Tag: The Knife (Page 2 of 4)

25 SVENSKA SYNTH SONGS

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 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

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

SILENT WAVE War

SILENT WAVE WarGothenburg combo SILENT WAVE played their first UK gig in March as part of ‘The Swedes Are Coming’ showcase at The Lexington in London.

It was an unusual performance as singer Tildeh Hjelm was absent due to illness, but the remaining pair of Hans Olsson Brookes and Martin Öhman soldiered on.

And thanks to the wonders of modern technology, there was a virtual vocal presence and the undoubted highlight of SILENT WAVE’s set was ‘War’.

With the obvious hauntronica hallmarks of fellow Swedes THE KNIFE looming, ‘War’ is a reminder of how the sibling duo once combined tunes with their uncompromising experimentation. The abstract promo video exudes a suitably dark Nordic vibe with sad faces and naked flames in abundance.

‘War’ could easily have come off ‘Silent Shout’ and nicely fills a gap in the market while also affirming what’s so special about Sweden. While the template is derivative, it is extremely well executed.

SILENT WAVETheir 2014 debut single ‘Dream On Dream On’ was a slice of intriguingly moody, dark electropop that was mixed by RECOIL cohort Paul Kendall while the follow-up ‘Only Love, Nothing More’ expanded on its predecessor’s template with a dreamier demeanour.

The trio are presently making headway recording their debut album at Svenska Grammofonstudion.


‘War’ is available on a selection of digital music platforms

https://www.facebook.com/silentwaveofficial/

https://soundcloud.com/silentwave


Text by Chi Ming Lai
26th July 2016

KARIN PARK Apocalypse Pop

Let’s face it, 2012’s ‘Highwire Poetry’ was always going to be a pretty damn hard act to follow.

Arguably one of the best electronic pop albums from the last five years, it managed to maintain a balance of quirky, original songs, wrapped up in a production template that kept synth fans happy, but with also nods to contemporary sonics too.

Tracks such as ‘Thousand Loaded Guns’ and ‘Fryngies’ even brought KARIN PARK to the attention of Gary Numan who chose her as support on one of his UK tours. There must be an element of frustration in the Park camp that she hasn’t broken on a wider scale by now, on paper she has everything, astonishing model looks, a fantastic and charismatic live show (with her brother David accompanying her on drums) and with ‘Highwire Poetry’, an album that easily held its own against her contemporaries such as ROBYN, THE KNIFE and BJÖRK (comparisons which she’s probably getting tired of by now!).

This brings us to Park’s fifth album and second for Portsmouth-based label State of the Eye: ‘Apocalypse Pop’. The temptation would have probably been to stick with the format that worked so well on album four, but Park’s new set of songs has a distinctly different sound and vibe to them. The overall tone and production on ‘Apocalypse Pop’ is much more edgy both from a sonic point of view (distortion and rock dynamics are more prevalent here) and with some of the lyrical content (more on that later). If anything, the overall sound of this album is more homogenized and cohesive than the last, but this is not necessarily a good thing, with many of the tracks taking several listens to hit home, the stylistic mish-mash of immediate songs which filled ‘Highwire Poetry’ is to a large degree missing here.

Opening track and single ‘Look What You’ve Done’ sets the tone, each sound has been overdriven including Park’s vocals and the track bounces along to the familiar 6/8 Schaffel beat which has been used by everybody from DEPECHE MODE to RACHEL STEVENS. Another previously released single ‘Shine’ follows next, its understated feel adding to the rollercoaster feel of the album (one moment you’re up, the next you’re down).

KarinPark-PhotographbyPlLauklimaster

‘Stick To The Lie’ follows a more traditional electronic format with its driving sequencers and arpeggiators and is far better for it, lyrically it also connects far more successfully, with Park injecting its “truth… hurts like a sharp knife” hook with real emotion. ‘Daemons’ is the real Marmite track on the album, Park bearing her soul with the “I know I’ve been a c***” lyric, whereas musically and vocally, the chorus takes the track into decidedly unwelcome R’n’B territory. Final track ‘Hurricane’ lifts things tempo-wise and has a wonderful elastic / portamento bass sound and finishes proceedings in a more hypnotic/dance manner, Park sharing lead vocals with Thomas Knights from UK act PANDORA DRIVE.

The darker and more understated feel throughout has undoubtedly been informed by the illness of Park’s partner last year. This is not a bad album, but in places, it treads water rather than taking the standards previously set to a higher level. ‘Stick To The Lie’ is easily the most immediate track here and should act as the in point for fans of Park’s previous work. Meanwhile, the use of explicit language misfires badly, nobody really wants to hear the ‘C’ word in an electronic pop record and in many ways it seems to suggest that Park and her collaborators are trying a little too hard here to get themselves noticed.

