanting something more home produced, the eccentric Northern electronic pop of the brilliantly named INTERNATIONAL TEACHERS OF POP continued the artistic lineage of THE HUMAN LEAGUE.

QUIETER THAN SPIDERS finally released their wonderful debut album ‘Signs Of Life’ which was naturally more understated and Denmark had some worthy synthpop representation with SOFTWAVE producing an enjoyably catchy debut long player in ‘Game On’.

On the shadier side of electronic pop, BOY HARSHER achieved a wider breakthrough with their impressive ‘Careful’ long player but as a result, the duo acquired a contemporary hipster element to their fanbase who seemed to lack manners and self-awareness as they romped around gigs without a care for anyone around them. But with tongues-in-cheeks, SPRAY continued to amuse with their witty prankelectro on ‘Failure Is Inevitable’.

Photo by Johnny Jewel

Italians Do It Better kept things in house as CHROMATICS unexpectedly unleashed their first album for six years in ‘Closer To Grey’ and embarked on a world tour. Main support was DESIRE and accompanied on keyboards by HEAVEN singer Aja, the pair took things literally during their cover version of ‘Bizarre Love Triangle’ with a girl-on-girl kiss in front of head honcho Johnny Jewel. Other ITIB acts on the tour dependent on territory included DOUBLE MIXTE, IN MIRRORS and KRAKÓW LOVES ADANA. But the best work to appear from the stable came from Jorja Chalmers who became ‘Human Again’.

There were a variety of inventive eclectic works from FAKE TEAK, MAPS, FINLAY SHAKESPEARE, ULTRAMARINE, TYCHO, THE GOLDEN FILTER, FRAGRANCE. and FADER. Meanwhile VON KONOW, SOMEONE WHO ISN’T ME and JAKUZI all explored themes of equality while BOYTRONIC preferred ‘The Robot Treatment’. But expressing themselves on the smoother side of proceedings, SHOOK who looked east towards the legend of YELLOW MAGIC ORCHESTRA.

Dark minimalism reigned in the work of FRAGILE SELF and WE ARE REPLICA while no less dark but not so aggressive, WITCH OF THE VALE cemented their position with a well-received opening slot at Infest. Dubliner CIRCUIT3 got political and discussed ‘The Price Of Nothing & The Value Of Everything’.

2019 was a year of electronic instrumental offerings galore from NEULAND, Ricardo Autobahn, EKKOES, M83, RELIEF, FEMMEPOP and OBLONG, although Eric Random’s dystopian offering ‘Wire Me Up’ added vocoder while Brian Eno celebrated the 50th anniversary of the first moon landing ‘For All Mankind’.

The King of Glum Rock LLloyd Cole surprised all with an electronic pop album called ‘Guesswork’ just as PET SHOP BOYS set an ‘Agenda’. HOWARD JONES released his most synthy work for years in ‘Transform’ and while CHINA CRISIS acted as his well-received support on the UK leg of his 35th Anniversary tour, their front man Gary Daly ventured solo with ‘Gone From Here’.

Among the year’s best new talents were IMI, Karin My, Greta,  Geiste and Alice Hubble with their beautifully crafted avant pop.

And with the media traction of artists such as GEORGIA, REIN, JENNIFER TOUCH, SUI ZHEN, THE HEARING, IONNALEE, PLASMIC, ZAMILSKA, IOANNA GIKA, SPELLLING, KANGA, FIFI RONG and I AM SNOW ANGEL, the profile of women in electronic music was stronger than ever in 2019.

Sweden continued to produce quality electronic pop with enjoyable releases from the likes of MACHINISTA, PAGE, COVENANT, OBSESSION OF TIME and LIZETTE LIZETTE. One of the most interesting acts to emerge from the region was US featuring the now Stockholm-domiciled Andrew Montgomery from GENEVA and Leo Josefsson of LOWE, with the catalyst of this unlikely union coming from a shared love of the late country legend Glen Campbell. Meanwhile, veteran trio DAYBEHAVIOR made the best album of their career ‘Based On A True Story’.

