Paul Rein is Sweden’s pioneer of Italo disco, no less, and had been quite popular in his country, as well as writing for world renowned artists like Christina Aguilera or Jessica Simpson.
But his daughter Joanna certainly got her musical bug, when the electronica loving dad took her to see KRAFTWERK at the age of thirteen. Joanna Reinikainen never quite fitted into her peer group and discovered that the love of harsher sounds was what she’s all about. NITZER EBB’s stomping EBM beats are what has been inspiring her own direction, however her true start was providing vocals for THE OPERATING TRACKS’ ‘Testify’.
Actively trying not to be classified into a particular genre, Reinikanen released her first ‘Rein’ EP, which hit the Swedish market with a bang and creating quite a stir, thanks to strong melodies and some powerful lyrical content.
And now follows EP number two, entitled ‘Freedoom’. The heralding single ‘C.A.P.I.T.A.L.I.S.M.’ only shares its title with ROTERSAND’s last album, even though the tendencies could be similar. Shouted out and angry, forward and right-in-your-face is what REIN goes for here.
Accompanied by the rather poignant video, showcasing all the wrongs connected with modern law, human rights, poverty, war and above all, how “we are the slaves of money”, it’s all wrapped up around a heavy EBM beat as a manifestation of youthful rebellion. It definitely isn’t an encrypted political statement; REIN goes for the throat.
‘Misfit’ is equally fight inducing, but far more musical while ‘(You Call It) Democracy’ calls for the “change of our system” with deliberate tempo changes, depicting the delusional distribution of wealth in the world. ‘Bruises’ introduces more personal lyrics, starting off fairly lightly, but soon developing into the foot stomping EBM with pronounced bass and not-so-crooning synth.
The closing track, ‘Nasty Woman’, written with Nina Mariah Donovan, is a feminist manifesto against the lack of equality. It’s neither retiring, nor is it subtle. If anyone needed the issues spelt out, it certainly happens here. All interlaced with bass heavy synth providing the canvas for the shouted out words, the very last lyric hits the American president with a proclamation that “our pussies aren’t for grabbing”.
If you like subtle, you’re not going to enjoy REIN; she’s definitely not for the shy, retiring type. Unlike the forefathers of synth, with DEPECHE MODE, ERASURE, OMD and PET SHOP BOYS, all going for a more encrypted political messages, REIN spells it out, not worried of being misunderstood or pillared. It’s a bit of a “if you don’t like it, f**k off” kind of message, all loaded with explosive synth, boots to the floor rhythm.
If you love straightforwardness and heavy EBM, you’re in for a treat.
Paul Rein, your daughter certainly is a rebel!
‘Freedoom’ is released by Playground Music and available via the usual digital platforms
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Like Germany and the UK, Sweden has an established history in electronic music.
With a melodic tradition rooted in traditional Nordic folk music and the region’s long dark nights causing bouts of melancholy, the Swedes are more than well suited to stay indoors and further the art of synthpop.
In addition, Clavia Digital Musical Instruments, founded in 1983 and based in Stockholm, have emerged as a world leader in modern virtual analogue subtractive synthesizers with its distinctive red Nord Lead series as well as its digital stage pianos.
The iconic Energy Rekords provided a platform for modern electronic music in the country while today, labels such as Progress Productions, Labrador and Wonderland have maintained their support for domestic talent. Meanwhile, COVENANT maintain an audience across the Atlantic for their resonant futurepop and ROBYN has become so much part of the mainstream that her songs are regularly murdered by reality TV talent show wannabes.
Probably the most influential act to come out of Sweden are THE KNIFE. Their influence internationally on countless acts such as GAZELLE TWIN, GRIMES, AUSTRA, THE HORN THE HUNT and BECKY BECKY to adopt darker colours and mess with the very fabric of sound, has held a flag for inventive artful experimentation.
So what’s so special about Sweden then? Listed chronologically and then alphabetically from its UK perspective with a restriction of one song per moniker, here are 25 SVENSKA SYNTH SONGS…
LUSTANS LAKEJER Diamanter (1982)
With a shortened title, ‘Diamanter’ was a more synth driven re-recording of their second single. LUSTANS LAKEJER were labelled Sweden’s answer to DURAN DURAN and like the Birmingham combo, Johan Kinde and Co were heavily influenced by JAPAN. Their third album ‘En Plats I Solen’ was produced by Richard Barbieri with Mick Karn popping up with his sax on three of its tracks.