For maybe a little too long now, KARIN PARK has been electronic pop’s best kept secret, and she certainly warrants a much larger demographic than what’s she’s achieved so far. Hopefully ‘Apocalypse Pop’ will help maintain the momentum she has generated and she will get a wider degree of success that she so richly deserves.


‘Apocalypse Pop’ is released by State Of The Eye Recordings on CD, download and vinyl.

http://www.karinpark.com/

http://www.facebook.com/karinpark


Text by Paul Boddy
13th April 2015

IAMAMIWHOAMI Blue

First launched via a set of mysterious viral videos with alphanumeric code titles that eventually formed the ‘B.O.U.N.T.Y.’ EP, IAMAMIWHOAMI, helmed by vocalist Jonna Lee and producer Claes Björklund, premiered a delightfully odd BJÖRK-like cinematic sound that was enjoyed by the electronic music cognoscenti.

Under the management of DEF who also look after THE KNIFE, ROBYN and RÖYKSOPP, their first full length album ‘Kin’ came out in 2012 to critical acclaim.

Following the lead of the track-by-track audio visual campaigns of previous releases and crowdfunded using a ‘Generate’ donation service with money promised to be “used for creative purpose only”, IAMAMIWHOAMI have now birthed ‘Blue’, a natural progression of ‘Kin’rather than a volte-face.

It all begins with ‘Fountain’, a windy breeze of glacial Scandinavian beauty with hints of COCTEAU TWINS, and THE KNIFE when they had tunes. A wonderfully icy, melancholic feeling is captured and Jonna Lee’s ranges her voice to compliment the variety of dreamy synthesized cinematics. But after the sedate start, the glorious ‘Hunting For Pearls’ups the tempo with pulsing sequences and trancey atmospheres, coupled with some beautifully rich vocal theatrics. If KATE BUSH made a modern electronic dance record at ABBA’s Polar Studios, it would probably sound like this.

‘Vista’ also features more KATE BUSH mannerisms but despite the Banshee-like shrills, the vocal melodies are pretty with everything held together by cool crystalline textures and an uplifting melancholy. It is this strange optimism within the Nordic Noir demeanour that makes IAMAMIWHOAMI such as enticing experience, both aurally and visually. The journey continues with the gloriously majestic ‘Tap Your Glass’ and its incongruous holiday mood driven by octave shifts dressed with tuned percussive elements that could be mistaken for steel drums.

‘Blue Blue’ takes the pace down again and even without the videos on YouTube, the beautiful imagery of turquoise lakes and ice fields lock into the psyche. Amongst the almost unintelligible affected vocals, Jonna Lee’s murmurs “I’ll be blue”. The harmonic main theme blends portmento synth with pitched shifted vox while a chorus of imaginary milk bottles join in for a meditative Zen-like conclusion. Adding some timbre variation, various metallic sounds emerge on ‘Thin’ alongside voice samples, arpeggios and even fretless bass as the number builds to a dramatic climax.

But one of the album’s highlights comes with ‘Chasing Kites’. Featuring that epic Scandipop sound over a midtempo backbeat and expansive electronic textures, it sees Jonna Lee hitting those high notes with ablomb before adopting a huskier register for the second half. Like ABBA meeting THE KNIFE, with a glorious chorus, it is what SAY LOU LOU could sound like if they were a bit artier.

iamamiwhoami; jonna‘Ripple’ though bursts in like a shot in the arm with a sonic construction more associated with techno yet this is brilliantly countered by Jonna Lee’s wuthering vocal heights. However, it’s business as usual on ‘The Last Dancer’ with backing that sounds like it has come from one of OMD’s more experimental early B-sides before a concluding bass mantra reminiscent of THE KNIFE.

Meanwhile the spectre of the Dreijer siblings dominates on the closing ‘Shadowshow’, a reverberant mood piece that has Jonna Lee’s otherworldly rasp dominating the verse before transforming into the rich soprano of Agnetha Fältskog for the chorus.

