Category: Interviews (Page 1 of 114)

FRANZ SCALA Interview

10 November 2025 /

Photo by Zeyd Ayoob

The Berlin-based Italian DJ and producer Franz Scala has just released his second album ‘Café Futuro’.

Issued on his own label Slow Motion, Franz Scala is a global champion of the Italian Dance Wave sound. A man who has been behind events like Italorama and Self Control, ‘Café Futuro’ is named after the bar he once ran in Neukölln which acted as a gathering point for the Italo and Cosmic Disco community.

Triggering feelings of nostalgia while presenting a modern dance-friendly underground sound, ‘Café Futuro’ differs from its 2021 predecessor ‘Mondo Della Notte’ by diving deeper to feature vocal contributions from international artists resident in Berlin such as FUROTICA, DINA SUMMER and Charlie, as well as Los Angeles-based duo ACID GYMNASTICS.

Featuring tantalising vocals from Argentine duo FUROTICA, ‘New Look’ makes a thumping statement of intent as the album opener while Franz Scala is joined by Dina of LOCAL SUICIDE and DINA SUMMER on equally thumping but more squiggly ‘Saxon Rebel’. Poland’s Charlie provides her enigmatic charm on the jagged throb of ‘Crush Test’ but alongside these vocal statements are his instrumental excursions like the retro-futuristic ‘Bit99’, the emulated nocturnal drive of ‘Echoes Of Love’ and the vibrant Euro-house of ‘Fantasy Bazar’. In addition, ‘Light Year Run’ will please anyone who has ever enjoyed a NEW ORDER Italo disco-inspired instrumental.

Franz Scala chatted to ELECTICITYCLUB.CO.UK about the making of ‘Café Futuro’ and discussed several of the album’s highlights…

What brought an Italian DJ to Berlin?

I first came to Berlin because I had the need to experience living in a big city. Back in Italy, I was already collecting records and DJing, but discovering Berlin was unique and open-minded. It gave me the space to explore different sounds and build something slowly, surrounded by people who were in my same music scenario.

How do you become entranced by what is now referred to worldwide as “Italo”? Were there key moments or tracks for you that started your interest?

My connection with Italo started naturally through record digging. At first, I was more into wave and early electronic records, but at some point, I found myself drawn to the cinematic side of Italian dance music from the 80s. There wasn’t one track that changed everything, but discovering artists like Alexander Robotnick or Klein & MBO definitely opened that world for me. It was music that felt familiar.

Photo by Julius Dettmer

How do you yourself define Italo, does it have to be a native species as some fans dictate or is it more like an attitude, an approach that can be universal?

For me, Italo is not just about geography. It’s a more playful way of production that can go in a different way and at the same time keep the attitude. Of course, the roots are Italian, but the spirit can be anywhere. It’s about how you approach melody, rhythm, and emotion with a certain “easy going” and fantasy. That can exist in Mexico, Japan, or Germany as much as in Italy.

While you have been making music since 2011 first as Franz Underwear, your first full-length album ‘Mondo Della Notte’ didn’t come out until the end of 2021, how do you now look back on that record?

‘Mondo Della Notte’ was a long process. It was a collection of ideas that had been evolving for years. Looking back, it captured a specific time in Berlin nightlife and my own journey through it. I see it as a bridge between my early “Underwear” productions and what I’m doing now. It had a cinematic feel and still dancefloor oriented, while the new album is made more in a storytelling way.

Although ‘Mondo Della Notte’ featured vocal samples, the new album ‘Cafe Futuro’ has guest vocals on several tracks… what influenced this more word-led approach?

During the years after ‘Mondo Della Notte’, I played countless DJ gigs and I slowly got into how voices create an instant connection. I wanted ‘Café Futuro’ to feel more direct, while still keeping my sound textures. Collaborating with vocalists also brings unpredictability, they interpret the tracks differently and add something I wouldn’t have created alone.

The opening track ‘New Look’ features FUROTICA from Argentina, how did you come to be working with them?

I got to know their music first and then we met in person when they moved to Berlin. I really liked their blend of vocal performance, sound, and attitude, very disco and elegant. When I had the idea for ‘New Look’, I thought their presence would set the tone for the whole record. It was one of the first collaborations that shaped the album’s direction.

Photo by Julius Dettmer

How do decide which tracks remain instrumental and which get developed with vocals, are the latter presented to potential vocalists with a much barer structure?

For the ‘Café Futuro’ vocals, I had all instrumental tracks ready to go. Then I sent the instrumental to the collaboration artists. They place their vocal layer on top very naturally. Then I listen back and if needed, I edited a bit the vocal structure or the arrangement so that all the elements blend together. It’s more like a dialogue rather than a feature.

There is a fine underground club scene in Berlin and the new album has vocals by locally resident artists such as Charlie on ‘Crush Test’ and Dina from LOCAL SUICIDE / DINA SUMMER on ‘Saxon Rebel’; so what did you from a production and arrangement point of view to suit their different delivery styles?

Every vocalist has a different energy. With Charlie, it was about creating space and a hypnotic flow where her voice could float in and out, minimal but intense, it feels like a ballad vibe to me. With Dina, the focus was on rhythm and energy, something that carries her natural way of singing. In term of arrangement was more like natural layering vocals on top of my instrumental track than building the track together.

Do you have any favourite production tools? Are you a hardware or software-based man? The press release mentions EMU keys, are there any other vintage instruments in your armoury?

I use both hardware and software, depending on the mood. I like the hands-on approach of hardware because it’s less predictable. The EMU keys, Matrix 1000, Bit 99 or OO6 are central to my setup. I still use software for arrangement and effects – the mix between the two worlds feels most natural to me.

