Tag: Johan Agebjörn (Page 1 of 4)

BUNNY X: The Ms & Ms Interview

Navigating the glass towers of ambition as post-grad working girls for their recently released third album ‘Love On A High Floor’, BUNNY X captured the excitement of entering the workplace and mutated their retrowave sound into what they called “officewave”.

Now comprising of Abigail Gordon and Jenny Bates, BUNNY X presented a fantasy nostalgia that recalled career ambitions, office romances, cocktail bars, late-night taxi rides taxi and penthouse suites. However, set against the backdrop of Wall Street excess, “greed is good” and the New York City real estate boom, ‘Love On A High Floor’ also explored the seductive promise of the American Dream and the disillusionment that often follows its pursuit.

ELECTRICITYCLUB.CO.UK called Ms Gordon and Ms Bates on their Motorola DynaTACs for an interview in the style of the old married couple TV quiz show ‘Mr & Mrs’. The pair answered the same questions on their creative partnership and personal relationship separately without knowing the other’s answers… so here playing ‘Ms & Ms’ are BUNNY X…

What was your first impression of the other?

Abbi: In the iconic words of Kylie Minogue, it was love at first sight. Jenny and I met through a close mutual friend and I was struck with Jenny’s warmth, beauty and intelligence and knew I wanted to be her friend. After some years had passed, we were at another mutual friend’s karaoke themed birthday party in March 2020 just about a week or two before lockdown when Jenny busted out a sick rendition of ALICE IN CHAINS’ ‘Man In The Box’ and my jaw was literally on the floor. I was blown away by Jenny’s incredible pipes and I’m pretty sure I immediately approached and asked her how the heck I was just hearing her sing for the first time.

Jenny: I had the privilege of first seeing Abbi shine on stage in BUNNY X, so my initial impression was “wow” (of course) and how awesome she was as a performer. Little did I know she was going to be the coolest human being ever and eventually, become my best friend.

What song by another artist does the other love that you hate?

Jenny:  I truly don’t hate any music that she loves.

Abbi: Jenny loves her 90s music and while I certainly don’t mind listening to PEARL JAM’s ‘Ten’ on occasion, I could also go the rest of my life without. So I’d say that. But I’d also say that Jenny is perfect at all times so there is that.

What was the moment that you knew you could be in a band together?

Jenny: This was a somewhat gradual process born out of so much support. Abbi and I were hosting a monthly salon / evening called ‘Risky Business’ with Andy Diamond (from my other band, DIAMOND FIELD). The idea was that BUNNY X and DIAMOND FIELD would share the first hour of the night to perform. This format, organically, allowed BUNNY X to try new configurations and eventually have me sit in on a few songs towards the end of the set. It soon became clear that having someone to play off of on stage, harmonize with and also having the visual dynamic of two strong women, an image that’s been BUNNY X’s selling point for over 15 years, was the way to move forward.

Abbi: Honestly probably when she busted out some incredible karaoke at what ended up being our last hurrah before Covid, but it really hit me when Jenny stepped in to help out when Mary (one of our best friends and founding BUNNY X member) became ill and could no longer perform with me.

Sometime after that, Jenny and I started to perform together regularly for our ‘Risky Business’ 80s inspired party that we would throw in NYC when the line-up would consist of DIAMOND FIELD, BUNNY X and a guest musician and DJ. Jenny started to join me for part of my set and then over time, it just became clear that the show would be better if she joined me for the entire set. So, we began to perform together in largely an organic way.

What’s the skill or trait which the other has in abundance that you wish you had?

Abbi: Her tenacity and resilience and energy. Phew, my girl has these characteristics in spades while I (especially of late) find myself wanting to spend more and more time on my couch reading a good book. She really helps to energize me and keep the project moving forward when I need a boost. I really value that and I also value her business acumen. Jenny has really played a pivotal role in helping us professionalize our project and I think our last album – which is our most ambitious project to date – really shows that.

Jenny: The ability to write incredible top line melodies with such regularity. Abbi is constantly sending me ideas for new songs.

When Mary left BUNNY X, things could have gone either way… how did you handle the situation?

Abbi: It’s been hard, I’m not going to lie. It’s been an impossible situation for all of us in many ways, especially and most importantly for Mary and her immediate friends, family and long-time partner. Jenny has been nothing but graceful, kind and loving throughout the entire scenario and we have done our very best to honor Mary during every performance and every song we sing. Our new album is dedicated to her and she will always be an integral part of the BUNNY X story and our lives.