Founded in 1980 by Eddie Bengtsson and Marina Schiptjenko, PAGE are often credited with bringing the more purer form of synthpop as pioneered by Vince Clarke to Sweden. Their debut single ‘Dansande Man’ was a frantically percussive excursion suitable for dancing to as the title suggested. Bengtsson and Schiptjenko were to become key figures on the Swedish music scene in many guises, as we shall see…
Originally released as a single via Eskimo, currently unavailable
With their name inspired by a JAPAN song, THE MOBILE HOMES were another Swedish band adopting purer synthpop colours . For their second single ‘Feeling Better’, they signed to Sonet, a Scandinavian independent who coincidentally handled the early publishing of Martin Gore and Vince Clarke. Eschewing the quirkiness of PAGE, THE MOBILE HOMES reflected the more pessimistic side of life often associated with Sweden.
Available on download bundle ‘Feeling Better’ via Universal Music
An almost cartoonish trio originally comprising of Alexander Bard, Jean-Pierre Barda and La Camilla, ARMY OF LOVERS countered their outlandish visual presence with catchy electronic dance tunes influenced by the hippy musical ‘Hair’. While the epic ‘Crucify’ was the huge worldwide hit, the musically more subtle ‘Obsession’ offered a softer side while still maintaining the cinematic drama.
In parallel with PAGE, Eddie Bengtsson joined vocalist Alexander Hofman to write and perform some ‘Star Trek’ themed songs for a friend’s Trekkie themed birthday party. . Originally called MR SPOCK, the band name was changed to an acronym for ‘Star Pilot On Channel K’ after threats of legal action from Paramount Studios. ‘Never Trust A Klingon’ is still their crowning moment, a genius combination of deadpan vocals, bubbling synthpop and samples from Captain James T Kirk.
Available on the album ‘Five Year Mission’ via Energy Rekords
Founded in 1988, ELEGANT MACHINERY were another act who preferred a purer synthpop stance; they even covered SPANDAU BALLET’s ‘To Cut A Long Story Short’ in the style of Vince Clarke for an excellent 1995 Energy Rekords tribute collection of the same name. Many consider ‘Hard To Handle’ their finest song, an excellent blend of dance friendly beats and blippy melodies.
Formed in 1986 in Helsingborg, the Eskil Simonsson fronted COVENANT managed to gain a footing in both synthpop and EBM camps, achieving great success in North America from touring the alternative electronic club network established following the stateside success of DEPECHE MODE. Still going strong, 2016 saw the release of their ninth long player ‘Blinding Dark’.
Sibling duo THE KNIFE are probably the acclaimed electronic act to emerge from Sweden. Their uncompromising approach has won them many plaudits. But there was a time when with their experimentation came a tune too. The wonderful ‘Pass This On’ took Karin Dreijer’s unsettling pitch shifted vocals and placed them over brother Olaf’s soundtrack of primitive string machine and uplifting steel drums. Things got much darker after this…
Available on the album ‘Deep Cuts’ via Braille Records
Tired of her label BMG trying to turn her into the Swedish CHRISTINA AGUILERA, ROBYN took began taking an interest in the electronic movement closer to home. Inspired by THE KNIF, she collaborated with them to produce what is now possibly the key song which transformed Robin Miriam Carlsson into the successful independently minded artist she is today.
Available on the album ‘Robyn’ via Konichiwa Records
Best known as a member of the cult Swedish indie band PARIS, singer and keyboardist Emma Nylén had aspirations to produce something that was more decisively electronic. Her first recordings immediately showcased a catchy dance friendly sound as exemplified by ‘Rock D’Amour’. Subsequent albums ‘Closet Wanderings’ and ‘Nomme’ have maintained the standard, although EMMON is currently on a career break to raise a family.
Eddie Bengstsson’s solo project, also referred to as SMPJ, saw him unafraid to mine his Synth Britannia influences. ‘Allt Är Klart’ was an ULTRAVOX tribute and effectively a Swedish vocal version of the instrumental B-side ‘Alles Klar’. The hard, staccato synth bassline was borrowed from the original, but the track was bolstered by some superb whirring synths in the tradition of Billy Currie’s adventures with the ARP Odyssey.
Combining dual male / female vocals with a danceable electro goth backdrop, Anders Hagström and Yasmine Uhlin achieved success in Germany as well as Sweden with ‘Spiders’. ASHBURY HEIGHTS came out of hiatus in 2015 with a new female vocalist Tea F Thimé and a new album ‘The Looking Glass Society’ after a settling a despite with their label Out Of Line.
