Tag: Rein (Page 1 of 2)

REIN Reincarnated

Feisty and ambitious, REIN’s debut self-titled EP saw the launch of a new face for ‘Rebel Girls’ and modern EBM.

The appropriately titled second EP ‘Freedoom’ dealt with more socio-political concerns with the highly danceable ‘Misfit’ channelling aggression to a good beat while broadening her electro-punk sound.

Inspired by films such as ‘Blade Runner’, ‘The Matrix’ and ‘Ghost in The Shell’, ‘Reincarnated’ is a collection of electronic dystopia that at its best, excels with the title summing up the mission statement of this long player.

While REIN prefers to let her music do the talking, she did tell The Electricity Club: “It’s a psychological, sci-fi, thriller masterpiece that I have been working on for 2-3 years. I have surpassed myself. It’s going to be iconic. It’s more personal this time, and I have developed myself musically. It is more dynamic, melodic, with more analogue synthesizers then before; but, at the same time, it’s darker than before.”

The first thing that stands out about ‘Reincarnated’ compared with other REIN works is the huge sonic leap thanks to the partnership with co-producer Carli Löf whose credits have included ROBYN and BOYS NOIZE.

Opening with ‘Reincarnate’, it naturally comes over as a cathartic manifesto while previous single ‘Off The Grid’ sees REIN believing in her own strength and taking back control which is exactly the sentiment expressed in the equally assertive ‘Closer To Reality’.

Additionally, the full-faced punch of ‘Bodyhammer’ and ‘Accelerate’ possess the loudness and attitude that will satisfy those of a more industrial bent, although the latter grabs a few hints off the PET SHOP BOYS B-side ‘Euroboy’.

But the best songs on ‘Reincarnated’ such as ‘Release Me’, ‘Reactivity’ and ‘Limitless’ are like an edgy KRAFTWERK meeting DAF and NITZER EBB with snappy synthetic rhythms providing the punch and REIN taking a more prominent deeply sung vocal approach alongside her trademark screams.

Meanwhile ‘Puppetmaster’ attacks the powers that be with a great pulsating groove and ‘Dystopia’ takes down the tempo to capture our heroine in a distinctly Ballardian world.

At 31 minutes, this is not a long debut but less can mean more. ‘Reincarnated’ is not a cheerful affair but provides hope and inspiration in the spirit of new adventure. It works best when REIN shows more restraint and if she can get the balance right on future releases between singing and shouting with a bias on the former, she could become like the female AESTHETIC PERFECTION in the next phase of industrial pop.


‘Reincarnated’ is released by REIN Recordings as a transparent acid green vinyl LP and download, available direct from https://reinofficial.bandcamp.com/album/reincarnated

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

https://www.instagram.com/_reinofficial_/

https://open.spotify.com/album/5xeCTFHhRBh2IhhXT7BChc


Text by Chi Ming Lai
24th August 2020

TEC’s 2019 End Of Year Review

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 at TEC005 and Mute Records veterans KOMPUTER at TEC006.

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 were CULT WITH NO NAME and notably 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.

Touring in Europe with OMD and MIDGE URE, TINY MAGNETIC PETS unleashed two EPs ‘The Politburo Disko’ and ‘Girl In A White Dress’ as fellow 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 LLOYD 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 MYGRETAGEISTE 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 The Electricity Club 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 like it was normal behaviour, 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 The Electricity Club 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.

Artwork by Heloisa Flores

The Electricity Club had a compilation released by Amour Records gathering some of the best music from the last 10 years and reached No2 in the German POPoNAUT charts.

It will be interesting to see if the high standard of electronic pop will be maintained or whether the influx of deluded poor quality artists will contaminate the bloodline.

So The Electricity Club ends the decade with a complimentary comment by a punter after TEC006 who had also been to TEC004: “You don’t put on sh*t do you…”

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


THE ELECTRICITY CLUB 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 + RUSTY EGAN 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

TEC006 featuring REIN, KOMPUTER + IMI

It has been said before, but the best electronic events are those put on by actual electronic music enthusiasts.

Cold War Night Life, in association with The Electricity Club, brought Sweden’s REIN over for a first UK show at TEC006 and she didn’t disappoint with her hard hitting, adrenaline pumping EBM with a pop twist.

In a stylistically eclectic evening, electronic duo KOMPUTER made their live return after their last appearance at Mute Presents Short Circuit in 2011. The label veterans also promised music in their previous guises I START COUNTING and FORTRAN 5. But opening TEC006 was the up-and-coming Leeds based songstress IMI.