So is the dark thumping instrumental ‘Bit99’ named so because it mostly features that Italian synth? You must like its sounds but what do you think of its functionality?

Yes, the title comes from that synth. The Bit99 has a particular character a bit rough but warm, analogue and FM not perfect in terms of precision, but that’s what makes it interesting. It’s not the most versatile instrument, but when it fits, it gives a strong identity to the sound.

‘Café Futuro’ is released as a double album, is vinyl still the best format for your music? What are your thoughts on the spectre of streaming?

Vinyl still feels right for me because it represents a full work beginning, middle and end. The physical process of releasing and playing it connects people in a different way. That said, I understand streaming is how most people discover music now. It’s useful for reach, but it also fragments the listening experience. It’s good to balance both worlds.

The album has a very international supporting cast and vocals by ACID GYMNASTICS from Los Angeles appear on the bouncy album closer ‘Fase Lunare’, how did you decide on that coming last and compiling the overall running order? Is it like putting together a DJ set?

Exactly, sequencing an album feels similar to building a DJ set. You guide the listener through moods and energy changes. ‘Fase Lunare’ felt like the right way to close the record because it feels a bit more ethereal and more introspective. It’s like the sun rising at the end of the night.

Do you have a favourite track on ‘Café Futuro’ which we haven’t discussed yet? Why is this one a favourite?

Maybe ‘Telephone Boy’. It’s one of those tracks that came together very naturally and sounds very fresh and crossover to me. It captures the cinematic and emotional side of that record with a strong dancefloor oriented attitude. I think it will be one of the tracks from the album other DJs will play the most.

Photo by Zeyd Ayoob

What are your hopes for this album? Any fears?

I hope the album reaches people beyond the club environment, that it can be listened to at home, in a car, or anywhere, and still create a mood. My only fear is that in the fast pace of music consumption, albums don’t always get the time they deserve. But I believe those who connect with it will take the time.

What is next for you?

I’m already working on new material, a couple of new releases already l planned for 2026. There will also be a remix release from ‘Café Futuro’ tracks. Apart from that, I’ll keep playing around and supporting projects that explore that intersection between 80s and modern dance music, the balance I’m always chasing.

ELECTRICITYCLUB.CO.UK gives its grateful thanks to Franz Scala

Additional thanks to Dina Paschalidou Brudi at Eclectica

‘Café Futuro’ is released as a double vinyl LP and download by Slow Motion Records, go to https://slowmotionrecords.lnk.to/CafeFuturo

https://www.slowmotionmusic.it/project/franz-scala/

https://soundcloud.com/franz-scala

https://www.instagram.com/franzscala/

https://www.facebook.com/italiandancewave

https://soundcloud.com/slow-motion-records

https://www.instagram.com/slowmotion_records/

https://www.facebook.com/slowmotionrecords/

Text and Interview by Chi Ming Lai
10th November 2025

ASSEMBLAGE 23 Interview

25 October 2025 /

Seattle’s Tom Shear released his debut album as ASSEMBLAGE 23 in 1999.

Released on the Canadian label Gashed, ‘Contempt’ was a cult hit in Germany as it rode on a wave of dark electronic dance music alongside acts such as VNV NATION, PROJECT PITCHFORK, COVENANT and APOPTYGMA BERZERK that fell under the umbrella of futurepop. Signing to Metropolis Records which has been Shear’s home since 2001, ‘Contempt’ was reissued along with second album ‘Failure’ to build and consolidate ASSEMBLAGE 23’s reputation as one of the leading exponents of a movement dominated by European acts.

With deeply personal and relatable lyrical gists often broaching difficult subjects such as suicide and depression, ASSEMBLAGE 23 became a constant on underground dancefloors and at alternative music festivals. The albums ‘Defiance’, ‘Storm’ and ‘Meta’ maintained the standard while ‘Compass’ in 2009 contained what has now become the fan favourite ‘Spark’. 2012’s ‘Bruise’ saw a move towards a more mature sound but 2016 ‘Endure’ went back to the harder electronic sound following Shear’s 2014 more EBM-centric side project SURVEILLANCE.

The new album ‘Null’ is the tenth by ASSEMBLAGE 23, but the first since the pandemic afflicted ‘Mourn’ in 2020. Ahead of its release, Tom Shear toured the UK with his wife and HELIX partner Mari Kattman in support to preview tracks; he chatted to ELECTRICITYCLUB.CO.UK about the making of ‘Null’ before the London show at The Dome.

It’s been 5 years since ‘Mourn’, how do you look back on the making and reception for that album?

It was a very strange time to be making an album because that was during the pandemic when I started it. On one hand, it was the ideal situation because you are stuck inside and can’t do anything else; the concentration was in a way, a nice thing. But it also made things very difficult when it came time to ship the album and merch. All the shipping supply chains were really screwed up. There were a lot of delays but fortunately the fans were very understanding.

The new album ‘Null’ was much more of a positive experience as far as putting it together because it didn’t have these complicated circumstances surrounding it.

How was the title ‘Null’ chosen and did it set the concept for the record?

I wouldn’t say there’s a unifying concept through all of the songs… whereas a lot of prior ASSEMBLAGE 23 stuff is very internally focussed, this is more “the world has gone crazy” although it is partially internally focussed because how do you navigate that situation? But ‘Null’ is a bit more social commentary than there has been in the past.

The name ‘Null’, I thought it would be funny to call the tenth album “zero” but I also like the fact that the concept of “zero” or “nothing” really depends on the context. If you go to the doctor and the treatment works and there’s no more sign of cancer or something, that’s the best news you can get. But if there’s no money left or whatever, it can have a negative connotation and I like that about language, about how context can completely change the meaning behind it.

You’re touring before the album is out, it’s kinda the wrong way round now, was that intentional?