BODIES WITHOUT ORGANS or BWO saw PAGE’s Marina Schiptjenko teaming up Alexander Bard from ARMY OF LOVERS in a project that has probably come closest to exploiting the musicality of ABBA for the 21st Century. Fronted by the extremely handsome Martin Rolinski, the classic pop tradition of the original Super Swedes was more than obvious on the mightily bonkers ‘Lay Your Love On Me’ which they entered for Eurovision.
Available on the album ‘Pandemonium’ via Capitol Records
Producer Andreas Kleerup hit paydirt with ‘With Every Heartbeat’, a collaboration with ROBYN. A marvellous self-titled album followed with ‘Longing For Lullabies’ featuring Neneh Cherry’s sister Titiyo being the tearful highlight. Despite being driven with raw mechanical beats, the simple vocal melody was simple, almost keyboard-like going up and down the ivory scale in the best tradition of OMD while Titiyo’s vocal range made it a bit Agnetha and Annifrid too!
One established artist who made a volte face in the wake of THE KNIFE was KARIN PARK. It was on more her ROBYN-esque third album ‘Ashes To Gold’ that she sowed the seeds of her current electronic template. The synthpop disco of ‘Ashes’ fused electronic counterpoints and a live bass guitar with an incessant groove while Miss Park provided her enticing vocal presence.
Available on the album ‘Ashes To Gold’ via Young Aspiring Professionals
Another act formed under the spectre of THE KNIFE, Stockholm duo Malin Dahlström and Gustaf Karlöf released ‘Mother Protect’ as a free download to launch NIKI & THE DOVE. Then came ‘DJ, Ease My Mind’; shaped by a ritualistic percussive mantra and whirring sub-bass, Dahlström’s witchy mannerisms provided the surreal scenario of what the Dreijers might have sounded like if they had decided to enter Eurovision.
Available on the album ‘Instinct’ via Mercury Records
Having issued their first album ‘:Adored’ in 1996 and their second ‘Have You Ever Touched A Dream?’ in 2004, ‘Silent Dawn’ was a single released as part of DAYBEHAVIOR‘s much vaunted comeback. The song was an exploration in laid back filmic pop and breathy continental vocals that wouldn’t have sounded out of place in Italian art movie. Indeed their most recent single ‘Change’ was also released in an alternative Italian language version, naturally titled ‘Cambiare’.
KITE have been called “Sweden’s best kept pop-secret”; Nicklas Stenemo and Christian Berg have undoubtedly been producing some of the best electronic pop of the last few years. Only releasing EPs, things started to truly come together on their fourth release ‘IV’. From it, ‘Step Forward’ with its sharp percussive drama and pentatonic overtones was the undoubted highlight. More recently, the duo have been commissioned to provide a song for a new Steven Segal film.
With Karolina Komstedt’s dramatically assertive vocal and a bursting bassline from Johan Angergård, CLUB 8 showed in a crisp 180 seconds with ‘Stop Taking Time’ that a danceable electronic tune didn’t have to be a journey into death by four-to-the-floor. Formed in 1995 as a more conventional pop act, CLUB 8’s most recent album ‘Pleasure’ celebrated 20 years for the duo.
MACHINISTA are seasoned hands, John Lindqwister was part of CAT RAPES DOG while Richard Flow was in VISION TALK with the late Krister Petersson. Their mantra is produce synthpop with a rock’n’roll edge. Like THE CURE gone electronic, or ALPHAVILLE crossed with SUICIDE, ‘Molecules & Carbon’ is both catchy and danceable with some suitably rousing elements too.
Available on the album ‘Xenoglossy’ via Analogue Trash
First launched via a set of mysterious viral videos with alphanumeric code titles, IAMAMIWHOAMI helmed by vocalist Jonna Lee and producer Claes Björklund premiered a delightfully odd cinematic electronic sound. From the second album ‘Blue’, the rich Scandipop of ‘Chasing Kites’ sees Jonna Lee hitting those ABBA-esque high notes with ablomb before adopting a huskier register for the second half.
Available on the album ‘Blue’ via To Whom It May Concern
A touching tribute to Messrs Clarke, Gore, Hütter and Schneider, JOHAN BAECKSTROM said “I guess I just wanted to reflect on the fact that there still IS a synthpop scene with some really great bands, both old and new. In another way, the song is sort of my ‘thank you’ to some of the artists that inspired me for several decades – some of them are mentioned in the lyrics, but far from all of course”.
Available on the EP ‘Come With Me’ via Progress Productions
Founded by Dan Söderqvist and Karl Gasleben, TWICE A MAN were the opposite to many Swedish acts in that they used synths and electronic effects for more sombre atmospheric soundscapes rather than performing outright pop. Still operating as a unit, their 2015 album ‘Presence’ featuring epic environmental message songs like ‘High In The Clouds’ showed their talents have not waned over the years and indeed have become more accessible.
