Tag: Dina Summer (Page 1 of 2)

2025 END OF YEAR REVIEW

14 December 2025 /

50 years from KRAFTWERK appearing on the BBC’s ‘Tomorrow’s World’ to perform ‘Autobahn’ and demonstrate the future of music, as Ralf Hütter remarked at the start of the 21st Century, “electro is everywhere” and can now be made on your mobile phone!

And while the KRAFTWERK brand continues to be fronted by the 79 year old Hütter with an extensive UK tour pencilled in next year, 2025 saw the sad passing of Synth Britannia heroes Dave Ball and Stephen Luscombe, while there was also the loss of COVENANT associate Andreas Catjar-Danielsson, NITZER EBB frontman Douglas J McCarthy and Gary Numan’s brother / former live band member John Webb. Outside of the genre, cult film director David Lynch, BLONDIE drummer Clem Burke, veteran diva Marianne Faithfull, The Prince Of Darkness Ozzy Osbourne and Head Beach Boy Brian Wilson were among those who left this mortal coil.

Musically in 2025, Mari Kattman became the alluring gothic club queen she always had the potential to be on her best album yet ‘Year Of The Katt’. She headed a strong feast of feisty releases from Ela Minus, Marie Davidson, Zanias, Jennifer Touch, Charly Haze, Ani Glass, Emmon, Minuit Machine and Compute alongside those by the female fronted DLINA VOLNY, CAUSEWAY, DINA SUMMER, AUSTRA, NNHMN and PARADOX OBSCUR.

Among the new talent making a good impression were Spike, Shears and Hannah Hu who is currently working on her first album with Dean Honer of I MONSTER. Having already released a couple of albums, on the ascendancy was self-styled Californian “retro electro artist” Sophie Grey who was joined by Trevor Horn during her live cover of ‘Video Killed The Radio Star’ while supporting Sting at the London Forum.

On the gentler side of electronics, Patricia Wolf and Loula Yorke came up with their fabulous respective instrumental offerings ‘Hrafnamynd’ and ‘Time Is A Succession Of Such Shapes’. There was also the return of LADYTRON as well as Alison Goldfrapp, Claudia Brücken and Kim Wilde. Going back to glitzy electropop on her new record ‘Mayhem’, Lady Gaga did an impression of Taylor Swift doing YAZOO on one of its highlights ‘How Bad Do U Want Me?’; meanwhile Taylor herself appeared to have turned into Los Angeles trio CANNONS on ‘The Fate Of Ophelia’, the synthy opening song of her 12th album ‘The Life Of A Showgirl’.

Photo by Oliver Blair

Swedish producer Johan Agebjörn proved to have one of the most prolific years in his music career with not only collaborations with R.MISSING on ‘Fakesnow’ and NINA on ‘Hush Hush Baby’ but also a new SALLY SHAPIRO album ‘Ready To Live A Lie’ and a solo long player ‘Southern Forest’; all this while holding down his day job as a psychotherapist! Another releasing two albums in 2025 was Paul Statham although one was a collection of archive recordings for what could have been the intended 1982 debut album by B-MOVIE entitled ‘Lost Treasures’; the other was a second record from his dark country project THE DARK FLOWERS featuring Jim Kerr of SIMPLE MINDS whose most recent single ‘Your Name In Lights’ had been co-written by Statham.

Impressively, SPARKS got ‘MAD!’ and then ‘MADDER!’ while undertaking a huge world tour with Ron Mael still tap dancing at 80 years of age during the drum solo of ‘No1 Song In Heaven’ and Russell Mael able to hit many of those high notes at 77. As ERASURE made a tentative return with a series of special UK fan club shows to celebrate their 40th anniversary, Andy Bell toured his solo album ‘Ten Crowns’ with KNIGHT$ not doing himself any harm being the opening act on the German leg ahead of a new album ‘Supernatural Lover’ out in early 2026.

After a few years of recorded absence, former TANGERINE DREAM members released long awaited albums with Peter Baumann from the classic line-up issuing the esoteric ‘Nightfall’ while Jerome Froese, son of co-founder Edgar, came up with the guitartronica of ‘Sunsets In Stereo’. Playing with the atonal atmospheres of early TANGERINE DREAM in places, the dark cerebral concept of ‘The Ray Bradbury Chronicles’ by Levente was worthy of investigation.

With their keyboard player Christian Berg now something of a modern day Rick Wakeman, KITE established themselves as a major world force with a spectacular show on ice at Stockholm’s Avicii Arena which saw special guest Nina Persson of THE CARDIGANS skating with the Helsinki Rockettes while singing their mighty collaboration ‘Heartless Places’.

