Tag: Lustans Lakejer (Page 2 of 2)

25 ALBUM VERSIONS THAT ARE BETTER THAN THE SINGLE VERSIONS

2 January 2019 /

As long as there has been a music business, artists and producers have been tinkering with their work.

While often, it’s the single version made for mass consumption through radio play that remains superior and best loved, there are occasions when the album take reigns supreme due to the freedom to work on a larger easel without commericial considerations or radio play constrictions.

Often there’s a track that is the obvious standout on the long player, but sometimes it can be of a structure that is considered too long for peak time radio where instant gratification is the key. On other occasions, the vision of the track for album consumption is reconsidered following an earlier short form release produced on a more limited budget.

So as a companion list to the earlier 25 Single Versions That Are Better Than The Album Versions listings feature and restricted to one track per artist, here are 25 Album Versions That Are Better Than The Single Versions presented in chronological and then alphabetical order…

GIORGIO From Here To Eternity (1977)

Despite being a hit single, ‘From Here To Eternity’ was actually something of a disjointed disco medley, throwing in a section of the album track ‘Utopia – Me Giorgio’ halfway through. The full six minute ‘From Here To Eternity’ from the long player of the same name was a futuristic slice of electronic dance perfection, with Giorgio Moroder steadily building on his throbbing synth backbone and layers of vocoder punctuated by the steady beats of drummer Keith Forsey.

Available on the GIORGIO album ‘From Here To Eternity’ via Repertoire Records

https://www.giorgiomoroder.com/

THE HUMAN LEAGUE Being Boiled (1980)

The original Fast Product single version of ‘Being Boiled’ from 1978 had its own charm, recorded as mono demo which was subsequently released. However, having signed to Virgin Records and with a budget behind them, Messrs Marsh, Oakey and Ware took the opportunity to update their calling card with producer John Leckie for the ‘Travelogue’ album to more fully realise its funky overtones inspired by FUNKADELIC. The end result was fuller and more dynamic.

Available on THE HUMAN LEAGUE album ‘Travelogue’ via Virgin Records

http://www.thehumanleague.co.uk/

JAPAN Nightporter (1980)

‘Ghosts’ had been an unexpected singles success for JAPAN in 1982 and Virgin Records wanted more of the same with ‘Nightporter’, despite it being already two years old and with the previously unreleased song ‘Some Kind Of Fool’ in the vaults. Trimming the solemn seven minute ivory laden Satie homage was always going to be difficult and the horrific radio edit butchered out the lengthy if vital instrumental climax of melancholic Oberheim OBX strings. Less really does mean less…

Available on the JAPAN album ‘Gentlemen Take Polaroids’ via Virgin Records

http://www.nightporter.co.uk/

SIMPLE MINDS I Travel (1980)

The album version of ‘I Travel’ was only four minutes in the first place, yet original label Arista Records felt the need to chop the track on both single edits it released and neuter its impact. SIMPLE MINDS never fully realised their potential until they signed to Virgin Records and ‘I Travel’ heralded a futuristic art rock phase where the band’s Germanic influences, coupled to synthesized disco aesthetics of Giorgio Moroder, found favour at clubs like The Blitz.

Available on the SIMPLE MINDS album ‘Empires & Dance’ via Virgin Records

https://www.simpleminds.com/

KRAFTWERK Computer Love (1981)

Whether ‘Autobahn’, ‘Radio-Activity’, ‘Showroom Dummies’, ‘Trans-Europe Express’, ‘Neon Lights’ or ‘The Robots’, the sheer average length of a KRAFTWERK track made them difficult to apply to the single format and ‘Computer Love’ was no different. A beautifully melodic piece that predicted internet dating and stretched to just under seven minutes with its glorious second half synth solo in its album version, it was like the reel of the film was missing in its edited form.

Available on the KRAFTWERK album ‘Computer World’ via EMI Records

http://www.kraftwerk.com/

BLANCMANGE Waves (1982)

A UK Top 20 single for BLANCMANGE in 1983, ‘Waves’ was remixed and given an orchestral treatment arranged by Linton Naiff, but it strangely detracted from the bare emotion of the song. Sounding like Scott Walker fronting OMD, with a more basic synthesized construction and a sombre detuned brass line allowed to breathe at the song’s conclusion, the album version sans orchestra was much better. However, the original cut has yet to be reinstated on reissues of the parent long player ‘Happy Families’.