Possibly the best new young synth talent in the UK right now, IMI is blessed with a glorious soprano in the vein of Alison Goldfrapp and Tara Busch. Her debut EP ’Lines’ released this year showed potential and promise, impressing the likes of Mark Reeder, Chris Payne, Paul Statham and Sarah Blackwood along the way.

In her third live appearance in the capital, IMI opened her set of intelligent avant pop with ‘The Fence’. With a reasonably sized crowd gathering early to witness her performance, she immediately impressed with her glorious soprano, inventive electronic arrangements and a beautiful booming crescendo.

New song ‘Monolith’ suitably provided a widescreen pillar to the rest of the set, the end section of which began with the eerie but uplifting ‘I Feel Alright’ which recalled the work of I SPEAK MACHINE. Encapsulating the delightful oddness of GOLDFRAPP in their ‘Felt Mountain’ phase and trip-hop, with a piercing cry on the caesura, the magnificence of ‘Margins’ had those who had been unaware of IMI before looking at each other suitably impressed.

Illustrated with a great light show to suit the gothic surroundings of Electrowerkz, it was short set from IMI but it left people wanting more. And as their cheers combined with those of her family members present, there was a sizeable noise of approval for the first act of the night.

Wearing their red overalls from the 2007 ‘Synthetik’ campaign, David Baker and Simon Leonard opened their comeback set with ‘Looking Down On London’ from ‘The World Of Tomorrow’ album which was sampled by OMD in its ‘Metroland’ variant.

The pair delivered on their promise of playing I STARTING COUTING and FORTRAN material with ‘Letters To A Friend’, ‘Heart On The Line’, ‘Time To Dream’, ‘Lose Him’ and ‘Million Headed Monster’ all getting a welcome airing.

Baker was on top form with his deadpan vocals while positioned behind his Korg Poly 800x as Leonard counterpointed robotically with a MicroKorg vocoder.

The brilliant ‘We Are Komputer’ from the debut KOMPUTER EP got people dancing, while the pretty octave shifting pulse ‘Still Smiling’ recalled the more carefree times of 1985 when I START COUNTING got the Daniel Miller production treatment assisted by Flood.

Best of all though was a powerfully faithful rendition of ‘Valentina’, probably the best know KOMPUTER song and their touching tribute to “the first woman hero of the modern age” with its echoes of KRAFTWERK’s ‘Das Modell’.

Concluding with rhythmic strike of ‘The Man Machine’ aping ‘Bill Gates’, KOMPUTER’s return to the stage was complete and more than satisfied the many Mute enthusiasts who had missed the presence of Baker and Leonard over the past few years. While KOMPUTER have remixed BLANCMANGE and METROLAND of late, what their followers really want is new material. It will be interesting to see what happens next.

Feisty and ambitious, despite the acclaim of her debut self-titled EP from 2016, REIN focussed on new material for her first ever London performance. Accompanied by the striking statuesque presence of Josefin Ahlqvist Lyzwinski on percussion, the young Swede opened with ‘Reincarnate’ by way of a mission statement.

Swathed in shades of blue light and exuding sweaty energy, the self-explanatory ‘Bodyhammer’ and ‘Accelerate’ continued the attitude with their loudness blows well-placed in the industrial friendly venue. The thrust of ‘Bruises’ added a sinister S&M edge, but the best track of the evening proved to be a new number called ‘Thieves’.

REIN discovered electronic music after seeing KRAFTWERK at the age of thirteen, so ‘Thieves’ carried over some of that teen angst, presenting a hardened homage to ‘Tour De France’ that was tough yet very catchy.

The punchy new single ‘Off The Grid’ provided a calling card to REIN’s upcoming debut album while ‘Concrete Jungle’ was the only concession to her debut EP.

But she finished her set with two songs from 2017’s social-politically themed statement of the ‘Freedoom’ EP. The highly danceable ‘Misfit’ channelled aggression to a good beat while the broader modern electro-punk sound of the chant-laden call to action ‘C.A.P.I.T.A.L.I.S.M’ made REIN’s views clear, much to the approval of those moshing in front of her.

A true ‘Rebel Girl’ as suggested by the track from her debut 2016 EP, REIN showcased 45 minutes of progress such that there was no need for that song, ‘Can’t Handle Me’ or ‘I Don’t Get Anything But Sh*t From You’ in her set.