Tom Shear released one of his most impressive and on-point albums as ASSEMBLAGE 23 in ‘Null’ while UNIFY SEPARATE didn’t mince their words on their ‘Heavy Meta’ EP. While Tobias Bernstrup kept the dark Italo flame alive with ‘Shadow Dancer’, Berlin continued to remain a force in underground club culture with two of its leading exponents Franz Scala and Kalipo presenting well-received long players that worked on the home hi-fi as well as on dancefloors. On the more poptronica front, Eddie Bengtsson finally stopped trying to “Numanise” his sound and came up with ‘Inget Motstånd’, a record in the more classic PAGE vein.

While synthwave appeared to be dead (as the controversial blog Iron Skullet declared in 2019), the influx of generic darkwave was a major blight on electronic music in 2025. The major label supported Mareux and his second album ‘Nonstop Romance’ had any potential painfully ruined by overused deliberate distortion to make it sound like it was recorded down a drainpipe.

Meanwhile PORCELAIN DANCER seemed to be the Rob Newman parody of Robert Smith as seen on ‘The Mary Whitehouse Experience’ resurrected only several octaves lower; his live performance provoked unintentional laughter from those who arrived early to see KORINE in London!

DEPECHE MODE released 4 songs that were originally deemed not good enough to put on their 2023 album ‘Memento Bori’ to append the live album accompanying their Mexico City concert film ‘M’. But 2025 was notable for a number of figures in the British DM fan community who were coming out with particularly repugnant far right views, seemingly oblivious to the decades of lyrical messages from the two remaining mixed race band members!

But there was hope in the darker side of synth with A THOUSAND MAD THINGS; with his haunted demeanour while navigating young manhood as a tortured outsider, William Barradale’s doomed romantic delivery reminiscent of Billy MacKenzie and Trevor Herion made him undoubtedly the most promising UK act since MIRRORS; his debut 5 song EP ‘Cry & Dance’ was one of 2025’s best bodies of work. This more than made up for ‘Dance Called Memory’, the extremely dull fourth album from NATION OF LANGUAGE which was anything but memorable…

After looking back at 1981, ELECTRICITYCLUB.CO.UK were pleased to be return to the variously compiled podcast ‘Back To NOW’ to discuss the ‘NOW 1982 Yearbook’ with genial host Iain McDermott and Ian Wade, author of ‘1984: The Year Pop Went Queer’. While general music and culture podcasts such as ‘Back To NOW’, ‘Word In Your Ear’, ‘The Rest Is Entertainment’, ‘The Rockonteurs’, ‘SoundPower’ and Miranda Sawyer’s new offering ‘Talk 90s To Me’ were highly engaging listens, specific broadcasts focussed on synth and electronic music were usually weak, suffering from poor hosting and ham-fisted background research. But when a professional presenter was involved, synth-oriented chats could be enlightening as the appearance of John Foxx on ‘The Adam Buxton Podcast’ proved, despite the annoying jingles that accompanied it.

Featuring commentary from PET SHOP BOYS’ Neil Tennant, the BBC’s retrospective look at the collapse of EMI called ‘Music Money & Mayhem’ showed once again that when those who know nothing about music get involved in the music business, it will end in tears. Looking at the story of the history of Beggars Banquet label in its first series and featuring Gary Numan in its opening episode, ‘States Of Independence’ documented how creative enthusiasm from the heart can actually thrive.

So where are the audiences for live electronic music these days? Certainly, if the full houses for Marie Davidson, Geneva Jacuzzi, Loscil and KITE in London’s club-sized venues were anything to go by, the crowds are out there. This was not the case for some other acts on the circuit at new, cult and one-hit wonder level who were struggling to get above half capacity or had downsized considerably since their perceived highest profile. However, new music night Release Me managed to get very good attendances for their evenings in 2025 with the premise that all acts must perform previously unreleased material; this focus on their events being about the music with announced requests to not talk during sets was a fresh and very welcome approach.

Photo by Tom Casey

Elsewhere, the retro business did prosper with reunions, exhibitions, summer hits shows, classic album tours, deluxe reissues of albums that were never that good in the first place and notable records re-released in yet another expanded set for the 5th or 6th time! There were those trying to exploit the fading nostalgia of those heady romantic times, writing memoirs that left out so many important facts omitted that there were grounds for inclusion in the “fiction” section.