Available on the BLANCMANGE album ‘The Very Best Of’ via Music Club Deluxe

http://www.blancmange.co.uk/

DAF Kebab Träume (1982)

Originally recorded for a 1980 single on Mute Records in more of a band format featuring guitar and hand-played synths, ‘Kebab Träume’ was subsequently reworked by DAF in a more superior fashion under the production supervision of the legendary Conny Plank for their third and final Virgin-era long player ‘Für Immer’. Transforming into something much heavier, the memorable if controversial line “Deutschland, Deutschland, alles ist vorbei!” had more bite on this album version also issued as a single.

Available on the DAF album ‘Für Immer’ via Grönland Records

https://www.groenland.com/en/artist/deutsch-amerikanische-freundschaft/

LUSTANS LAKEJER Läppar Tiger, Ögon Talar (1982)

Sweden’s LUSTANS LAKEJER came to international attention when their third long player ‘En Plats I Solen’ was produced by Richard Barbieri of JAPAN. With its synthesized atmospheres and art funk aspirations not that far off DURAN DURAN, ‘Läppar Tiger, Ögon Talar’ was one of the album’s highlights. But for the later single version produced by Kai Erixon, the band opted for a more laid back swing arrangement punctuated by a brass section, which frankly was not as good as the original.

Available on the LUSTANS LAKEJER album ‘En Plats I Solen’ via Universal Music

https://www.facebook.com/LustansLakejer/

GARY NUMAN We Take Mystery (1982)

The single version of ‘We Take Mystery’ which was Gary Numan’s last UK Top 10 hit was too short and the extended 12 inch version was too long, which left the album version from ‘I, Assassin’ as the best take of the song. With its crashing Linn Drum snap and fretless bass with live percussion syncopating on top, this was a dancefloor friendly excursion which concluded with a marvellous additional rhythm guitar breakdown from fretless bassist Pino Palladino.

Available on the GARY NUMAN album ‘I, Assassin’ via Beggars Banquet

https://garynuman.com/

VISAGE The Anvil (1982)

Remixed by John Luongo for single release, ‘The Anvil’ ended up as a B-side but while the sound of metal-on-metal was added, it somehow had less presence than the original album version. Possessing far Teutonic tension with some superb guitar work from Midge Ure, metronomic drumming courtesy of Rusty Egan minus his hi-hats, Dave Formula’s superb screaming ARP Odyssey complimented Steve Strange’s tale of debauchery for one of the best ever VISAGE tracks.

Available on the VISAGE album ‘The Anvil’ via Cherry Pop

https://www.discogs.com/artist/3479-Visage

JOHN FOXX Endlessy (1983)

By 1982, John Foxx has rediscovered his love of early PINK FLOYD, THE BEATLES and psychedelia which manifested itself in ‘Endlessy’. Based around a tom heavy Linn Drum programme, deep cello samples and sitars, it was an interesting if messy experimental romp. Come his third album ‘The Golden Section’ recorded under the helm of producer Zeus B Held, the new version, also released as a revisionist single, was much more focussed with an accessible uptempo electronic euphoria.

Available on the JOHN FOXX album ‘The Golden Section’ via Edsel Records

http://www.metamatic.com/

HEAVEN 17 And That’s No Lie (1984)

A sub-ten minute progressive epic was never going to work as an edited single and with ‘And That’s No Lie’, that’s exactly what happened. The original album version was HEAVEN 17’s ambitious adventure in sound and fusion that threw in everything from abstract sonic experiments, jazz piano, Fairlight samples, the gospel voices of ARFRODIZIAK and an orchestra, plus some excellent live bass and guitar work from John Wilson and Ray Russell respectively.

Available on the HEAVEN 17 album ‘How Men Are’ via Virgin Records

https://www.heaven17.com/

ARCADIA The Flame (1985)

ARCADIA was Simon Le Bon, Nick Rhodes and Roger Taylor’s attempt to be JAPAN during the DURAN DURAN artistic hiatus, but many of the songs from the short-lived side project were smothered in a pond of self-indulgence. One of the highlights though was ‘The Flame’, basically ‘A View To A Kill Part 2’. However for its single release, a neo-acapella intro was applied rather than the frantic percussive beginning of the album version which robbed the song of its tension and impact.

Available on the ARCADIA album ‘So Red The Rose’ via EMI Records

http://www.duranduran.com/

DEAD OR ALIVE My Heart Goes Bang (1985)

Having got DIVINE into the UK charts, Stock Aitken & Waterman gave the same treatment to DEAD OR ALIVE, scoring a No1 with ‘You Spin Me Round’. The resultant album ‘Youthquake’ had a number of excellent tracks including ‘My Heart Goes Bang’ which was ripe single material. But the single remix by regular PWL associate Phil Harding was horrible, throwing in the kitchen sink with voice cut-ups and an overdriven rhythm section which drowned out any merits the song originally had.