TEC006 explored three very distinct branches of electronic music, but with KOMPUTER’s long standing links, IMI’s obvious musical debt to GOLDFRAPP and the influence of NITZER EBB on REIN, if there was a relatable thread, then it was the artistic legacy of Mute Records.

With Mute Records sending along a representative and Sarah Blackwood from former Mute offshoot Toast Hawaii signings CLIENT also attending, the circuit was complete.

As a punter who had also been to TEC004 said to The Electricity Club after TEC006: “You don’t put on sh*t do you…”


Cold War Night Life and The Electricity Club give their sincerest thanks to all the artists, Mute Records and the team at Electrowerkz

https://www.facebook.com/reinofficialmusic/

https://www.instagram.com/_reinofficial_/

https://komp46.wixsite.com/komputer

https://www.facebook.com/KomputerOfficial/

https://www.facebook.com/imimusicuk/

https://www.instagram.com/imimusicuk/

http://www.coldwarnightlife.com/

http://agaslobodzian.co.uk/


Text by Chi Ming Lai
Photos by Aga Słobodzian
10th December 2019

REIN to Headline TEC006 at London Electrowerkz on Saturday 30th November 2019

REIN, the Queen of EBM arrives in London for her first UK show this November! Be prepared to dance!

In association with Cold War Night Life, TEC006 will feature the young game-changing Swede with her two female percussionists to present a powerful set of hard hitting, adrenaline pumping EBM with a pop twist.

A true Rebel Girl as suggested by one of the highlights from her self-titled debut 2016 EP, Joanna Reinikainen has moved the dial from aggressive shouty guys to tough girls; so this is girl power for real.

2018’s ‘Freedoom’ EP explored social-political themes with a broader modern electro-punk sound with tracks like ‘C.A.P.I.T.A.L.I.S.M’ and ‘(You Call It) Democracy’, while her first full-length album is currently in the works.

Released at the start of the year, the most recent REIN single was a mighty industrialised cover of Leila K’s 1995 hit ‘Electric’, an already feisty song penned by Swedish production maestros Denniz PoP and Max Martin with its cheeky lift from Shannon’s ‘Give Me Tonight’.

Feisty, ambitious and not to be messed with, REIN has certainly caused a stir with Europe’s male dominated EBM scene. 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 were ramped up to eleven on ‘I Don’t Get Anything But Sh*t From You’.

Discovering electronica after seeing KRAFTWERK at the age of thirteen, the harsher stomp of NITZER EBB has also been a key influence on REIN. Indeed, she is highly regarded by a number of iconic acts including DAF who she opened for at BodyFest in 2016 and self-confessed fans COVENANT.

As well as REIN headlining, TEC006 will also feature up-and-coming Leeds based synth songstress IMI opening proceedings at Electrowerkz.

Blessed with a glorious soprano in the vein of Alison Goldfrapp and Tara Busch, she released debut EP’ Lines’ this year.

Renowned one-time Numan sideman Chris Payne said “Very impressive. She has an amazing voice and very nice synths to surround it.” and DUBSTAR’s  Sarah Blackwood added “Wonderful, I wish I could get that high. IMI’s synths are exciting”.

Meanwhile, sandwiched between REIN and IMI at TEC006 will be the electonic duo KOMPUTER who make their live return  after an absence of several years.

Best known for the track ‘Valentina’, the pairing of David Baker and Simon Leonard released acclaimed three albums ‘The World Of Tomorrow’, ‘Market Led’ and ‘Synthetik’ on Mute Records between 1997-2007. Material in their previous guises I START COUNTING and FORTAN 5 will also be performed.

Doors open at 1930 and the running order (subject to change) is:

2015: IMI
2100: KOMPUTER
2200: REIN

Additional music will be provided by Sweden’s DJ Memorabilia and there will be free entry to the Slimelight club for attendees from 2300.


REIN plays TEC006 with KOMPUTER + IMI at London Electrowerkz on SATURDAY 30TH NOVEMBER 2019 – tickets available now direct from https://billetto.co.uk/e/tec-006-with-rein-se-komputer-imi-tickets-381506

Please note that Electrowerkz requires mandatory photo ID for its events so NO ID, NO ENTRY – the organisers cannot take responsibility if entry is refused

TEC006 Facebook event page at https://www.facebook.com/events/360347931569962/

https://www.facebook.com/reinofficialmusic/

https://www.instagram.com/_reinofficial_/

https://open.spotify.com/artist/081nh5DBAXiKgJhOlqgU2V

https://komp46.wixsite.com/komputer

https://www.facebook.com/KomputerOfficial/

https://www.facebook.com/imimusicuk/

https://www.instagram.com/imimusicuk/

https://open.spotify.com/artist/0GKGK6KIlrmJM4C4UJGMJI

http://www.coldwarnightlife.com/2015/10/26/here-comes-the-rein/


Text by Chi Ming Lai and Simon Helm
4th September 2019, updated 27th November 2019

A Short Conversation with REIN

In just a few years, REIN has become an icon and secured her position as a musical pioneer.