Then there were others releasing overlong collections with an average track length of between 6-8 minutes that no-one asked for nor desired… filtering and editing is such an important aspect to producing music so there was no excuse for these veterans! Some even sent out unmastered music files to review outlets, blissfully unaware that the sound quality might actually be mentioned, only to get stupidly angry about it when highlighted due to their own numbskull promotional abilities; it’s a funny old entitled world…

The positive and negative of modern day music consumption is growth CAN happen organically in its own internet powered niche. But with the fragmentation of promotion with social media actually being a choice despite wider protestations, even the AXS newsletter listing the acts soon to be playing the 20,000 capacity O2 arena in London provoked cries of “WHO?”; but that is how it is now and it needs to be accepted. Why should a Boomer or Gen X-er know about the bright young thing headlining Glastonbury?

However, you CAN create your own musical universe today, not listen to radio, create your own playlists and exclude as appropriate. After all, as Nick Rhodes from DURAN DURAN once remarked: “Good taste is exclusive” –  nobody should have to like what you like and neither should what somebody else likes appeal to you… niche interests are fine.

There is no doubt fandom has become more tribal and is now akin to away game support for football teams. But as a result, it has therefore got more toxic, with some fans getting ridiculously angry on socials about old less-than-positive reviews that David Hepworth, Mark Ellen, Ian Cranna, Dave Rimmer, Tom Hibbert or Neil Tennant might have written for Smash Hits 43 YEARS AGO!! “Bet he regrets that…” someone will quip smugly but the reality is, if there is a review that a writer will regret, from the experience of ELECTRICITYCLUB.CO.UK, it will usually be the one that is too gushing with praise!

The gist of Smash Hits during its imperial phase that coincided with Neil Tennant’s tenure as Assistant Editor was it was a magazine which treated “pop” as the most “important” thing in the world while simultaneously highlighting how “ridiculous” it was too, with references to “the dumper”, “summer colds” and the “tongue sarnie”… often dismissed as a “teen mag”, a good number of teenagers could see through the up-itself pretentions of the NME so relished the more amusing and knowing “scribblings” of the Smash Hits team!

The wider public forgets that it might likely have the benefit of 4 decades of hindsight as well as weekly if not daily plays of a record in the first few years of its possession. While it has always been associated with “free speech”, “opinion” or “freedom of expression”, one of the problems with social media is the narcissistic self-seeking of validation as part of the main character syndrome that afflicts many in this modern world…

With tours in 2026 for KRAFTWERK, OMD, PET SHOP BOYS, CHINA CRISIS, HEAVEN 17, THOMPSON TWINS’ Tom Bailey, BLANCMANGE and Midge Ure among many, there is certainly plenty to keep people busy. Just don’t think everyone else will necessarily share in your passion; as time goes on, there will be a lot more of those who won’t have a clue what you are going on about…

U2 once asked “how long must we sing this song?”; so to end a divisive year where evil men with racist views have been casually normalised, the message outlined in 1981 by a trio of philosophers from South Yorkshire must continue to be repeated loud and clear: WE DON’T NEED THIS FASCIST GROOVE THANG! #FuckFarage #FuckReformUK #FuckTommyRobinson #FuckFlagshaggers #FuckTrump

A Time Called Then: ELECTRICITYCLUB.CO.UK’s Oh 2025 Playlist is at https://open.spotify.com/playlist/1xXptdmcHAvXnXni6hjVnA

Text by Chi Ming Lai
14th December 2025

ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2025

10 December 2025 /

Sometimes ELECTRICITYCLUB.CO.UK does wonders what century it is living in?

One individual complained on social media that there were far too many women in ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2024 earlier this year; well they really are out of luck because this time round, only 8 out of the 30 songs listed are of an entirely male preserve as in 2025, the female side of synth was strong.

As in the past, ELECTRICITYCLUB.CO.UK continues to curate its end of year summary around songs rather than albums as the best representation of an annual period thanks to the long gestation periods of many albums and EPs. Although the last 12 months were plagued with generic darkwave to take the place of the insipid synthwave that was prevalent for a period, there were glimmers of creative hope in electronic pop.