Available on the DEAD OR ALIVE album ‘Youthquake’ via Sony Music

https://www.discogs.com/artist/46720-Dead-Or-Alive

NEW ORDER Bizarre Love Triangle (1986)

Inspired by a News Of The World headline, ‘Bizarre Love Triangle’ is one of the best loved NEW ORDER tunes. The rugged self-produced original version that appeared on the ‘Brotherhood’ album was a glorious electronic number with a slight mechanical offbeat and space for Hooky’s distinctive bass. But the version released for 45 RPM consumption was a frustrating, four-to-the-floor remix by Shep Pettibone which took all the character out of the song with a barrage of overdriven percussive samples.

Available on the NEW ORDER album ‘Brotherhood’ via Warner Music

http://www.neworder.com/

TALK TALK Living In Another World (1986)

Although ‘Living In Another World’ was the best song on ‘The Colour Of Spring’, it was always going to be a tall order to successfully cut its seven minutes in half for single consumption! A fine progressive combination of synthetic strings, piano, Hammond organ, hypnotic bass, acoustic and electric guitars, percolating percussion and harmonica, the TALK TALK sound would have been nothing however without the anguished vocals of Mark Hollis and the production skills of Tim Friese-Greene.

Available on the TALK TALK album ‘The Colour Of Spring’ via EMI Records

https://www.facebook.com/Talk-Talk-Mark-Hollis-12307963901/

CAMOUFLAGE The Great Commandment (1988)

German trio CAMOUFLAGE had a hit with ‘The Great Commandment’ all over the world including the US, with only Britain remaining ambivalent to their industrial flavoured synthpop. As with many singles of the period, it clocked in at just over three minutes but sounded rushed. Come the debut album ’Voices & Images’ and ‘The Great Commandment’ was more fully realised, allowing space to prevail in the one of the best DEPECHE MODE tracks that the Basildon boys never recorded.

Available on the CAMOUFLAGE album ‘Voices & Images’ via Metronome Music

http://www.camouflage-music.com/

THE BLUE NILE Headlights On The Parade (1989)

Enigmatic Glaswegian trio THE BLUE NILE were never an easy sell to the wider marketplace and the Bob Clearmountain single remix of ‘Headlights On The Parade’ was hopeless, with over a third of the emotively atmospheric number absent for the sake of radio play. The centrepiece of the brilliant ‘Hats’ album, its haunting piano, swaths of synths and a collage of modulated sequences needed a full six minutes to truly convey its solemn drive and rainy cinematic melodrama.

Available on THE BLUE NILE album ‘Hats’ via Epstein Records

http://www.thebluenile.org/

THE GRID Floatation (1990)

Subsonically remixed by Andrew Weatherall with a distinct chilled-out flavour and an additional vocal from Sacha Souter for single release, the brilliant album version of ‘Floatation’ had a more rigid KRAFTWERK feel echoing elements of ‘Tour De France’. And as the track drew towards the home straight, Julian Stringle’s clarinet brought to mind the aesthetics of Dave Ball’s previous residency in SOFT CELL. But while those woodwind textures were present in the single, they were less effective overall.

Available on THE GRID album ‘Electric Head’ via Cherry Red Records

https://www.discogs.com/artist/5081-The-Grid

PET SHOP BOYS Being Boring (1990)

Partly inspired by a quote about Zelda Fitzgerald, novelist and wife of author F Scott Fitzgerald which stated “she refused to be bored chiefly because she wasn’t boring”, ‘Being Boring’ is one of PET SHOP BOYS’ best songs, reflecting on Neil Tennant’s youth and the loss of a friend who died of AIDS. While the single itself was almost five minutes long, the superior album version featured a fabulous intro that steadily built with a lilting synth bassline and wah-wah guitar that made the most of the song’s elegiac aura.

Available on the PET SHOP BOYS album ‘Behaviour’ via EMI Records

http://petshopboys.co.uk/

DEPECHE MODE In Your Room (1993)

A tedious rockist statement by DEPECHE MODE when reworked by Butch Vig for single release, the lengthy original album version of ‘In Your Room’ was widescreen magnificence with a tense percussive drive courtesy of Alan Wilder who only played what was needed, adding a second simplistic drum passage in the final half for extra weight. A fine example of how feel is more important technique, current DM drumhead Christian Eigner managed to mess up his opportunity to shine on this during the ‘Global Spirit’ tour.