However, Canada again gave the Swedes a good run for their money as ELECTRIC YOUTH and FM ATTACK released new material while with more of a post-punk slant, ACTORS impressed audiences who preferred a post-post-punk edge alongside their synths.Dana Jean Phoenix though showed herself to be one of the best solo synth performers on the live circuit, but artistically the best of the lot was MECHA MAIKO who had two major releases ‘Okiya’ and ‘Let’s!’.

Despite making some good music in 2019 with their ‘Destroyer’ two-parter, the “too cool for school” demeanour of TR/ST might have impressed hipsters, but left a lot to be desired. A diva-ish attitude of entitlement was also noticed by ELECTRICITYCLUB.CO.UK to be disappointingly prevalent in several fledgling acts.

Synthwave increased its profile further with the film ‘The Rise Of The Synths’ narrated by none other than John Carpenter. MICHAEL OAKLEY released his debut album ‘Introspect’, BETAMAXX was ‘Lost In A Dreamworld’, COM TRUISE came up with a ‘Persuasion System’ and NEW ARCADES were ‘Returning Home’.

Scene veteran FUTURECOP! collaborated with PARALLELS, COMPUTER MAGIC and NINA prior to a hiatus for the foreseeable future, while there were promising new talents emerging in the shape of POLYCHROME, PRIZM, BUNNY X and RIDER. However, several of the sub-genre’s artists needed to rethink their live presentations which notably underwhelmed with their static motions and lack of engagement.

While promoters such as Outland developed on their solid foundations, others attempted to get too big too soon like the musical equivalent of a penis extension, leaving fans disappointed and artists unpaid. Attempting to turnover more than 10 acts during in a day with a quarter of an hour changeover has always been an odious task at best, but to try 15?!? One hopes the headliners were well paid despite having to go on at midnight when most of their supporters went home so as not to miss the last train…

Now at times, it was as if a major collective midlife crisis had hit independent electronic music in the UK during 2019. It was not unlike how “born again bikers” have become a major road safety risk, thanks to 40somethings who only managed Cycling Proficiency in Junior School suddenly jumping onto 500cc Honda CMX500 Rebel motorcycles, thinking they were Valentino Rossi.

Something similar was occurring in music as a variety of posturing delusional synth owners indulged in a remix frenzy and visions of grandeur, forgetting that ability and talent were paramount. This attitude led to a number of poorly attended events where attendees were able to be counted on one hand, thanks to clueless fans of said combos unwisely panning their video footage around the venue.

Playing at 3:15pm in an empty venue is NOT performing at a ‘major’ electronic festival… “I’ll be more selective with the gigs I agree to in the UK” one of these acts haplessly bemoaned, “I’ve played to too many empty rooms!” – well, could that have been because they are not very good?

Bands who had blown their chance by not showing willingness to open for name acts during holiday periods, while making unwise comments on their national TV debut about their lack of interest in registering for PRS, said they were going to split a year in advance, but not before releasing an EP and playing a farewell show in an attempt to finally get validation for their art. Was this a shining example of Schrodinger’s Band?

Of course, the worst culprits were those who had an internet radio show or put on gigs themselves so that they could actually perform, because otherwise external promotors were only interested in them opening at 6.15pm after a ticket deal buy on for a five band bill. Humility wouldn’t have gone amiss in all these cases.

It’s a funny old world, but as ELECTRICITYCLUB.CO.UK comes up to concluding its tenth year as an influential platform that has written extensively about not one or two or three or four BUT five acts prior to them being selected to open on tour for OMD, luckily the gulf between good and bad music is more distinct than ever. It will be interesting to see if the high standard of electronic pop will be maintained or whether the influx of poor quality artists will contaminate the bloodline.