REIN’s self-titled EP was released in 2016. Together with her second EP, 2017’s ‘Freedoom’, she renewed and breathed life into the Swedish electronic music scene, making it her own.

With her raw, energetic electro, which has roots in Electronic Body Music but has transcended the genre, she has attracted a new audience to the alternative dancefloor.

Her unique sound and style led to P3 Gold-nominations in the categories, “Newcomer of the Year” and “Dance Act of the Year.”

‘Off The Grid’ is the first single from the forthcoming debut album from REIN. Co-produced with Carli Löf, it marks an energetic return for the Swedish artist. It is also sees her songwriting reach new levels.

REIN took a few moments from editing her intense new video to speak with The Electricity Club ahead of her upcoming London Electrowerkz show at TEC006 on SATURDAY 30TH NOVEMBER 2019.

What is the inspiration behind the new single, ‘Off The Grid’?

It deals with a transition point in my life which began two years ago, but from a Matrix perspective. I took the decision to free myself from a lot of things that broke me down mentally.

I came to the realisation that I did not have a life which was my own and took the decision to move, start new collaborations and to shape myself. ‘Off The Grid’ is about being true to yourself and going your own way; believing in your own strength again. How I took back the power of myself and my music. How I woke up from the Matrix.

Should an artist use the mainstream in a subversive way? Is there power in pop?

Well, that is an interesting question. Pop, itself, is everywhere. No one can really hide from it. You can even hear a pop structure in heavy music that isn’t mainstream. In my opinion, everybody is free to do whatever they like. I don’t like the word,“mainstream” because it has such a negative feeling.

But, if you take Kurt Cobain as an example, he loved ABBA; and, when you listen closely, you can hear that there is a pop structure in the songs from NIRVANA – even if the sound is heavy, if you know what I mean? It doesn’t have to be black or white, you know.

We should ask, “What is pop?” It’s like asking people, “What is art?”

Power is music – and the message you bring into it – within a structure. Or, it doesn’t have to have a structure at all and can be more free, like BJÖRK. There are really no rules – it is all about touring enough and whether the people like it. People have the power over music; and, unfortunately, it’s a lot of kids. That’s why music all sounds the same today – with too much Autotune and poor hooks.

What is the story behind the new music video for ‘Off The Grid’?

I’m basically trapped in a government experiment from the future – or in the Matrix – but I was the one who woke up and tried to break free.

How important is the visual element to accompany your work, both for your image and for live work?

I have always loved fashion. I want to look like my music.

How is your debut album coming along? What can you tell everyone about it?

It’s a psychological, sci-fi, thriller masterpiece that I have been working on for 2-3 years. I have surpassed myself. It’s going to be iconic. It’s coming out in 2020! It’s more personal this time, and I have developed myself musically.

It is more dynamic, melodic, with more analogue synthesizers then before; but, at the same time, it’s darker than before. I want to give people inspiration, hope, stimulation, and authentic art that speaks to them – hopefully, as much for as it does to me.

I have collaborated with Carli Löf, who is my co-producer. He has worked with ROBYN, BOYS NOIZE and LADY LESHURR, who is a big female rapper in the UK. He has also DJed a lot in London, I have heard.


The Electricity Club gives its grateful thanks to REIN

REIN plays TEC006 with KOMPUTER + IMI at Electrowerkz in London on SATURDAY 30 TH NOVEMBER 2019 – tickets available now direct from https://billetto.co.uk/e/tec-006-with-rein-se-special-guests-tickets-381506/

Please note that Electrowerkz requires mandatory photo ID for its events so NO ID, NO ENTRY – the organisers cannot take responsibility if entry is refused

TEC006 Facebook event page at https://www.facebook.com/events/360347931569962/

https://www.facebook.com/reinofficialmusic/

https://www.instagram.com/_reinofficial_/

https://open.spotify.com/artist/081nh5DBAXiKgJhOlqgU2V

http://www.coldwarnightlife.com/2015/10/26/here-comes-the-rein/


Text and Interview by Simon Helm and Chi Ming Lai
9th November 2019, updated 19th November 2019

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