While this year’s list was quite straightforward compile, worthy mentions must be given to NNHMN and SIN COS TAN as well as Zanias and Kalipo who all had tracks that just missed out on inclusion in the final list of 30. Available on the usual online platforms with a restriction of one song per artist moniker and placed in alphabetical order, for better or for worse, these are ELECTRICITYCLUB.CO.UK’s 30 SONGS OF 2025…

ASSEMBLAGE 23 The Line

With its on-point social commentary, ‘Null’ ranks among Tom Shear’s best albums as ASSEMBLAGE 23. Galloping mightily to ‘The Line’, a blend of dark electronic pop influences provide an album standout full of resigned drama when “it doesn’t matter anyway…”; reflecting on political polarisation affecting friendships, he said “you have to evaluate whether you want to keep these people in your life or do you really need to let them go…”

Available on the ASSEMBLAGE 23 album ‘Null’ via Metropolis Records

https://www.assemblage23.com/

AUSTRA Math Equation

Back as AUSTRA, ‘Chin Up Buttercup’ was a cathartic record capturing the aftermath of Katie Stelmanis’ break-up with her long-term partner. Like a discontented ‘Can’t Get You Out Of My Head’, the superb ‘Math Equation’ sees a sad but dancey syncopated dance tune with frank observations of navigating modern dating. “You said I needed my own friends and then you f*cked them” she despaired as elegiac synths mourn the end.

Available on the AUSTRA album ‘Chin Up Buttercup’ via Domino Recordings

https://austra.fyi/

TOBIAS BERNSTRUP Under Heavy Strobe Light

Swedish dark Italo artist Tobias Bernstrup is back with his seventh studio album ‘Shadow Dancer’. According to Bernstrup, it “explores the tension between appearance and reality—how we perform identity, desire, and memory in a world flooded with simulation”. On ‘Under Heavy Strobe Light’, the beats pump harder and the voice is deeper but as the title suggests, this throbbing excursion is made for “creatures of the night” who love the dancefloor.

Available on the TOBIAS BERNSTRUP album ‘Shadow Dancer’ via Nadanna Records

http://www.bernstrup.com/

CAUSEWAY featuring ENDLESS ATLAS Anywhere

Although CAUSEWAY maintained their cinematic dreamwave sound on the ‘Anywhere’ album, its title track was a key statement that went all Motorik and minimal with the guitar of Dale Hiscock from ENDLESS ATLAS contributing the West Coast meets Düsseldorf flavour. Eschewing the density of most of the tracks on the album, the duo’s Marshall Watson said “To me it feels very ‘out of the box’ for CAUSEWAY but it fits in our universe”.

Available on the CAUSEWAY album ‘Anywhere’ is released by Sprechen Music

https://www.facebook.com/wearecauseway

CLAUDIA BRÜCKEN Shadow Dancer

‘Night Mirror’ saw Claudia Brücken back working with John Williams who produced her third solo album ‘Where Else…’; with her characteristic ice maiden cool, the brilliant ‘Shadow Dancer’ turned the album on its head with an uptempo electronically driven number with minimal rhythm guitar and piano sparring off the synthetic stabs and metronomic rhythms. Here Claudia’s assuring poetry was supreme in this divine slice of avant pop.

Available on the CLAUDIA BRÜCKEN album ‘Night Mirror’ via Demon Music Group

https://www.claudiabrucken.co.uk/

COMPUTE Närmare

Through circumstance and by choice, Ulrika Mild is perhaps one of the best kept secrets in Swedish electronic pop. Under her alias of COMPUTE, she says “I’m just a girl standing in front of a machine asking it to go ‘bleep bloop’…” but there was a darker if still melodic presence on her ‘NKI’ EP. Its opening song ‘Närmare’ was a feisty club friendly track that acted as an observation about the world problems that threaten human existence.

Available on the COMPUTE EP ‘NKI’ via https://computopia.bandcamp.com/

https://www.facebook.com/computopia

MARIE DAVIDSON Fun Times

Co-written and co-produced with SOULWAX, ‘City Of Clowns’ was the first album from Marie Davidson in over 4 years. More English than French but also more song-based, she had some ‘Fun Times’ on a spiky vibrant number about not having children and challenging the now-prevalent far right view that a woman’s only meaningful role in society is reproducing… why bother with all that when her babies can be her art and her fun?

Available on the MARIE DAVIDSON album ‘City Of Clowns’ via DEEWEE

https://www.facebook.com/mariedavidson.official

DIE SEXUAL Magic Never Dies

From out of the shadows to under the strobe lights, DIE SEXUAL are the erotically charged Los Angeles-based duo of Anton Floriano and his wife Ros. DIE SEXUAL’s dark electronic influences examine themes of domination and submission. The cut and thrust of ‘Magic Never Dies’ provided another throbbing banger for the alternative dancefloor to enable responsible misbehaviour and to dance like nobody’s watching.