So ELECTRICITYCLUB.CO.UK ends the decade with a complimentary comment by a punter after attending two of its live events: “You don’t put on sh*t do you…”

May the supreme talent rise and shine… you know who you are 😉

ELECTRICITYCLUB.CO.UK Contributor Listings of 2019

PAUL BODDY

Best Album: UNDERWORLD Drift Series 1
Best Song: MOLINA Venus
Best Gig: RAMMSTEIN at Milton Keynes MK Bowl
Best Video: SCALPING Chamber
Most Promising New Act: SCALPING

IAN FERGUSON

Best Album: NO-MAN Love You To Bits
Best Song: NO-MAN Love You To Shreds
Best Gig: RAMMSTEIN at Stadion Slaski Chorzow
Best Video: RAMMSTEIN Deutschland
Most Promising New Act: IMI

SIMON HELM

Best Album: PAGE Fakta För Alla
Best Song: PAGE Fakta För Alla
Best Gig: LAU NAU at London Cafe OTO
Best Video: LAU NAU Amphipoda on Buchla 200 at EMS Stockholm
Most Promising New Act: THE HIDDEN MAN

CHI MING LAI

Best Album: KNIGHT$ Dollar & Cents
Best Song: OMD Don’t Go
Best Gig: KITE at Stockholm Slaktkyrkan
Best Video: NIGHT CLUB Your Addiction
Most Promising New Act: IMI

RICHARD PRICE

Best Album: KNIGHT$ Dollar & Cents
Best Song: OMD Don’t Go
Best Gig: MIDGE URE at The London Palladium
Best Video: IMI Margins
Most Promising New Act: PLASMIC

MONIKA IZABELA TRIGWELL

Best Album: MECHA MAIKO Let’s
Best Song: KANGA Burn
Best Gig: DANA JEAN PHOENIX, KALAX + LEBROCK at London Zigfrid von Underbelly
Best Video: IONNALEE Open Sea
Most Promising New Act: PRIZM

Text by Chi Ming Lai with thanks to Ian Ferguson
16th December 2019, updated 29th Janaury 2021

GRETA Ardent Spring – Part I

10 October 2019 /

 


This is the story of the classically trained German chanteuse who moved to Scandinavia and found success in a Danish girl group.

And when she made the move into creating something solo, she became inspired and sought the help of a Norwegian who lived in Berlin. Copenhagen resident Greta Louise Schenk found wider fame in her adopted home as a member of IDA RED.

But with her FARAO produced debut EP ‘Ardent Spring – Part I’, she has entered the dreamy synthpop universe also occupied by her Norsk collaborator where her angelic vocal tones can shimmer and shine.

Inspired by seasonal changes, Schenk said: “Spring to me is often where I take my time to think and where my head is filled with chaos and new ideas bloom. Especially the spring in Berlin and Copenhagen has inspired me – the very contrast between nature (which is constantly changing) and hard concrete (which pretty much remains as it is).”

Opening with the gorgeously wispy air of ’Spin’, the magnetic allure of Chinese singer FIFI RONG also looms. Meanwhile the filmic ‘Ardent Spring’ title song captures the delightful oddness and crystalline soundscapes of IONNALEE, although with a looser rhythmic backbone and in a more understated manner.

‘Bad Lovers’ plays with aspects of synthwave with electronic percussion and guitar making their presence felt, but the eerie choir sounds and layered voices keep proceedings distinctly Nordic, something not totally unsurprising with FARAO at the helm.

However ‘White’ pierces in a more sinister manner and counterpoints the dreamier trio of tunes that comprise the first half. With its chromatic overtones, hypnotic arpeggio and lightly swung rhythmic backbone, played by a loud rock band, this could be MUSE.

Driven by a subtle Motorik beat, the uptempo swirl of ‘Baby’ is fabulously cosmic pop that recalls ANI GLASS, another independently minded synth songstress with a girl group past. Closing with ‘Wilderness’, it beautifully captures the emotions of regret and turmoil while maintaining hopes and dreams, with Schenk expressing darkness and light in equal measures.

Kitsch, cool, weird and ethereal, this is an impressive debut body of work by GRETA; if this is what ‘Ardent Spring – Part I’ has to offer, then there is much to look forward to with ‘Ardent Spring – Part II’.