We started booking these shows before I really knew what the release date was going to be… the album took me a little longer than I’d anticipated. The timing is not ideal but it kinda good to preview these songs in a live environment. People absorb music in a different way when it’s something that they know versus something that they don’t. So far the reactions to new songs have been really positive, so I hope that will hold true for when the album comes out.

‘Tolerate’ is very on point in the current climate?

Things have just become increasingly divided, obviously I’m viewing it from the US perspective but I think this is true in Europe as well. It’s gotten to the point where it’s really fractured relationships, not just from a political level. Some of these views might be seen as so abhorrent that I don’t want anything to do with somebody who believes in something that is so harmful. I think unfortunately it’s a common experience.

Have you ever heard of The Paradox Of Intolerance? If you tolerate intolerance, then tolerance will cease to exist because the intolerance will wipe it out. So the point is, somebody who considers themselves tolerant has a limit… that line, once it’s crossed, I can’t engage with them anymore because their views are not just different from mine, they’re directly harmful to certain populations.

Nothing is really black and white at the end of the day. The unfortunate thing is that your average person out there doesn’t navigate nuance very well, like they want things to be black and white… but at the end of the day, I think that there are other groups that have other interests.

I’d say it’s in the ultra-wealthy’s best interests if we are fighting about something else rather than they are robbing everybody… the poor are getting poorer, the rich are getting richer… we are now seeing obscene wealth, like more money than anyone needs! I feel there are issues to deal with in immigration and racism but at the end of the day, those are tools being used by people who want to keep their way of life… it is greed at the end of the day!

This keeps the people distracted, because there’s a lot more of us… I say that in one of the songs called ‘Overthrow’ and it sounds it’s about overthrowing the government but it’s about overthrowing the system of wealth and equality. That’s why a lot of this stuff happens, it’s happened perpetually throughout history, it’s just the marginalised groups that are targeted changes with time.

It’s the “divide and rule” mentality… so have you yourself hit ‘The Line’?

Oh yes! Absolutely! The song is talking about difference in politics but I’ve had it in other cases where there are people that were friends who I found out were domestic abusers… I knew someone who I found out was screwing minors! So the song is in the interest of not having it be too unfocussed, it focusses on politics but I think there are lots of different times where you have to evaluate whether you want to keep these people in your life or do you really need to let them go…

‘Lunatics’ is self-explanatory… but which lunatics are you referring to, the messengers or the ones believing the message?

‘Lunatics’ is more focussed on the people in power, leadership, the oligarchs who are buying influence and the media who are complicit in spreading those messages, aiding and abetting them in those goals! They are the people who are using other easily influenced people to further their agendas. But I guess the reason why is because those people can do the most damage and the most harm, simply because they have the most resources to do so. Obviously both sides are part of that equation and one doesn’t work without the other.

‘Gone’ has got this fabulous chill, is the song personal or more a narrative?

I am turning 54 years old and as you age, one of the unfortunate things about that is the list of people who you know and who die grows… I have, especially in the last couple of years, had a lot of people gone before their time. So the song is about that, looking at the loss of people in your life that just increases the older you get… the experience of losing someone and then almost forgetting about it, but you see something that reminds you of them… you relive the moment but there’s the grief because they are not there anymore. You think enough time has passed for your brain to make peace, but that’s the line about how “you’re gone and I can’t reach you and I wish that I knew why…”

For this ‘Null’ campaign, you have become more active on social media, is that all Mari’s doing?

Yeah, she was a big influence with that because I thought she did a spectacular job with her own social media promotion for her album ‘Year Of The Katt’. I really wanted to dial back from social media because I think it’s a net harmful influence in just about every way. But it IS the de facto method of promotion these days, so you have to play along and make us of it. Mari was definitely influential in that, I watched what she was doing and saw she did such a good job, it got a really great response so that was the model I followed.

How are you maintaining your enthusiasm for playing live as ASSEMBLAGE 23 after nearly 30 years?

Our first show was 1996! Obviously, the shows increased with frequency after that… the role of live performance has changed a lot, as the music industry has changed, to where it is the primary area that you’re going to make money unless you are lucky enough to get a song licensed to a movie or video game. Some individuals do very well with streaming despite the fact that it pays very poorly. But I think the experience of the average musician is that doesn’t form a significant portion of their income. In that sense, playing live becomes more important but it’s not just about selling T-shirts, this is your main chance to have some income from what you’re doing.

How are you doing on vinyl because when ASSEMBLAGE 23 started releasing albums, they would have been on CD, unlike say DEPECHE MODE?

It’s been doing great, I’ve had pre-orders for ‘Null’ open for a couple of months now… we’ve done vinyls in the past and they’ve always done well but I feel like this time, it’s doing even better than it has before.

I’m not a vinyl person myself but I get it… the crackles and stuff just adds a bit of aesthetic to it, it’s pretty unique. Also, I think we’re about to see a shift in things where people seem to be getting back to physical media because they’re exhausted from all these different streaming services and you don’t own it! If you don’t pay your subscription fee, it’s gone. People are starting to realise after some time that they like more of the permanence that physical media provides.

What about CD sales these days?

Previous tours, we would go out with hundreds of CDs and we would have to restock halfway through and come home with just a handful of them. But the last full US tour we did in 2016, we had a lot of CDs left over… it probably took a year to finally sell those. There are people who still like this format to consume their music but in a weird way, I think CDs have become autograph receptacles… you can’t sign a stream or an MP3! So for a lot of people, especially when you are playing live, the CD is almost a souvenir, you can’t count on somebody to go home and search you on Bandcamp, so you might lose sales by not having something right there that can immediately be picked up and bought as a keepsake.