Available on the DEPECHE MODE album ‘Songs Of Faith & Devotion’ via Sony Music

http://www.depechemode.com/

LADYTRON Evil (2003)

The second LADYTRON album ‘Light & Magic’ is probably best known for its lead single ‘Seventeen’, but opening its second half was the brilliantly propulsive ‘Evil’. An obvious single, when remixed by noted dance producer Ewan Pearson, it was filled out with extra string synths and made more contemporary. The track lost its appealing spatial dynamics and grunt while the way in which the vocals of Helen Marnie were mixed more than muted her charm.

Available on the LADYTRON album ‘Light & Magic’ via Nettwerk productions

http://www.ladytron.com/

ARTHUR & MARTHA Autovia (2009)

ARTHUR & MARTHA were Adam Cresswell and Alice Hubley; their debut single ‘Autovia’ was the first release on Happy Robots Records in 2008 but when it came to recording the album ‘Navigation’, the incessant Doctor Rhythm drum machine was given a more hypnotic Motorik makeover which ironically gave the track more drive. Meanwhile, there was an extended end section which allowed for some cosmic Theremin and synth wig-outs between the pair not unlike STEREOLAB meeting NEU!

Available on the ARTHUR & MARTHA album ‘Navigation’ via Happy Robots Records

https://www.facebook.com/arthurandmarthaband/

MESH Adjust Your Set (2013)

From MESH’s best album ‘Automation Baby’, the wonderfully metronomic ‘Adjust Your Set’ with its personal relationship commentary in a technology dominated world was one of its many highlights. Given a more orchestrated remix by Nico Wieditz for the MaBose Radio-Edit with a much busier electronic bassline along the lines of ‘Enjoy The Silence’, while this single version had more obvious presence, it lacked the eerie cinematic Morricone-esque air of the album original.

Available on the MESH album ‘Automation Baby’ via Dependent Records

http://www.mesh.co.uk/

GOLDFRAPP Ocean (2017)

‘Ocean’ was already dramatic perfection as the best track on the seventh GOLDFRAPP album ‘Silver Eye’, but for the single version, it was felt a contribution from a former member of the Mute family was needed. While Devotees were wetting themselves over Dave Gahan appearing on a more obviously electronic sounding track again, his faux bluesy drawl was something of a mismatch next to the breathy angelic tones of Alison Goldfrapp. Gahan may be from Essex but he is certainly no Alison Moyet.

Available on the GOLDFRAPP album ‘Silver Eye’ via Mute Artists

https://www.goldfrapp.com/

Text by Chi Ming Lai
2nd January 2019

LUSTANS LAKEJER Interview

25 March 2017 /

LUSTANS LAKEJER are the unga moderna trailblazers who were once described as Sweden’s answer to DURAN DURAN.

This was not entirely surprising with tall and handsome bassist Peter Bergstrandh’s rather striking resemblance to John Taylor and a song entitled ‘Rendez-Vous I Rio’, even though it was released first in 1981 on their second album ‘Uppdrag I Genève’!

Led by Johan Kinde, the band took a more electronic direction when keyboardist Tom Wolgers joined in 1981. Despite Wolgers leaving not long afterwards, LUSTANS LAKEJER continued their new found interest in synthesizers.

The 1982 sequencer driven reworking of their early single ‘Diamanter’ is hailed by many as a Swedish synthpop classic and the band came to international attention when their third long player ‘En Plats I Solen’ was produced by Richard Barbieri of JAPAN. The album was subsequently released in English as ‘A Place In the Sun’ in 1983, with the band changing their name to VANITY FAIR.

After two further albums ‘Lustavision’ and ‘Sinnenas Rike’, LUSTANS LAKEJER disbanded with Kinde embarking on a solo career. But the band returned with Tom Wolgers rejoining in 1999 for the album ‘Åkerberga’. They then entered Melodienfestival in 2007, competing to represent Sweden in the European Song Contest.

With LUSTANS LAKEJER to tour ‘En Plats I Solen’ later this year, mainman Johan Kinde kindly chatted to ELECTRICITYCLUB.CO.UK about the band’s career…

You are performing ‘En Plats I Solen’ on tour this Autumn?

Yes, that’s the plan. No dates or venues are fixed yet, but the idea is to start the tour mid-October / early November, more or less exactly 35 years since the release of the album.

Why do you see this as the LUSTANS LAKEJAR album, the one that fans and critics have the most affection for?