Available on the DIE SEXUAL EP ‘Desire’ via https://diesexual.bandcamp.com/

https://www.instagram.com/diesexualofficial/

DINA SUMMER Disco Goth

For the second DINA SUMMER album, there was a natural progression from the previous EP ‘Hide & Seek’, playing on its darker but still club friendly aesthetics. Straddling the worlds of electronic disco and alternative rock, ‘Disco Goth’ heads to the dancefloor as frantic throbbing electronics is accompanied commentary on how to get that look. There is an energetic thrill that comes from the decadent dance and being in the ‘Girls Gang’.

Available on the DINA SUMMER album ‘Girls Gang’ via Iptamenos Discos

https://dinasummer.berlin/

DLINA VOLNY Chant

Playing with the physics of sound while exploring a variety of introspective themes, exiled Belarusian trio DLINA VOLNY understandably now sound heavier than they ever have before, but have retained their all-important melodic contrasts to counter any possibilities of proceedings becoming too dirgey. Playing on their post-punk sensibilities, the exuberant if still sombre ‘Chant’ imagines Siouxsie gone Motorik…

Available on the DLINA VOLNY album ‘In Between’ via Italians Do It Better

https://dlinavolny.com/

EMMON & MAJESTOLUXE Blood On The Ceiling

As EMMON, Emma Nylen has evolved since her 2007 indie synthpop debut ‘The Art & The Evil’ into a more rugged EBM inclined direction as captured on the mighty ‘Blood On The Ceiling’, her collaboration with subarctic urban industrial artist MAJESTOLUXE. Suitably dark and complimented by chilling, mass murderer-themed lyrics, its hypnotic sonic carousel was inspired by German electropunk pioneers LIAISONS DANGEREUSES.

Available on the EMMON album ‘Icon’ via https://emmon.bandcamp.com/

https://www.facebook.com/emmonsweden/

https://www.facebook.com/majestoluxe

GLITBITER Bury The Sky

The musical vehicle of LA-based New Yorker Florence Bullock, following the release of her debut EP ‘Short Stories’ in 2017, she went on to collaborate with BETAMAXX on ‘Skyhigh’ in 2019 before her most recent EP ‘Glass & Steel’ in 2021. ‘Bury The Sky’ is the first GLITBITER song in quite a few years and imagines a “girl on a mountain” in this delightful slice of fantasy futurism and fascinating rhythms that are fast if not furious.

Available on the GLITBITER single ‘Bury The Sky’ via https://glitbiter.bandcamp.com/track/bury-the-sky

https://www.facebook.com/glitbiter

ALISON GOLDFRAPP Hey Hi Hello

With the 20th Anniversary of ‘Supernature’, it seemed appropriate after the HI-NRG stomp of her debut ’The Love Invention’ that the new Alison Goldfrapp solo album would recall some of the serene avant pop that characterised that record. Co-produced by Stefan Storm of THE SOUND OF ARROWS, ‘Hey Hi Hello’ was exuberant but bittersweet pop and less full on, written during a period when she became single for the first time in years.

Available on the ALISON GOLDFRAPP album ‘Flux’ via AG Records

https://www.alisongoldfrapp.com/

ERIKA GRAPES & EUGENE Love Is A Bitch

A cover of American singer-songwriter Bill Dess, best known as Two Feet, the Italian pairing of Erika Grapes and Eugenio Valente acknowledged that ‘Love Is A Bitch’ in this slo-mo reworking of a modern blues number about how blindfolded love cam lead to a trail of toxic events. Seen through a twisted industrial lens in the wake of a heavy relationship breakup, the sub-bass tension and keyboard motifs exuded a glorious cinematic gothique.

Available on the ERIKA GRAPES & EUGENE single ‘Love Is A Bitch’ via https://erikagrapes.bandcamp.com/

https://www.facebook.com/ErikaGrapesMusic

https://www.facebook.com/eugenemusic

MARI KATTMAN Typical Girl

Self-producing for the first time, Mari Kattman decided it was the ‘Year Of The Katt’; what is now on offer is a collection of mostly catchy electronic songs with crossover potential for the dance floor. This was exemplified by this pumping industrial pop anthem where in a protest song against female stereotyping, our heroine rebels against cast being seen as “a difficult person” and a ‘Typical Girl’ to question “who’s gonna love you now…”

Available on the MARI KATTMAN album ‘Year Of The Katt’ via Metropolis Records

https://www.facebook.com/MariKattman/

KITE featuring NINA PERSSON Heartless Places

Now fully able to explore their position as the world’s leading dark synth duo, Nicklas Stenemo and Christian Berg pushed presentation boundaries during the KITE On Ice spectacular at Stockholm’s Avicii stadium. Featuring Nina Persson of THE CARDIGANS, the rumbling ‘Heartless Places’ utilised sinister vocal pitch shifts to capture a bleakness where a world of “hollow faces” are now “caught between hell and loneliness”.