Imagine if you ever had the energy and willing to do a Tom Shear event with ASSEMBLAGE 23, SURVEILLANCE, HELIX and Mari Kattman all in the line-up, who would you like as your special guest in this fantasy festival?

Gary Numan, that would be a great choice. The reason is he’s really responsible for me getting into electronic music. When I was 10 years old, I was at my cousin’s house and there was a Top40 countdown show and it was the week ‘Cars’ came out and charted in the US. It stopped me in my tracks because I’d never heard anything that sounded like that before! I didn’t know how to distinguish musical instruments, what was making the sounds, but I knew whatever it was, I wanted to be a part of it. It’s so interesting to me how a single moment can totally change the course of your life. I’ve made a living from this for decades now and it was that one moment that pushed me in that direction.

If you were to pick five tracks as an introduction to your career either as ASSEMBLAGE 23, SURVEILLANCE, HELIX or remixes to draw in newcomers, what would they be and why?

‘Disappoint’ from ‘Failure’ is an obvious choice, I feel like that was the track that really moved us up to another level.

‘Damaged’ off ‘Meta’ is another one that I think people relate to…

From ‘Storm’, I would say ‘30 Thousand Feet’ as well because a lot of people who hear it for the first time go “oh sh*t!”; the last US tour that we did, we ended the set with that and as people recognised the track, people went “oh-oh!” *laughs*

I would have to have some HELIX tracks in there, ’Hurt Like Me’ is one of my favourite ones to play live and I also love ‘The Beautiful Unseen’, I think it’s a really beautiful song.

You used to end shows, with a cover of INXS ‘Don’t Change’, but have you ever noticed how the synth leadline was virtually identical to ‘Bunker Soldiers’ by OMD?

I didn’t, I’ll have to listen again! *laughs*

I remember when I first saw you do ‘Don’t Change’ at Islington Academy in 2011, I thought you were covering OMD and it then morphed into this INXS song…

Who knows if it’s intentional or not, there’s only 12 notes to choose from so it’s inevitable there will be things that come out the same. At the end of the day, we like to romanticise it, but creating musically is being a clever thief, taking and choosing the parts that appeal to you. It might not be a direct one-to one copy but you might hear something and go “oh, that gives me the chills, I want to do something like that so I’ll take that”; you create this Frankenstein’s Monster of all your favourite things and put them together. But I would be curious as to the origin of ‘Don’t Change’ and whether INXS were OMD fans…

There’s always a debate as to whether ‘Die Hard’ is a Christmas film, so is ‘December’ from ‘Endure’ a Christmas song?

Hahaha! Obviously that wasn’t my motivation when I wrote it but I do have a memory of when I was a child, it’s such an awful story… it was Christmas morning and we had a dog who had been suffering from heartworms. We came downstairs and the dog had died under the Christmas tree! So you can imagine how traumatic that is and it was probably worse for my younger sister! Yeah, maybe there’s a subconscious link there! *laughs*

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Tom Shear

Special thanks to Gary Levermore at Red Sand PR

‘Null’ is released by Metropolis Records on 7th November 2025 in CD, vinyl and digital variants, available from https://assemblage23.bigcartel.com/ or https://assemblage23.bandcamp.com/album/null

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Text and Interview by Chi Ming Lai
25th October 2025

PARADOX OBSCUR Interview

7 October 2025 /

Greek duo PARADOX OBSCUR are forever evolving and from their more minimal roots, they have now readily embraced more explicitly dance-based influences onto their new album ‘IKONA’.

Eschewing the use of computers for their music, Kriistal Ann and Toxic Razor combine honest impassioned vocal expression with hardware electronics, resulting in a dark intensive allure that is simultaneously nostalgic and futuristic. PARADOX OBSCUR have performed at numerous European festivals including Wave Gotik Treffen, Extramuralhas, Waveteef and Kalisz Fest while the duo have been a live draw across South America.

From the sinister mutant disco of ‘Vulgar Sequence’ that “f*cks your brains” and the rousing trance instrumental ‘Luminous’ to the stark darkwave cabaret of ‘Personal’, ‘IKONA’ is their most expressionistic work to date.

With a catalogue dating back to 2014 that includes six albums and numerous EPs, Kriistal Ann and Toxic Razor chatted to ELECTRICITYCLUB.CO.UK about the development of PARADOX OBSCUR through the years and the making of ‘IKONA’.

‘IKONA’ is your sixth LP, how did you set out this to make it different from your previous albums?

Toxic Razor: ‘IKONA’ is a natural evolution from our previous album ‘Morphogenesis’. This time, we wanted to take things in a more dance-oriented direction, while still preserving the melodic elements and keeping a human, emotional touch at the core of the music.

Another key difference is in the production approach—I leaned more towards digital hardware synthesizers for this album, as opposed to the analog-heavy sound of our earlier work. The exception is the track ‘Like A Freak’ which is entirely analog-driven and stands out with that raw, classic feel.

There were a series of standalone singles ‘Escape’, ‘Attention’, ‘Slap It’ and ‘Reach The Stars’ before the album but these are not part of ‘IKONA’, but were they important parts of the journey?

Kriistal Ann & Toxic Razor: ‘Attention’, ‘Slap It’, and ‘Escape’ were written specifically for our anniversary EP, ‘Attention’. They belonged to that moment, that celebration, and were never meant to be part of ‘IKONA’.

‘Reach The Stars’ is a different story. It’s one of our oldest songs—written in the very first year of PARADOX OBSCUR. It stayed hidden for years, waiting. The time never felt right to include it on an album, so we finally released it as a standalone. It’s a song that means a lot to us.

Over time, our sound has evolved. What started as minimal synth has grown into something more layered, more dimensional. ‘IKONA’ reflects that shift—an album shaped by rich and diverse electronic textures, a step forward in our sonic journey.