Well, the critics’ choice is actually usually our first album. ‘En Plats I Solen’ is our third and the fans are pretty much split between one of the three first albums. Some, quite rightly, are also very fond of our two comeback albums ‘Åkersberga’ (1999) and ‘Elixir’ (2011).

I believe, however, that those who prefer ‘En Plats I Solen’ very much do so because of the atmosphere and the sound; it was a rather big step forward compared to the two previous albums. Of course, it also has some stellar songs.

How did Richard Barbieri come to be involved in ‘En Plats I Solen’? What was the thinking behind him being the producer?

It was actually Klas Lunding, the head of our record company Stranded Rekords, who got in touch with Richard first. I actually still don’t know how that came about. Richard was played ‘Diamanter’, the 1982 version that we had just finished; he became interested and came to Stockholm in the spring of 1982 to meet us. We all got along swimmingly and the project was given the go-ahead. The thinking behind it was of course to give the upcoming album a better sound, one that could perhaps even work on the international stage.

Although LUSTANS LAKEJER used synths on their first two albums, was the more dynamic electronic reworking of ‘Diamanter’ the seed to the new approach on ‘En Plats I Solen’?

That’s an interesting question, and in some sense that is correct. But that single was arranged, recorded and mixed before we had any contact with Richard and therefore is rather one of a kind in our repertoire. I do wish we would have revisited that hard synth-disco-oriented sound a few more times, if not on ‘En Plats I Solen’, then shortly afterwards.

As can be heard on ‘En Främlings Ögon’ (‘Eyes Of A Stranger’) and ‘Drömmar Dör Först’ (‘Something’s Got To Give’) , JAPAN were a key influence on this album, but what other artists were you listening to at the time?

Well, I don’t think ‘Drömmar Dör Först’ (‘Something’s Got To Give’) sounds very much like JAPAN at all, that one is more an example of another influence at the time, TALKING HEADS and especially their forays into funk and black music. We were very much into the rhythmic aspect of the music.

Then there’s all sorts of influences, from chanson (or at least CHARLES AZNAVOUR) to the more obvious like early ROXY MUSIC and Berlin-era DAVID BOWIE.

With the synthesizer textures prevalent on the album, how were these being procured? Was Richard Barbieri more involved in the programming, while Janis Bokalders did the actual playing?

Yes, that is basically the way it happened. However, Janis had just bought a Roland Jupiter 8 and he was also very good at programming, and since Richard hadn’t used that particular machine before, he worked mainly on the Prophet 5. But there were of course also a lot of cross-creativity, when Richard helped program the Jupiter 8 and Janis the Prophet 5; it was all very collaborative and non-prestigious.

I believe Richard even played some parts, but I can’t remember which or indeed if he actually did anymore. The vast majority of the keyboards were definitely played by Janis, but Richard had a huge part in the soundscaping. We also rented an Emulator, which they both experimented with. Lastly, Janis actually owned a EMS VCS3 which he used on some tracks without the keyboard, something he also does on the solo on ‘Diamanter.’

‘Den Glöd Som Aldrig Dör’ (‘Whispers In the Dark’) contained one of the first uses of an Emulator on a pop record; was utilising the state of the art technology an important aspect in the band’s direction?

The Emulator features prominently on both ‘Den Glöd Som Aldrig Dör’ (‘Whispers In The Dark’) and – perhaps even more – on ‘Något Måste Brista’ (‘In Spite Of It All’). And yes, we did like to experiment with new technology, but not for the sake of it, we always wanted to get something creatively interesting out of the new instruments. In the case of the Emulator, I think we only partly managed to do that.

What was it like to have the late Mick Karn contributing sax to three of the tracks on ‘En Plats I Solen’?

Absolutely fantastic. Mick flew in from LA so he had a great tan, a crisp suit and just looked like a pop star – or perhaps rather a movie star – in every possible way. He was so kind and helpful and came up with some great ideas and performances for the saxophone parts. He was also very entertaining and told some lovely stories from his youth. Even though he was only in Stockholm for about a weekend, I remember those few days with much joy. I was very sad to hear of his illness and subsequent passing.

Which tracks on ‘En Plats I Solen’ were the favourite ones for you and why?

I would count these as my favourites: ‘En Kyss För Varje Tår’ (‘A Kiss For Every Tear’), ‘En Främlings Ögon’ (‘Eyes Of A Stranger’), ‘Läppar Tiger, Ögon Talar’ (‘Lips Are Silent’) and ‘Drömmar Dör Först’ (‘Something’s Got To Give’), together with ‘Vackra Djur’ (‘Just As Wild’).