Available on the KITE single ‘Heartless Places’ via DAIS

https://www.facebook.com/KiteHQ

https://www.instagram.com/theninapersson/

LADY GAGA How Bad Do U Want Me?

The ‘Mayhem’ album saw Lady Gaga her return to the glitzy electropop with which she found ‘The Fame’. With its array of classic influences, a Siouxsie interpolation figured on ‘Abracadabra’ while ‘Killah’ crossed DAF with Prince! But on ‘How Bad Do U Want Me?’, the diva born Stefani Joanne Angelina Germanotta used a sample from ‘Only You’ by YAZOO and paid homage to Taylor Swift’s CHVRCHES inspired synthpop tunes!

Available on the LADY GAGA album ‘Mayhem’ via Interscope

https://www.ladygaga.com/us-en/

LADYTRON I Believe In You

With LADYTRON now slimmed down to a trio of Helen Marnie, Daniel Hunt and Mira Aroyo following the departure of co-founder member Reuben Wu, the great new first single from the reconfigured line-up has been described as “high-priestess disco”. ‘I Believe In You’ certainly possesses an infectious house groove previously not heard from LADYTRON while still undoubtedly recognisable as them as they head to dancier climes.

Available on the LADYTRON single ‘I Believe In You’ via Nettwerk

http://www.ladytron.com

ELA MINUS Onwards

Following up her 2020 long playing debut ‘acts of rebellion’, Colombian artist and producer Ela Minus presented ‘DIA’, an album about becoming. Having been weaned on FUGAZI and played in hardcore punk bands, she gradually drifted towards synthesizers as they allowed her to work alone and more swiftly. The thumping thrill of ‘Onwards’ did battle with drops galore while tuning signals acted as the hooks.

Available on the ELA MINUS album ‘DIA’ via Domino Recordings

https://www.elaminus.com/

PAGE Kan Inte Tänka På Allt

After a period of Numanisation across the last three PAGE albums with mixed results, Eddie Bengtsson and Marina Schiptjenko totally dialled down the Numan elements on the ‘Inget Motstånd’ album. The opening lead single ‘Kan Inte Tänka På Allt’ provided a good start, featuring incessant drum machine and an enticing cacophony of electronics to revisit the punkier poptronica ethos of the PAGE of old in its energetic pace.

Available on the PAGE album ‘Inget Motstånd’ via Energy Rekords

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

PolyDROID Six Of One

What a 2025 Dubliner Brian O’Malley has had… not only did two thrillers ‘Nine Bodies In A Mexican Morgue’ and ‘Frauds’, which he directed 3 episode of each, both air on UK terrestrial television, he also returned to his solo electronica adventure PolyDROID with two new recordings; one was a vocoder-laden cover of ‘The Sound Of Silence’ but the other was ‘Six Of One’, an original instrumental inspired by Number Six from ‘The Prisoner’.

Available on ‘ICE MACHINES: The Album – For the Joy of Synths & Friendship’ (V/A) via https://icemachines.bandcamp.com/

https://www.facebook.com/polydroid

R. MISSING & JOHAN AGEBJÖRN Fakesnow

With a deep bass and hypnotic loop attached to an Italo disco beat, the ever prolific Swedish producer Johan Agebjörn felt having mixed one of their tracks ‘Verónica Pass’ under the SALLY SHAPIRO banner back in 2022, that ‘Fakesnow’ would suit the vocal approach of the enigmatic New York darklings R. MISSING. The combination was a chilling match made in heaven. “Sharon Shy really turned it into a great song” Agebjörn said, “I’m really happy about it”.

Available on the R. MISSING & JOHAN AGEBJÖRN single ‘Fakesnow’ via https://agebjorn.bandcamp.com/

https://www.instagram.com/r.missing/

RUTH RADELET, NAT WALKER & ADAM MILLER The Wild Unknown

A three quarters reunion of CHROMATICS saw Ruth Radelet, Nat Walker and Adam Miller record 4 tracks for a teenage adventure game soundtrack that revisited the dreamy synth and guitar sound that characterised songs such as ‘Shadow’ and resonated with the game’s Super 8 aesthetics. Complimented by Radelet’s forlorn vocals, ‘The Wild Unknown’ presented an ethereal soundscape punctuated by a glorious synthesizer solo to close.