How would you describe your creative dynamic, is it important for you to be sitting in a room together during the writing process?

Kriistal Ann: Not at all. We’ve never expected to create like twins—mirroring each other in the same room at the same time. We are two separate forces—each with our own rhythms, moods, and timing. Sometimes we sync, sometimes we drift apart. Both are necessary.

What matters is the chemistry. The silent dialogue. That endless ping-pong of inspiration that flows between us. It’s what gives our sound its shape—and its soul.

You remain DAWless for this new album, have you tried the “cut and paste” method of making music? What are your feelings about analog versus digital?

Toxic Razor: Yes, we’ve remained DAWless for this album. When we record and mix a track, we avoid the typical copy-and-paste or automation techniques that are so common in today’s music production. We prefer a hands-on approach—working directly with real instruments and mixing consoles, rather than being confined to a virtual environment, which I find lacks that tactile connection.

We use all kinds of hardware synthesizers, both analog and digital, but we don’t use virtual instruments at all. That said, subtractive synthesis remains our favourite approach—it’s where we feel most at home creatively.

Do you have your favourite tools of creation, what synths and drum machines do you prefer?

Toxic Razor: When it comes to drum machines, one of our favourites is the Korg Electribe MX. It’s a powerful and incredibly versatile tool for programming beats. We also make use of other drum sources, including some classic Roland gear, depending on the sound we’re after.

As for synthesizers, I enjoy working with a wide range of models. The Access Virus and Korg MS2000 are long-time favourites, offering a great mix of flexibility and character. On the analog side, machines like the Behringer Crave and the Arturia MatrixBrute really stand out—they’re capable of delivering massive, raw sounds when we want that extra punch.

Ultimately, every piece of gear has its role in the recording process. It’s about finding the right combination to bring each track to life.

You are not afraid to experiment with vocal treatments and pitch shifts on your music while retaining a very honest style of delivery?

Kriistal Ann: We’re not afraid to break away from any label or identity that’s been placed on this project. We enjoy experimenting—with sound, with style, with unexpected blends of genres. When it comes to vocals, though, we usually keep things simple. No heavy processing, no corrections—more stripped back, more human.

Toxic Razor: What makes the difference is emotion. Anna has a gift for inhabiting each song completely, whether it needs seduction, sorrow, defiance, or softness. It’s not about pitch shifts or effects. It’s about truth. And that truth always finds its way through the voice.

‘Evo-Devo’ from 2022’s ‘Morphogenesis was included on CURSES’ ‘NEXT WAVE ACID PUNX – DEUX’ compilation, does PARADOX OBSCUR feel an affinity with other acts on it such as DINA SUMMER, ULTRA SUNN, NUOVO TESTAMENTO and ESSAIE PAS?

Kriistal Ann & Toxic Razor: It was an honour to be part of such a strong and thoughtfully curated compilation. There are some truly great artists on that roster. That said, this kind of question might be better answered by listeners. They’re the ones who perceive connections, overlaps, and shared energies between acts.

From our side, the kinship we feel is rooted in the shared act of creation—we’re all in the field of music-making, carving our paths. But we also believe deeply in artistic individuality. Every band should cultivate its own identity, its own voice. That’s what keeps the scene alive and evolving.

How do you now look back on the development of your sound from the 2014 debut EP ‘Noir’ and songs like ‘Dark Fortress’?

Kriistal Ann & Toxic Razor: Our actual debut was the self-titled album ‘Paradox Obscur’, released by the British label Peripheral Minimal. ‘Noir’ came shortly after, and that’s where ‘Dark Fortress’ found its home. Looking back, our sound has evolved significantly. What began as a minimal synth approach has gradually transformed into something more layered, more rhythmic—something groovier, more alive, and danceable.

We’ve let go of the fear of how purists or die-hard fans might react. Not out of rebellion, but out of deep respect—for our own growth, and for their ears. Music needs space to breathe and shift. And so do we.

‘Vulgar Sequence’ from ‘IKONA’ is quite sinister and is themed around gaslighting, was this from personal experience or is there a wider context?

Kriistal Ann: That’s a thoughtful question – thank you.

Yes, we’ve all been “victims” of manipulation in one form or another. But ‘Vulgar Sequence’ isn’t rooted in a single personal experience. It speaks to something wider. Think of the manipulation of the masses—a topic explored by thinkers from Freud to Chomsky. In today’s world, it’s become more widespread because people are increasingly disconnected from their true needs. Many seek validation through others, through societal stereotypes, rather than from within.

So yes, the song touches on gaslighting, but not just on a personal level. It reflects a larger commentary on the ways truth is distorted—socially, psychologically, even politically.

How did the idea to cover Armin Van Buuren’s ‘Lose This Feeling’, especially as it is quite a recent song?

Toxic Razor: I spend a lot of time exploring the sounds of different producers, moods, and musical worlds. When ‘Lose This Feeling’ came on, it immediately grabbed my attention. There was something about its pulse, the speed, and the distant electronic vocals that resonated with me. The lyrics felt perfect for a romantic electronic ballad. I could already imagine Anna’s voice weaving through it – soft yet powerful, human and filled with longing.

I wanted to bring some heart to the track, and Anna delivered that effortlessly. Her voice transformed it from a programmed piece into something deeply felt.

‘Luminous’ is possibly your most trancey and ravey track yet? What was it inspired by?

Toxic Razor: There are quite a few tracks – some still unreleased – that carry that same trancey energy, so we felt it was time to include something in that direction on the new PARADOX OBSCUR album. ‘Luminous’ was the result of that intention. I’ve always listened to genres like Trance, Eurodance and Electro House, so the inspiration came naturally. It felt like the right moment to channel those influences into a track that’s both ravey and melodic, while still fitting within our sound.