Some of them because I like the songwriting aspect of them, I think they are melodically and harmonically good compositions, others because of the arrangements and how the band actually sound when playing them. I also think Janis’ instrumental title track, ‘En Plats I Solen’ (‘A place In The Sun’) is a wonderful piece of music.

The album was later released in English as ‘A Place In The Sun’ and the band changed their name to VANITY FAIR, had this always been part of the game plan?

The English version was actually recorded first, in the summer of 1982 when Richard was in Stockholm. The lyrics for the Swedish version were recorded in separate sessions in the early fall of ‘82. So in a way we did have a game plan, in the sense that we wanted the album to be released internationally. The name VANITY FAIR, however, was something we came up with at the last moment before the actual release. We weren’t that happy with the name then and I’m not that happy with it now… 😉

The verbatim translation of LUSTANS LAKEJER is ‘The Lackeys of Lust’ or maybe ‘The Slaves of Lust’, but this didn’t sound right in English so we never really got it right. Unfortunately THE LOUNGE LIZARDS was already taken by another band… 😉

How did you find writing lyrics in English for ‘A Place In The Sun’? Did your approach to subjects change and did you eventually find yourself starting to dream in English?

No, the subject matter was similar to the first two albums. Perhaps this one is even more centred around love and particularly the loss of it, but that had more to do with private circumstances than a change in language. I usually start a new lyric with a title that inspires me and working in a new language, I found this approach even more stimulating. With a new language, there was a fresh feeling about a lot of the title and lyric ideas.

About the dreams – it’s quite some time ago, but I’ve written quite a few songs in English since then and I’m quite certain that I rarely or never dream in English. However, because I read so much English, even news, and watch so many Anglo-American TV series and movies, I do sometimes have a hard time to find the correct Swedish synonym for certain words. Several English alternatives are popping up in my head, but the right Swedish one seems to elude me. Very annoying…

Of course, the music industry was different back then. But do you think in hindsight it might have been better to keep the LUSTANS LAKEJER name for ‘A Place In The Sun’ to utilise the press momentum that had been gained from Richard Barbieri being the producer?

Well, we kept the name in Sweden and all the Scandinavian /Nordic countries. As I explained earlier, we all (including several record companies) believed that LUSTANS LAKEJER would be to strange a band name for the international market. It does not make any sense if you don’t understand the meaning of the words.

Two of the original Richard Barbieri produced tracks were dropped for the VANITY FAIR version of the album and the running order was altered, why was this?

We recorded a single version of ‘Lips Are Silent’ (‘Läppar Tiger, Ögon Talar’) which we at that time felt very happy with, and decided to put it on the English album. However, when we play the song live nowadays, we play the original version.

The reason to swap ‘Could You Be The One’ (Räddaren I Nöden’) for ‘The Texture of Her Skin’ (the B-side of ‘En Främlings Ögon’, no Swedish version of this song exists…) was that we felt that it would make the album a bit more energetic. This was also the reasoning behind the altered running order – instead of having the two tracks that became singles as song number 1 and 2 on Side 1, we let them open each side of the album. So it was really more a case of trying to find a better balance for the album, than anything else.

LUSTANS LAKEJER have had a fluid line-up with you as the constant over the years, what would you say are the advantages and disadvantages?

Well, the advantage is that I have had the opportunities to work with different musicians during the years, but that can also be a disadvantage. It’s easy to make good-sounding but less interesting albums when you can bring anybody in to play on them. Looking back, I wish I never disbanded the group after ‘A Place In The Sun’. We had something special together and could have gone on making extraordinary music, at least through the 80s.

What inspired your return as LUSTANS LAKEJER for 1999’s ‘Åkersberga’ album?

The two LUSTANS LAKEJER albums after ‘A Place In The Sun’ and my first two solo albums ‘Johan Kinde’ (1989) and ‘Valona’ (1990) had some great songs, really nice compositions, but lacked the originality of the first three albums. I wanted to get back to that mood, that style, without compromising the quality of the songs. And I think the producer Jan Lundkvist (who basically plays all the instruments) and I managed to do that very well, with of course some participation from Tom Wolgers, who played keyboards on the second LUSTANS LAKEJER album ‘Uppdrag I Genève’.

‘Cynisk’ is a moody triumph. How had your headspace changed musically by this time?