Available on the album ‘Lost Records: Bloom & Rage – Original Game Soundtrack’ (V/A) via Kid Katana Records

https://www.instagram.com/ruthradelet/

SALLY SHAPIRO Guarding Shell

Despite being said to be the darkest album of their career, ‘Ready To Live A Lie’, the fifth album from Swedish duo SALLY SHAPIRO paradoxically comes as a rather uplifting listening experience in its relatable themes. The marvellous ‘Guarding Shell’ though explores post-relationship trust issues while Johan Agebjörn drops in the same D-50 preset used on OMD’s ‘Big Town’ in the intro before hitting classic wispy Sally mode.

Available on the SALLY SHAPIRO album ‘Ready To Live A Lie’ via Italians Do It Better

https://www.facebook.com/shapirosally

SPARKS Porcupine

Following their rapturously received album ‘MAD!’ and its accompanying world tour, SPARKS got even ‘MADDER’ with their first ever EP. Throwing synths, glam and brass into the mix, ‘Porcupine’ appears to refer to a spiky woman who is “Not your cuddly kind” so “Save your Valentine”. Rather appropriately, the accompanying video shows British popster Self Esteem in bunny boiler mode running over The Mael Brothers in a excavator!

Available on the SPARKS EP ‘MADDER!’ via Transgressive

https://allsparks.com/

SPIKE Tiqutonne

Spike is the nom de théâtre of London-based singer-songwriter Hannah McLoughlin who delivers a brand of macabre disco dealing with the undead and the inhuman. Having impressed with a deadpan electronic cover of Warren Zevon’s ‘Werewolves Of London’, the melancholic Motorik rave of ‘Tiquetonne’ delightfully interpolated ‘Con Te Partiro’ aka ‘Time To Say Goodbye’ as made famous by Italian tenor Andrea Bocelli.

Available on the SPIKE EP ‘Spike’ via God Nation

https://www.instagram.com/__s.p.i.k.e.__/

SUND featuring KNIGHT$ I Die For This Love

A member of Swedish trio CRED who issued their debut single ‘Every Loss’ in 2022, ‘I Die For This Love’ was Bjarne Johansson Sund’s first solo effort. Teaming up with James Knights on vocals for this captivating Europop tune, a chunky bassline, icy strings and orchestra stabs complimented this emotive tale of yearning. The public response was so positive that the song now finds a place on the second KNIGHT$ album out in 2026.

Available on the forthcoming KNIGHT$ album ‘Supernatural Lover’ via Specchio Uomo

https://knights101.com/

A THOUSAND MAD THINGS Local Guys

Marrying the pleasure with the pain, A THOUSAND MAD THINGS is the solo synth artist William Barradale. Finding solace in untempered expression, his debut EP ‘Cry & Dance’ was one of the best releases of 2025. With his haunted demeanour and navigating young manhood as a tortured outsider, ‘Local Guys’ was embroiled in tension, showcasing his emotional range as he reflected on the violent turns of former acquaintances.

Available on the A THOUSAND MAD THINGS EP ‘Cry & Dance’ via Nettwerk

https://www.instagram.com/athousandmadthings/

UNIFY SEPARATE Slow Armageddon

In an increasingly dystopian world where the two biggest nuclear nations are being led by unhinged egomaniacs, the Scottish-Swedish duo of Andrew Montgomery and Leo Josefsson provided their “sanity clause” as UNIFY SEPARATE confronted an existential crisis that was more than about midlife. Swathed in rhythmically swung anguish like an electro-industrial MUSE, ‘Slow Armageddon’ was their most political and timely song yet.

Available on the UNIFY SEPARATE single ‘Slow Armageddon’ via https://unifyseparate.bandcamp.com/

https://www.unifyseparate.com/

PATRICIA WOLF Early Memories

Icelandic for “raven film”, Patricia Wolf composed the soundtrack for ‘Hrafnamynd’, an unconventional nature documentary by director Edward Pack Davee looking back on his childhood living in Iceland. Largely created using the UDO Super 6 binaural analog-hybrid synthesizer, it enabled Wolf to sound modern while also giving the emotive fuzzy tones heard on the album opener ‘Early Memories’ to correspond with the film’s nostalgic narrative.