Who are the “freaks” in ‘Like A Freak’?

Kriistal Ann: Haha, love that question! We’re all the freaks in ‘Like A Freak’. It’s that wild part inside us that wants to break free—to dance, to feel, to escape the roles we’ve been assigned and push past the edges of comfort. But how many of us truly dare to step into that space of freedom? To shake off the weight of how others see us and finally chase our real dreams, our hidden desires? In the end, the message is simple: if we’ve stepped into the dance – let’s dance. Fully, freely, like a freak!

Which are your own favourite tracks on ‘IKONA’?

Kriistal Ann: That’s a question that always makes me struggle. At first, everything feels exciting—you finish a track and think, “this is fantastic”! But over time, as you listen more closely, you start to notice things that could’ve been different, maybe even better. That’s when doubt creeps in. Maybe it’s the perfectionist in me, but I always try to stay honest with myself. Still, one track that leaves a lingering sense of joy is ‘Switch To Love.’ There’s something in it that continues to feel sincere and emotionally alive, even after many listens.

Toxic Razor: It’s always hard to pick favorites, especially since every track on IKONA was carefully crafted and selected from a much larger pool of material. Each one represents a different mood or idea, so they all hold their own significance. That said, I really enjoy ‘Iconic B’ for its driving, danceable energy – it captures the kind of pulse I love in electronic music. ‘Like A Freak’ is another standout for me; the bassline turned out exactly how I envisioned it – raw and powerful. And then there’s ‘Impulse’, which keeps pulling me in every time I hear it. Anna’s vocal performance on that track is exceptional, and the atmosphere it creates is truly captivating.

Aside from the ‘IKONA’ album, for those who are hearing of PARADOX OBSCUR for the first time, what 3 songs from your back catalogue would recommend as being good starting points for potential new fans?

Kriistal Ann: For anyone discovering us through streaming platforms, we’d say start with a few tracks that show the range of our sound. Try ‘Words Without Voices’ or ‘Drone’ if you’re into darker, minimal synth vibes – those represent our early roots. Then give ‘A Different Hum’ or ‘Présage’ a listen. They’re more atmospheric, melodic, and show a shift in our sound. And for something a bit more intense and danceable, go for ‘Cocoon’ or ‘Evo-Devo’ – tracks that lean into a more experimental, beat-driven direction. Of course, we’d love for you to dive into ‘IKONA’ too—it’s where we feel most fully realized at this moment.

Toxic Razor: For those discovering PARADOX OBSCUR for the first time, I’d recommend starting with ‘Animal Reactor’, ‘Afterhours’, and ‘Sin Barreras’. These tracks really capture the essence of our sound, blending powerful, hypnotic energy with rhythm and emotion. I believe they offer a strong introduction to what we do and can pull new listeners into our world pretty quickly.

What is next for you, either as PARADOX OBSCUR, solo or in collaboration with others?

Kriistal Ann: Right now, our main focus is promoting the new PARADOX OBSCUR album, ‘IKONA’. We’re putting a lot of energy into getting the music out to listeners, connecting with our audience, and possibly organizing some live shows. We also have a few collaborations and remixes in the works, which we’ll be revealing soon—but for now, ‘IKONA’ remains our top priority.

Toxic Razor: Apart from PARADOX OBSCUR, I’m really excited about my upcoming METAL DISCO album, which will be released soon. I’m also working on new material for my HARDWARE PULSE project, continuing to explore new sonic directions. Another project I’m involved in is COPHEAD STATE, an industrial metal act. We’re currently working on our second full-length album – a challenging but rewarding endeavour that I’m really looking forward to completing.

Kriistal Ann & Toxic Razor: Thank you for taking the time to conduct this interview. Greetings from Hellas!

ELECTRICITYCLUB.CO.UK gives its sincerest thanks to PARADOX OBSCUR

Special thanks to Gary Levermore at Red Sand PR

‘IKONA’ is released by Metropolis Records, available in vinyl LP, CD and digital formats from https://paradoxobscur.bandcamp.com/

https://paradoxobscur.com/

https://www.facebook.com/paradoxobscur

https://www.instagram.com/paradox_obscur

https://soundcloud.com/paradox-obscur

https://open.spotify.com/artist/25xk4G8ue1fryBd3ac1Qw3

Text and Interview by Chi Ming Lai
7th October 2025

ANI GLASS: The Phantasmagoria Interview

23 September 2025 /

Released on 26th September, European Day of Languages, ‘Phantasmagoria’ is the second full-length album from ANI GLASS, sung in Welsh, Cornish and English.

A former member of GENIE QUEEN  who were managed by OMD’s Andy McCluskey, she then joined her sister Gwenno in THE PIPETTES whose final album ‘Earth Vs The Pipettes’ was produced by the late Martin Rushent. Ani Glass’ debut album ‘Mirores’ (translated as “observer”) was conceived around movement and progress but just before it was released, she was diagnosed with a rare benign brain tumour. The diagnosis marked the beginning of the personal journey that has shaped ‘Phantasmagoria’.

Produced by ANI GLASS with Iwan Morgan, ‘Phantasmagoria’ includes the ethereal title song and the rousing ‘Now You Know’ alongside the luminous reconnective statement that is ‘Acwariwm’ and hymn-like ‘Rhwng Yr Ynysoedd’. Using her emotive trilingual expression, this is a dreamy introspective concept album that delves into a poignant time in her life while expressing hope in the face of darkness.

ANI GLASS spoke to ELECTRICITYCLUB.CO.UK about the making of ‘Phantasmagoria’ and her art from the heart.

You’ve had a lot happen to you since ‘Mirores’ in 2020? How are you now?