Thank you, it’s one of my own favourites from the album. Musically, I think it’s inspired by very disparate artists, as varied as BARRY WHITE – the chord structure has a lot of minor 9s in the verses –– and DEPECHE MODE with the bass synth arrangement in the chorus.

While DEPECHE MODE might be a rather obvious influence, Barry White is an example of how my musical tastes had expanded by that time and how I now could use these more complex tastes to influence me, but not overwhelm me. I mean, I’m not trying to sound like Barry White, I just liked that chords and made something quite different out of it.

With ‘Allt Vi En Gång Trodde På’, LUSTANS LAKEJER entered Melodifestivalen in 2007 which is Sweden’s national selection procedure for the Eurovision Song Contest. How did you find the experience?

Well, it was an interesting experience, even though perhaps not gratifying in the end. Looking back I feel we should’ve had a more synth-driven song, or at least done the song in a crisper, more synth-driven arrangement.

In Scandinavia, they take this event more seriously than in the United Kingdom and for example, an act like RAIN TREE CROW or THE DOLPHIN BROTHERS would never enter it. What are your thoughts on this?

I think it used to boils down to the fact that ABBA made their breakthrough in Eurovision in 1974. That was basically the first Swedish act ever to make it big (or at least that big) on the international stage.

In England, it was never that important, you were almost automatically an international star if you became popular domestically.

And even if it would have been a big thing in the UK, I don’t think those kind of artists like RAIN TREE CROW or THE DOLPHIN BROTHERS would fit the bill. Now, PET SHOP BOYS, THE HUMAN LEAGUE or DURAN DURAN – that’s another matter, they could’ve done it! 😉

The most recent LUSTANS LAKEJAR album was ‘Elixir’ in 2011, how do you find the music industry today with Spotify and social media? How has it worked for you as a veteran artist compared with the past?

No matter if you’re a veteran artist or a newcomer, it’s much much harder to get paid for recorded music today. That being said, I hope that one day soon Spotify and other streaming services will be able to pay a fair royalty to artists and composers because it’s far better than illegal downloading, and I think there’s no turning back to physical copies. I say this somewhat sadly, of course, because I love good album covers…

What’s next for you as LUSTANS LAKEJER after touring ‘En Plats I Solen’?

Well, we’re still touring with ‘Uppdrag I Genève’ and are still working on the venues and exact line-up of the band for the ‘En Plats I Solen’ tour in the Autumn / Winter of 2017, so that will possibly take us into 2018. I hope to get back to you with some exciting news about that soon!

I do have some new songs that I’ve been thinking about recording with the band, but this is just an idea at this point.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Johan Kinde

Special thanks also to John Linqwister

‘Uppdrag I Genève’, ‘En Plats I Solen’ and ‘A Place In The Sun’ are available as download albums via Universal Music

LUSTANS LAKEJER perform ‘Uppdrag I Genève’ live at Ystad Öja Krog on 14th April, Uppsala Katalin on 26th May and Gothenburg Liseberg on 13th July

Upcoming information on the ‘En Plats I Solen’ tour dates will be posted at https://www.facebook.com/LustansLakejer/

https://www.instagram.com/lustanslakejerofficial/

Text and Interview by Chi Ming Lai
Photos courtesy of Johan Kinde
25th March 2017

25 SVENSKA SYNTH SONGS

18 February 2017 /

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.

As KITE lead the way with their upcoming second tour of the US, Swedish synthpop continues to impress with acts like TRAIN TO SPAIN, 047, PRESENCE OF MIND, SILENT WAVE, THE SOUND OF ARROWS and COMPUTE among those with the potential to breakout of their domestic scenes.

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.

Available on the album ‘En Plats I Solen’ via Universal Music

https://www.facebook.com/LustansLakejer/

PAGE Dansande Man (1983)

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

https://www.facebook.com/PageElektroniskPop/

THE MOBILE HOMES Feeling Better (1989)

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

http://www.themobilehomes.se/

ARMY OF LOVERS Obsession (1991)

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.

Available on the album ‘Massive Luxury Overdose’ via China Records

https://www.facebook.com/armyofloversofficial/

S.P.O.C.K Never Trust A Klingon (1992)

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

http://www.subspace.se/spock/

ELEGANT MACHINERY Hard To Handle (1993)

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.

Available on the album ‘Shattered Grounds’ via Energy Rekords

http://elegantmachinery.se/

COVENANT Bullet (2002)

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’.

Available on the album ‘Northern Light’ via Metroplis Records

http://www.covenant.se/

THE KNIFE Pass This On (2003)

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

http://theknife.net/

ROBYN Who’s That Girl? (2005)

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

http://robyn.com/

EMMON Rock D’Amour (2007)

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.