Sonically leftfield yet filled with melody, ‘Blue’ may transmit into a wash to some ears but it has an elegant, escapist nature that is an important attribute to have in these socially and economically turbulent times. Like its predecessor ‘Kin’, ‘Blue’ is an enjoyably surreal experience with an artistically enlightening weirdness. But it is a supplement rather than a new chapter and unlikely to win many new converts; IAMAMIWHOAMI fans though will be more than happy 🙂


‘Blue’ is released as a variety of CD / LP / book packages by To Whom It May Concern. The download version is available via the usual digital outlets

http://www.youtube.com/user/iamamiwhoami

https://soundcloud.com/twimclabel/sets/iamamiwhoami-blue

http://www.towhomitmayconcern.cc/

http://www.iamamiwhoami.net/


Text by Chi Ming Lai
10th November 2014

GAZELLE TWIN Discusses Unflesh

GAZELLE TWIN premiered her new album ‘Unflesh’ with a special performance at Birthdays in London’s trendy Dalston district.

The live presentation showcased a heavier sound that has distinctly moved away from the cinematic hauntronica of debut album ‘The Entire City’ and interim EP ‘Mammal’.

The moniker of Elizabeth Bernholz, GAZELLE TWIN has acquired an impressive host of admirers and collaborators including JOHN FOXX, GARY NUMAN and CLINT MANSELL.

‘Unflesh’ has with artistic violence allowed the Brighton based songstress to exorcise her demons.

Indeed, the closing number of the evening is appropriately titled ‘Exorcise’; an impressively aggressive cross between PINK FLOYD’s ‘One The Run’ and KRAFTWERK’s ‘Home Computer’, it is accorded some extra uneasy resonance by Bernholz’s deadpan commentary.

GAZELLE TWIN live2014Clothed in a school-blue goodie with a head stocking and brown wig replacing the mysteriously veiled Elephant Woman look of her shows supporting JOHN FOXX & THE MATHS in late 2011, GAZELLE TWIN’s new material has a more threatening intent, focussing on the more industrialised template introduced by ‘Belly Of The Beast’ and new single ‘Anti Body’. The ‘Unflesh’ title track and ‘I Feel Blood’ are even barer but no less unsettling while ‘Guts’ follows a similar path but adds an almost PRINCE-like funk groove. Indeed, much of the material on ‘Unflesh’ is strangely danceable…

Elizabeth Bernholz kindly spoke with ELECTRICITYCLUB.CO.UK before her ‘Unflesh’ showcase to discuss her latest incarnation of expression.

How would you describe the differences in the way you’ve conceived ‘Unflesh’ compared with ‘The Entire City’ and the ‘Mammal’ EP?

The writing process has simplified. I restricted myself so that I ended up with a more direct and quite a lo-fi sound. There are connections with ‘The Entire City’, the first full length thing I ever wrote and produced, but the relationship with ‘Unflesh’ is minimal. It has been written very much with live performance in mind.

Titles such as ‘Unflesh’, ‘Belly Of The Beast’, ‘Guts’ and ‘Anti Body’ indicate you still have metaphysical concerns?

That’s something I can’t switch off. But I don’t want to. There are rarely moments where I’m not considering the wider meaning of all things, on a day to day basis. I’ll make a sandwich and think of the former life of all the ingredients, all these particles that are being slammed together to ultimately end up as my sh*t…

I like that sort of thought process. I’m hypersensitive to everything around me all the time. This is not always useful. I suffer from anxiety and have numerous phobias that mostly arose from childhood. I have overcome most of them through making music, and this record is very much a continuation of that process.

The ‘Unflesh’ project has been supported by a striking audio / visual component. The faceless girl in the school-blue sportswear… is the character in any way autobiographical?

100%. It’s from a memory of school, 16 years ago. I chose to confront a difficult experience from that time, by re-embodying it. The difference is that this time I’m in control. A pretty simple exercise in self-help when you think about it… people will continue to be baffled and weirded-out by it, but that’s OK. That’s the fun part of it. That makes me want to do it even more.

When we last spoke, you described recording an album as being “a bit like doing a thesis”. Has that still been the case with ‘Unflesh’?

I researched anatomy – more as a hobby than being very academic about it. I’m especially interested in disease and mutations in nature. I have always enjoyed finding rhymes in nature – in structures, behaviours, rhythms etc. I also researched a lot of artists and artworks that deal with similar themes. I find doing this really rewarding and enlightening. There is so much out there to absorb.

Since ‘The Entire City’ was released, THE KNIFE returned with the uncompromising ‘Shaking The Habitual’. What did you think of it and has it has any bearing on your own artistic directions for ‘Unflesh’?

I had pretty much finished writing most of ‘Unflesh’ by the time ‘Shaking The Habitual’ came out, but I love that album of course and proudly align myself with its stance on politics, including the politics of performance art and how gender is dealt with in popular culture. Uncompromising is the key. They are one of the best conceptual performance groups out there right now. I wish there were more.