‘Ardent Spring – Part I’ is released as a download EP by Celebration Records, available direct from https://gretagretamusic.bandcamp.com/

GRETA 2019 live dates include:

Copenhagen Musikcaféen (18th October)*, Aarhus Radar (19th October)*, Frederiksberg Country Club (9th November), Odense Cirkus Dynamo (23rd November), Copenhagen Trinitatis Church (10th December)

*with PENNY POLICE

https://www.facebook.com/greta.geschenk/

https://www.instagram.com/greta.geschenk/

http://celebrationrecords.dk/work/greta/

https://open.spotify.com/artist/6qcpBIlSWMhas6waVUKCbK

Text by Chi Ming Lai
10th October 2019

IONNALEE Remember The Future

4 June 2019 /


Jonna Lee aka IONNALEE aka IAMAMIWHOAMI has made a curious comeback with a follow up to her first solo outing of ‘Everyone Afraid To Be Forgotten’.

Unlike her works with IAMAMIWHOAMI, which were mysteriously messy and unsettling, the music of IONNALEE simplified matters, adding a romantic feel to her otherwise unusual disposition and ‘Remember The Future’ maintains that minimal approach.

“What will the future bring?” has been the most commonly asked question amongst electronic artists of today.

But Jonna Lee’s take on things is most likely to be compared to her Swedish compatriots of THE KNIFE or KITE, only far more musical. The album cover sees Lee and her own metal creation of a “retro space-age symbol” lurking amongst not the most comfortable of landscapes, illustrating the inhospitable feel of the opus.

Whether or not the ‘Open Sea’ has the power to suck one in with its powerful waves, Lee is prepared to fight using the medium of melodic pop, building up into an explosion of newly found positivity in the otherwise gloomy outlook. Perhaps becoming somewhat delirious, raising up to higher heights is induced by the “meds (that are) wearing off” on ‘Wipe It Off’, where the scratch is only bleeding and bleeding.

The break comes on ‘Some Body’, which stands out as an irregular synthwave track, a true example of Novelty Synthpop. The “good times” are wholesome and things are looking up, forgetting the threats and dropping the otherwise dystopian themes.

The lofty mood is brought down on ‘Matters’, a noteworthy collaboration with Zola Jesus. This lengthy track calls for unity against the impending disaster, floatingly leading into the heart of what’s important, gathering allies and warning against narrowmindedness. Lee’s voice plays around Zola Jesus’ powerful vocal bringing deeper meaning to the lyric “raise our voices”.

The eponymous track represents the easier listening qualities of IONNALEE’s propositions bridging the romantic past with uncertain future, while ‘Race Against’ stacks the Tetris gravitating between the gentile and harsh, outwardly and terrifying.

Jennie Abrahamson joins Lee on ‘Crystal’, a punctuated romance in a bottle, where the slower pace strokes senses with delicate rhythms like vintage Janet Jackson ballads. ‘Silence My Drum’ with its Celtic qualities graduates into a blistering extravaganza of pure pop, while ‘I Keep’ distorts with sci-fi elements and futuristic plug-ins.

The biggest surprise comes in the form of the cover of ‘Mysteries Of Love’, the iconic Angelo Badalamenti ‘Blue Velvet’ song with lyrics penned by David Lynch, originally performed by Julee Cruise and later brought back to life by Kid Moxie. Supported by RÖYKSOPP, Lee shows off a different side of her femininity, stealing the moment with angelic voices and big synth leads.

Jonna Lee has made herself a little masterpiece: “It’s a hopeful visionary album of daring to dream, and shooting for the stars, despite the paradoxical underlying chafing knowledge that we are destroying our planet. To me, the album has a kinetic energy. I felt much more confident and free when producing it, both as an artist, person and a producer.”

‘Remember The Future’ is released by To Whom It May Concern in CD, vinyl LP and digital formats

https://ionnalee.com

https://www.facebook.com/iamionnalee/

https://twitter.com/ionnalee

https://www.instagram.com/ionnalee/

Text by Monika Izabela Trigwell
Photos by John Strandh
4th June 2019

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