It’s been five years since I released my first album, and a lot has changed. But life happens to us all and we get on with it but I’m absolutely fine – thank you for asking – just excited about this next phase of my creative journey.

Has becoming a mother changed your perspective?

Of course, it changes everything; how you see the world, how you analyse things, it changes how you create and what you create. But most of all it helps you to see the world through someone else’s eyes and brings that innocence that we all had with our creativity to the surface again, and I find that really exciting.


You completed your Master’s course at Cardiff University studying Urban and Regional Development, how did you find juggling studying with music?

I did, I completed my Master’s course before releasing my first album, and since then I’ve also completed a doctorate. It is quite challenging finding ways to juggle everything, and often one thing will take priority over another… however they’re all part and parcel of the same thing which is to find the most effective and efficient way to interpret the world around you. In that sense, I find that academia and art are one in the same.

With all the events caused by division around the world and domestically, has this presented a new kind of existential angst?

Of course, and there are so many factors at play that often we don’t know where to turn or what to do. We want to feel useful and have a positive impact on the lives of others but it’s difficult to work out how best to do this in a meaningful way. But whilst there is even a tiny glimmer of hope, there will always be room for music, and music is one thing that does unify people. Without art and music the world is that much darker and quieter, so creating is one thing that I will always do to try to feel useful.

How would you describe the concept of ‘Phantasmagoria’?

In short, it’s about the process of retreating from the world and then re-emerging after a challenging time. But ultimately, it’s about recognising the whole journey in between those two stages; how we interact with the world, how we react, our different ways of navigating these challenges that life throws at us, how we develop our coping strategies, strength and resilience.

How did you decide on the title song to be the trailer for the album?

The album is a journey, and a particularly personal one at that and so I thought it appropriate to start at the beginning. ‘Phantasmagoria’ was the first song that I had written for this album, so I felt that it made sense to share that one first. Also, given that I’m known mostly for making quite upbeat music, I wanted listeners to hear a different side of my creativity.

The ‘Phantasmagoria’ album has a more traditional feel and is maybe less “synthpop” than some of your previous works, more Enya than The Human League or OMD?

I suppose that depends in your interpretation of traditional, but I wouldn’t say that the new album is more traditional. There perhaps are fewer songs that you would describe as synthpop but it’s far more expansive and ambitious than the first which I think makes it less traditional. But at its core, it’s a pop album, a genre that I will never stray too far from.

On ‘Now You Know’ with its interesting mix of sequencers and cello plus you sing in English, so how do you decide which language to use in your songs?

For me, it’s not a choice per se, it’s more of a feeling. I always want to make art that is honest as I feel that we all respond and react better to work that’s made like this. So, if the music inspires English lyrics, or Welsh, or Cornish, then so be it!

There’s this strange offbeat on ‘O’r Diwedd’ which makes things rhythmically unusual… was this intentional or a happy accident?

Everything is intentional!

Which have been the key songs on the album for you?

I think probably the slower, simpler songs like ‘The Dust Settled’ and ‘Like Waves’. Mainly because I feel that they are the most restful and peaceful, they give you time to breathe and reflect, and I like that in art.

As you prepare present ‘Phantasmagoria’ to the wider public, what are your own hopes for the future?

I hope that people can find ways in which to relate to the work, perhaps find solace and comfort in the music, in knowing that as time passes, things become ever so slightly easier.

‘Phantasmagoria’ is released 26th September 2025, available in vinyl LP, CD + download formats from https://aniglass.bandcamp.com/album/phantasmagoria-lp

ANI GLASS 2025 live dates include:

Cardiff The Canopi (26th September), London The Social (28th September), Carmarthen Cwrw (3rd October), Aberystwyth Cŵps (10th October), Wrexham Tŷ Pawb (24th October), Swansea Tŷ Tawe (7th November)

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Text and Interview by Chi Ming Lai
23rd September 2025

KALIPO Interview

17 September 2025 /

Jakob Häglsperger is one very busy man…

In 2025, the Berlin-based musician and producer has not only released an album ‘Girls Gang’ as part of DINA SUMMER but there has also been a record ‘Tyrannosaurus Rave’ with his elektropunk outfit FRITTENBUDE which he founded in 2006. And now comes his fifth long player ‘Alles’ under his frozen dessert inspired solo moniker KALIPO.

With driving electronic beats and stirring melodies, ‘Alles’ is just as the title suggests, a melting pot of punk, goth, psychedelia, dark disco, synthpop, electroclash and Italo styles that point to all his work over the last 20 years via his three musical outlets.

This is an energetic rhythmic album with a disco punk spirit that is swathed in melody which despite some of the heavy sonic resonances also point towards light to show the way out. If you like deep electronic basslines, sparkling synth sequences and big beats, it is all here. ‘Alles’ tells of departures and new beginnings, alongside inner conflict, depression, desire and love.

Jakob Häglsperger spoke to ELECTRICITYCLUB.CO.UK about his musical ethos, juggling the thoughts in his creative brain while straddling the seemingly incongruous but ultimately compatible notions of club and indie on ‘Alles’.

From a concept and approach point of view, in what ways does ‘Alles’ differ from your previous KALIPO record ‘WUT’ for you?

‘WUT’ was more of a transitional EP, paving the way for what became ‘Alles’; a track like ‘Seeking Angels’ for example, could easily have landed on the new album. The bigger contrast is with my previous full-length ‘Happy Little Accidents’, which was conceived as something warm and immersive, almost like a refuge. With ‘Alles’, I wanted to live things out more fully, to fuse melodic depth and emotional warmth with a harder edge in the beats, even a certain laid-back coolness or emotional coldness. It sounds almost impossible, but that tension, finding something warm within the cold, is what defines my sound.