Claire Boucher aka GRIMES fedback to you about the demo of ‘Anti Body’. I SPEAK MACHINE aka Tara Busch has also reworked ‘Anti Body’. Do you feel an affinity with any of the current crop of female artists in electronic music?

I am asked this a lot… I guess because I am openly challenging the gender issue in performance. In the end, my interest is only in ideas. I might feel a great affinity with a very aggressive, masculine, male performer like Stefan Burnett (DEATH GRIPS) as well as a female artist who is exploring similar territory.

I think it’s important not to make the distinction about gender being the reason behind it. Over emphasis can sometimes push the divide even further. I fully support other artists who are female of course, and I stand firmly behind the feminist and the LGBT debate which is very important to keep in the forefront of the mind.

GAZELLE TWIN, in its very essence, began as statement against a commercially driven world (and music industry), which constantly wants to remind me of my own sex and tell me what I’m supposed to do with it.

Your musical connections with JOHN FOXX & THE MATHS and the MemeTune collective have led to further collaborations with people such as Stephen Mallinder via the WRANGLER project. You’re building up quite an impressive CV of collaborators?

It’s insane… I was thinking about some of the people I’ve encountered or worked with over the last year and I’m incredibly lucky to have had introductions to legendary figures like John and Mal, and also GARY NUMAN. It’s heavily down to my manager Steve Malins who is the chief orchestrator of all these connections and is really talented at connecting people very naturally, from very quite different backgrounds. Robin Rimbaud (aka SCANNER) has also introduced me to some amazing people too, such as WIRE’s Colin Newman and Chris and Cosey of THROBBING GRISTLE. All of this is a privilege and I’m very grateful for that, but long may it continue.

I visited MemeTune a few months back and was strangely drawn to the Polymoog… was there a particular instrument or device that you saw out of the vast collection at MemeTune that particularly fascinated you?

Every time I go there, I notice something new and become lost in the awe of all these incredible instruments surrounding me. Of course I am impressed with the rare synths like the CS80 and the enormous wall of modulars, but the thing that blew me away most of all was actually the simplest… The Plate Reverb – which is just a huge wooden box containing one sheet of metal, an amp and a dampener, with one big metal dial on top to change the tension of the metal. You turn it on from downstairs in the studio and can hear everything going through it upstairs. It’s really, really incredible.

You’re known for experimenting with vocal processing in your music. Have there been any new techniques that you’ve discovered which have shaped this album and perhaps your approach to live work.

The majority of my new material is about spoken and often whispered lyrics rather than sung. There’s a certain skill to achieving that in a live setting because it requires a different kind of performance.

In contrast, I have also included a lot of chest voice passages which feel great to perform.

I have tried to emulate techniques from Bulgarian Folk singers for these elements, bending my voice into new shapes. There’s still a fair amount of processing going on in this record, but it’s more upfront than anything I have done before.

You’re playing live to showcase the album. How do you feel about live work? Is it something you want to do, or feel you have to do?

Performing live requires so much effort. Not just working the songs into a live format, then rehearsing over and over and over again (which I really hate), but to then have to get through the nerves, deal with the gamble of the sound being alright after soundcheck (it SO often isn’t), and then to recover quickly after all that stress and do it all over again… It’s a hard job, but I consider it a challenge. I do want to perform more and try to garner more satisfaction from the process.

What are your hopes and fears for the future?

Good Health / Bad Health (respectively)


ELECTRICITYCLUB.CO.UK gives its sincerest thanks to Elizabeth Bernholz

Special thanks also to Jeff Schofield at Type PR

GAZELLE TWIN antibody‘Anti Body’ is released by Anti-Ghost Moon Ray / Last Gang as a digital download and limited 12″ vinyl. It features the exclusive track ‘Phobia’ plus remixes by WRANGLER and I SPEAK MACHINE

‘Unflesh’ will be released later in 2014

Forthcoming GAZELLE TWIN 2014 live appearances include: St Gallen Grabenhalle (28 May – with PLANNINGTOROCK and BERNHOLZ), Hamburg Vogel Ball Festival (2nd August) and Glasgow Old Fruitmarket (3rd October – with WRANGLER and SCANNER)

http://www.gazelletwin.com/

https://www.facebook.com/gazelletwin

http://www.antighostmoonray.com


Text and Interview by Chi Ming Lai
Photos by Esther Springett except live photo by Chi Ming Lai
26th May 2014

« Older posts Newer posts »