Available on the album ‘The Art & The Evil’ via Wonderland Records

https://www.facebook.com/Emmon-240551649322636/

SISTA MANNEN PÅ JORDEN Allt Är Klart (2007)

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.

Available on the album ‘Tredje Våningen’ via Energy Rekords

http://www.moonbasealpha.space/

ASHBURY HEIGHTS Spiders (2008)

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.

Available on the EP ‘Morningstar In A Black Car’ via Out Of Line Records

https://www.facebook.com/ashbury.heights/

BWO Lay Your Love On Me (2008)

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

https://www.facebook.com/bodieswithoutorgans/

KLEERUP Longing For Lullabies (2008)

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!

Available on the album ‘Kleerup’ via EMI Records

https://www.facebook.com/kleerupmusic/

KARIN PARK Ashes (2009)

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

https://www.facebook.com/karinpark/

NIKI & THE DOVE DJ, Ease My Mind (2010)

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

http://www.nikiandthedove.com/

DAYBEHAVIOR Silent Dawn (2011)

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’.

Available on the album ‘Follow That Car!’ via Graplur

https://www.facebook.com/DayBehavior/

KITE Step Forward (2011)

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.

Available on the EP ‘IV’ via Progress Productions

https://www.facebook.com/KiteHQ/

CLUB 8 Stop Taking My Time (2013)

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.

Available on the album ‘Above The City’ via Labrador Records

http://www.club-8.org/

MACHINISTA Molecules & Carbon (2014)

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

http://www.machinistamusic.com/

IAMAMIWHOAMI Chasing Kites (2014)

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

http://towhomitmayconcern.cc/creators/iamamiwhoami

JOHAN BAECKSTROM Synth Is Not Dead (2015)

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

https://www.facebook.com/bstrommusic/

TWICE A MAN High In The Clouds (2015)

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

http://www.twiceaman.com/

VANBOT Trooper (2015)

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.

Available on the album ‘Perfect Storm’ via Lisch Recordings

http://www.vanbotmusic.com/

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…

Available on the single ‘I Don’t Get Anything but Shit from You’ via Playground

https://www.facebook.com/reinelectronic/

Text by Chi Ming Lai
18th February 2017, updated 3rd November 2018

Introducing JULIAN & MARINA

16 October 2012 /


JULIAN & MARINA is a new Swedish pop collaboration between Marina Schiptjenko and Julian Brandt.

Marina – a famous Swedish art gallerist and style icon – is perhaps best known internationally as a member of the electropop band BODIES WITHOUT ORGANS (BWO), who had great success in both Swedish and European charts with hits such as ‘Sunshine In The Rain’ and ‘Lay Your Love On Me’. BWO once played in front of some quarter of a million people during a single event in the Ukraine.

However, Marina was also an electronic music pioneer in one of the first Swedish synthpop bands ever; PAGE. They formed in 1980 and are still active. She was also later part of electronic band VACUUM.

Meanwhile, Julian has been involved in several indie pop bands like BOBBY and was a member of the classic Swedish new wave / new romantic band LUSTANS LAKEJER who had their third album ‘En Plats I Solen’, produced by JAPAN’s Richard Barbieri.

It all started when Julian asked Marina if she would like to work on a song called ‘Moon & The Stars’. The end result was enjoyably dreamy and reminiscent of ALPHAVILLE’s ‘Summer Rain’. Soon realising that they shared the same views on music and complemented each other well, they quickly decided to form a band together.

 

‘Absence’ is JULIAN & MARINA’s debut EP, consisting of five tracks, with ‘The Knight’ as lead single. Inspired by classic French pop, great 20th century singers like Frank Sinatra and a love for electronic music, they have created their own sound – “electro crooner”. This tag suits the distinct sound of JULIAN & MARINA very well. The music is quite laid back, soft and very elegant with Julian’s very special soothing voice on top of it all.

Of the five songs on this EP, the more upbeat synthpop of ‘Blocking The Line’ and ’The Knight’ are the highlights. The EP also features an atmospheric electro lounge cover of a virtually unknown ELVIS PRESLEY ballad called ‘A House That Has Everything’ which featured in his film ‘Clambake’.

‘Absence’ is released by Pop On The Moon as a download EP and available now via Amazon and iTunes

http://julianbrandt.com

https://www.facebook.com/JulianandMarina/

Text by Johan Wejedal
Additional Material by Chi Ming Lai
16th October 2012

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