Available on the album ‘Presence’ via Ad Inexplorata
After her inconclusive self-titled debut album in 2011, VANBOT aka Ester Ideskog had a rethink and started venturing into artier climes with the dreamy and enigmatic ‘Trooper’. With layers of vocals and rushes of lush synth, it started a journey towards the otherworldly template of IAMAMIWHOAMI. Her icy journey continues on her next album ‘Siberia’ which was written and recorded on a 17 day trip aboard the Trans-Siberian Railway.
REIN I Don’t Get Anything But Sh*t From You (2016)
Feisty, ambitious and not to be messed with, REIN has certainly caused a stir with Europe’s male dominated EBM scene. A true Rebel Girl as suggested by one of the highlights from her self-titled debut 2016 EP, even within the inherent shouty nature of the genre and Joanna Reinikainen’s debut song ‘Can’t Handle Me’ effectively being a mission statement, things are ramped up to 11 on ‘I Don’t Get Anything But Sh*t From You’. She’s an artist to watch for sure…
Every now and again a debut release comes along that just screams “star in the making”.
REIN is the polar opposite end of the electronic music spectrum to the likes of CHVRCHES, but it’s plain to see that she is on the fast track to achieving success.
Joanna Reinikainen was born in 1990 in Sweden near to the capital city of Stockholm. She felt like an outsider in her youth, she was different to her peers. When she was thirteen, her father took her to see KRAFTWERK.
It was a revelation and she knew then that she wanted to write and produce her own music. It could be said it wasn’t a huge surprise as the music business is in her genes, her father was a successful pop star in Sweden in the 1980s.
She cites NITZER EBB as a big influence and her own material as addictive, drum heavy EBM. She was the guest vocalist on Swedish duo OPERATING TRACKS single ‘Testify’ in 2015 and then went on to record her debut EP at the end of that year. Released in January 2016, it created an instant buzz about this fiercely independent female music artist.
The self-titled EP is a five track statement of intent, to showcase her abilities and talent. Track one is a hard hitting, adrenaline pumping anthem ‘There Is No Authority But Yourself’. Don’t expect hearts and flowers, all REIN’s tracks are gritty and could be said to be a bit gloom laden, but REIN likes to tell it as it is. Second track ‘Concrete Jungle’ has an unexpected softer vocal to begin with, but then hits back with a bombastic climax.
‘Can’t Handle Me’ is a defiant, hook laden blockbuster, followed by ‘Rebel Girls’ which could be a homage to the strong, political women that she admires in the music industry like MIA, the British solo artist. DIE ANTWOORD would be another act she would like to work with too, given the opportunity. The EP’s last track ‘Born To Die’ is a life reality checker and undeniably punk inspired.
She loves to write and produce in the studio, mainly on computers but is just as passionate about performing live. As expected, she is a force on stage with just a female drummer, Irina Rojas for company. So it’s no surprise that fellow countrymen COVENANT wanted her to support on their upcoming tour, while she will be performing as support to the iconic electronic pairing DAF at BodyFest on 15th October 2016. More live dates in Sweden have been announced and having just signed to Playground Music, a new single is expected later in the spring.
With thanks to Andreas Jismark
The ‘Rein’ EP is released by Cold School and available via the usual digital platforms
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Paul Rein is Sweden’s pioneer of Italo disco, no less, and had been quite popular in his country, as well as writing for world renowned artists like Christina Aguilera or Jessica Simpson.
The closing track, ‘Nasty Woman’, written with Nina Mariah Donovan, is a feminist manifesto against the lack of equality. It’s neither retiring, nor is it subtle. If anyone needed the issues spelt out, it certainly happens here. All interlaced with bass heavy synth providing the canvas for the shouted out words, the very last lyric hits the American president with a proclamation that “our pussies aren’t for grabbing”.
Like Germany and the UK, Sweden has an established history in electronic music.
via Universal Music
via Universal Music
via China Records
via Energy Rekords
via Metroplis Records
via Braille Records
via Konichiwa Records
via Wonderland Records
via Energy Rekords
via Out Of Line Records
via Capitol Records
via EMI Records
via Young Aspiring Professionals
via Mercury Records
via Graplur
via Progress Productions
via Labrador Records
via Analogue Trash
via To Whom It May Concern
A touching tribute to Messrs Clarke, Gore, Hütter and Schneider, 
via Progress Productions
via Ad Inexplorata
via Lisch Recordings
via Playground
is released by Cold School and available via the usual digital platforms
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