You wear many hats, how do you decide it is time for FRITTENBUDE, DINA SUMMER or KALIPO?

It depends. Sometimes things happen almost simultaneously. This year, all three projects released new work. Usually though, they balance each other out. When I run dry on ideas in one, I can throw myself into another and find new inspiration. The projects feed off each other, which keeps me constantly inspired.

You have described ‘Alles’ as “genre-fluid” and “indulgent”, what particular influences did you put in the pot? Was there any new direction that you particularly wanted to pursue?

I hear many genres in it. I often describe it as “psychedelic disco punk”, but there are also traces of electroclash, EBM, goth and indie. More than anything though, it reflects myself, how music shaped me and how I’ve forged my own handwriting through it. On this album, you can hear more of FRITTENBUDE and DINA SUMMER bleeding through, though that wasn’t intentional. My real aim was to return to a rawer, more direct sound that shaped me early on, and to reimagine it with today’s knowledge.

In terms of production set-up, what are your preferred tools to work with?

It varies. Most ideas start at home on my laptop. I’ll sketch the MIDI notes and save them. Later in the studio, I’ll hunt for the right textures with analog synths. I love working with the Moog One, Voyager, Prophet 6, or MS20. I also enjoy pushing things out of the box with re-amping or distortion to make the sound feel more alive.

What is it about Berlin that continues to be the ideal location for creatives of all types?

The network, for sure, the fact that everyone I work with is close by. But also the cultural scene; before writing this album, I deliberately went back to clubs as a guest, just to re-experience what it feels like to be on the dancefloor. That definitely inspired my own shows and edits. Berlin remains an inexhaustible city, even after all these years, I keep discovering new things.

‘Alles’ starts with the doomy goth disco title song, what about it made you decide this should be the album’s opening salvo?

Because it contains almost everything the album has to offer, like a teaser. It starts out dark and restrained, then drops into this emotional break that still catches me every time. For me, it was the perfect way to open the record.

What makes you decide to sing in German or English?

It depends on how the song arrives. ‘Geister’ or ‘All Things Must Come to an End’ both started with specific phrases that couldn’t really be translated without losing their essence. ‘Geister’ felt too personal not to sing in my mother tongue, while ‘All Things Must Come to an End’ came naturally in English. Writing in English makes sense for a wider audience, but sometimes it just doesn’t fit.

The dreamy ‘L’Hiver Éternel’ though is in French but not sung by you?

It is my voice. I wanted a female timbre, so I used AI to transform my vocals.

Is ‘All Things Must Come to an End’ a personal or wider existential statement?

The phrase came to me after playing at the closing parties of Mensch Meier and Watergate in quick succession. At the same time, my personal life was shifting, which brought a wave of melancholy. But I didn’t want it to feel resigned, so in the verses I focused on frustrations that will also eventually end. That gave the whole thing a bittersweet optimism. It was also important that the instrumental wasn’t too melodramatic but carried a certain lightness.

‘Sparkling Tears’ takes a harder approach to the dancefloor but it maintains a hypnotic groove and features your characteristic low end percussive hits, how has your rhythmic approach developed over the years?

I’ve always been more of a melody-first, songwriting-driven producer. That’s why my “field trips” to Berlin clubs were important, to remind myself that on the dancefloor, sometimes a single note and the right groove are enough. With ‘Sparkling Tears’, I wanted to capture that raw live energy. It’s become one of the highlights of my sets.

Similarly, there’s a real throb and thrust to ‘Deine Worte’ while there appears some anger in your vocal delivery too?

Not really. The shouting style might come across as angry, but that wasn’t my intention. Still, I understand why it feels that way. The instrumental is dark and energetic, with techno influences that place it firmly in the dark disco realm.

‘Vantablack’ features Nina Nails, how did the collaboration come about?

Nina is my partner. She’d already helped me with vocals on the ‘Hildegard Kalipo Edit’ for FRITTENBUDE; ‘Vantablack’ was a track I struggled to finish, but she loved it. So I asked her to contribute vocals again and in the end, she saved the track.

With its dark post-punk influences, ‘Any Compromises’ appears to be a narrative on the world political climate?

That’s the beauty of lyrics. They allow multiple interpretations. I actually wrote it as a love song, about two people who know exactly what they want and throw themselves into it without compromise, overcoming everything together.

Which are your own favourite tracks on the ‘Alles’ album that might not have been mentioned yet?

‘Crimson Rain’ deserves a mention. It’s very lyric-driven, about being drawn to long nights of excess while also feeling their toll. It touches on depression too, but in vivid, metaphorical imagery, carried by an 80s-inspired beat and vocal. After finishing it, I realized the melody echoed an iconic 80s song that must be deeply rooted in me. I debated whether to keep it, but ultimately found it exciting to leave such references in, as if I reinvented them for myself.

What is next for you and in which guise?

First, I’ll head out on a short KALIPO tour. After that, there will be more from FRITTENBUDE and DINA SUMMER.

ELECTRICITYCLUB.CO.UK gives its grateful thanks to Jakob Häglsperger

Special thanks to Carina Cheung at Eclectica

‘Alles’ is released by Iptamenos Discos on 19th September 2025 in white vinyl LP and digital formats, buy and pre-save link at https://bfan.link/kalipo-alles

KALPPO 2025 tour dates:

Katowice Sixa (4 October), Cologne Yuca (17 October), Vienna Flucc Deck (23 October), Prague Café V Lese (24 October), Zürich Exil (25 October), Munich Live Evil (26 October), Hamburg Turmzimmer (31 October), Lübeck Treibsand (28 November)

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Text and Interview by Chi Ming Lai
Photos by Bastian Bochinski
17th September 2025

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