Available on the PATRICIA WOLF album ‘Hrafnamynd’ via Balmat

https://www.facebook.com/patriciawolfmusic

A Time Called Then: ELECTRICITYCLUB.CO.UK’s Oh 2025 Playlist containing over 190 tracks from the year can be listened to on Spotify at https://open.spotify.com/playlist/1xXptdmcHAvXnXni6hjVnA

Text by Chi Ming Lai
10th December 2025

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

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

Text and Interview by Chi Ming Lai
10th November 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)

https://www.facebook.com/itskalipo

https://www.instagram.com/itskalipo/

https://www.threads.com/@itskalipo

https://www.youtube.com/@kalipoofficial

https://www.tiktok.com/@kalipomusic

https://kalipo.bandcamp.com/

https://soundcloud.com/kalipo-1

https://open.spotify.com/artist/7ud6dY3K4gi4Q0uVlLd8Hi

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

DINA SUMMER Girls Gang

23 January 2025 /

A Berlin union between LOCAL SUICIDE, the Greco-German technodisco couple Dina Pascal and Max Brudi with Nu-disco exponent Jakob Häglsperger, better known by his stage moniker KALIPO, DINA SUMMER follow up 2024’s ‘Hide & Seek’ EP with a new album ‘Girls Gang’ to welcome in 2025.

‘Hide & Seek’ was a fine blend of new wave, synthpop, dark disco, techno and Italo with a cutting Mittel Europa edge and ‘Girls Gang’ is a natural progression, playing on its darker but still club friendly aesthetics compared with the Italo flavoured debut album ‘Rimini’ from 2022.

Setting the scene, the ‘Girls Gang’ title song adopts the hypnotic pulse of BOY HARSHER in a seductive celebration of “girls in black”, of dancing to BAUHAUS and DEAD CAN DANCE in a dedication to female icons such as Morticia, Wednesday, Vampira, Elvira and Siouxsie. A German phrase meaning “sound and smoke”, the equally uptempo ‘Schall & Rauch’ plays with female and male vocals in the second half for some haunted post-punk disco.

Much more intense, the sonic cathedral of ‘Nothing To Hide’ paces down with textural guitar interventions sitting alongside synthetic choirs and a rattling percussive backdrop. Upping the momentum and embracing the outsider, ‘Alien’ throbs gloriously in a manner calling Miss Kittin & The Hacker as DINA SUMMER make demands to “take me to your leader” as “we are aliens!”

Named after the popular holidaying destination in Northern Greece known for its sandy beaches, the comparatively lighter ‘Halkidiki’ is an infectious electronic club tune made for sultry summery nights and shines with bliss before the darker climes that come with ‘Promise Me’; this sees Berlin-based New Yorker Luca Venezia of CURSES guest with his anguished lead accompanied by Joshua Murphy’s six string for a burst of melodic goth rock embroiled in longing.

The gothic theme continues on ‘Hypnotized’ which musically borrows from BAUHAUS and THE CURE as stabbing synths offset the doom-laden bass guitar while ‘Zombie’ continues on a not too dissimilar footing fully in keeping the song’s theme.

‘Disco Goth’ gets back to clubland as frantic throbbing electronics with commentary on how to get that look while the tense ‘FOMO’ continues the action under strobe lights and plays on that “fear of missing out”. The closer ‘No More Tears’ falls under the spell of THE SISTERS OF MERCY and goes for the full Doktor Avalanche blow out although the bursts of synth are the dead giveaway that this is not actually Andrew Eldritch and Co.

Despite its title, ‘Girls Gang’ does actually feature more male vocals than its predecessors while there also are more of the guitar-driven elements associated with goth creeping in which is quite timely given the recorded return of THE CURE. In much as the same was as NEW ORDER have done in the past, the album manages to straddle the worlds of electronic disco and alternative rock. As with acts like DIE SEXUAL, despite the apparent darkness, there’s an energetic thrill that comes from the decadent dance and the willingness to be one of the gang.

‘Girls Gang’ is released by Iptamenos Discos on 24 January 2025 as a vinyl LP, vinyl LP with bonus 12” with remixes, CD and download, available from https://dinasummer.bandcamp.com/album/girls-gang-idi021

DINA SUMMER 2025 Live Dates include:

Berlin Rough Trade (27 January), Berlin Lido (13 March), Zürich KAUZ (14 March), Mainz Schon Schön (20 March), Munich Rote Sonne (22 March), Hamburg Bahnhof Pauli (27 March), Leipzig Conne Island (29 March), Wroclaw Transformator (5 April)

https://dinasummer.berlin/

https://www.facebook.com/dinasummermusic/

https://www.instagram.com/dinasummermusic/

https://www.tiktok.com/@dinasummermusic

https://soundcloud.com/dinasummer

Text and Interview by Chi Ming Lai
Photos by Katja Ruge
23rd January 2025

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