Jenny: It was personally important to me to do two things: 1) Honor Mary’s time in the band and celebrate the beauty of her voice. 2) Make sure Abbi had the partner she needed in order to keep BUNNY X going. This was the most important reason for me joining the band. I was a BUNNY X fan first, and I think Abbi is such a huge presence in the synth scene. If I had to give one reason why I joined the band, it was to keep the band going so Abbi could continue writing.

How would you describe your songwriting dynamic?

Abbi: In a nutshell, Jenny puts up with me when I send her random demos at random intervals, sometimes very late at night. We tend to do it this way, work on demos on our own and then present them to each other and tweak as or if needed. Then, we head into the studio to record once we feel the demo is in good enough shape to move forward into production. Plenty of stuff winds up on the cutting room floor as it were and that’s okay as sometimes these ideas can be revisited for future tracks. We tend to do the most tweaking during the recording and production process in the studio. I will say that our demos generally don’t change a whole lot once we have an idea down. I think we both kind of know when a demo has that “it” factor that should be moved into production and others that didn’t quite hit the mark for whatever reason.

Jenny: Every band has to have a leader, and Abbi is BUNNY X’s. But she is absolutely open to my ideas whenever we’re in the studio together. Both melodically and lyrically.  I’ve also written full songs (top-to-bottom) for the project and they may have a bit more of a rock edge to them, like a bit more 80s, Pat Benatar or HEART flare). For example, ‘Take Me Away’ on ‘Love On A High Floor’; what I would say my number one contribution while we recording is mapping out all of the harmonies. That’s my forte.  We also work with our producer GOSTEFFECTS who really helps take what we have in our heads to create the final tracks.

Is there a fashion item that is owned by the other that you covet?

Jenny: We practically share each other’s closet so what’s mine is hers and what’s hers is mine! But she does have the best low-cut V-neck halter dress that she looks amazing in!

Abbi: Well, given that we tend to twin it for the vast majority of our shows, we tend to have and wear a lot of the same things. Jenny did just recently get an incredible custom leather jacket that I’ve been eyeing though… 😉

When was the last time you walked out angry after a disagreement between you and how did you resolve it?

Abbi: Well, we are basically head over heels for each other, so this honestly doesn’t ever happen! There are times we may have slightly different visions as we’re finessing a track under production but it’s always very minor (eg should the ending of song X have a hard stop or fade out, should we tweak a word or phrase in the lyrics etc.). If she feels very strongly about something and really has a vision for it, I am happy to defer and vice versa.

Jenny: It’s literally never happened. We are adults and know how to manage disagreements.

How do you look back on the making and subsequent reception of ‘Love On A High Floor’?

Abbi: It was a ton of work as we really wanted to up the ante but honestly for us it has all been worth it. People seem to like it and I think they got a kick out of the “Officewave” aesthetic and our silly antics on Instagram as we told this story and attempted to create this universe. It’s been a lot of fun and it gives us both great pride to see the final product make its way out in the world.

Jenny: I still don’t think it’s truly hit me how awesome everything was / is. ‘Love On A High Floor’ has been out into the world for just about a month now and hearing feedback like… it will be known as “one of best synthwave albums” of the year is truly humbling. The community surrounding the genre is incredibly supportive and we cannot thank everyone enough for their energies in celebrating the album and buying the physical copies! They say everything tastes better when you cook with love, well this album was cooked with a lot of love, laughter and great times in the studio. It also took a lot of diligent hard work, and we are extremely proud of it. Abbi and I miss our regular morning to midnight sessions with GOSTEFFECTS each weekend. But, those will start again soon. We are already planning album #4!

There’s a new BUNNY X collab coming with Johan Agebjörn called ‘Filled Me Up’ that’s on his new album ‘Casablanca Nights 2’ how did that come about?

Abbi:  Yes! We’re really excited about it. I’ve been a fan of Johan’s longtime project Sally Shapiro since probably around 2007 so it’s been a true honor to be able to work with him. The collab came together really quickly and easily and I’ve really enjoyed messaging with Johan off and on over the past few months. We are very pleased to be included and are big fans of the other artists on the album.

Jenny: Johan Agebjörn wrote to Abbi and asked us to collab and sent us the track he wanted us on. Abbi and I split up the writing and singing duties. Our vocals were recorded by Grammy winner Tony Lake. The compilation album is the “who’s who” of the synth world so I’m very honored that we are going to be part of it. And I think the track is gorgeous.

What’s your favourite BUNNY X song?

Jenny: I’ve been a longtime fan of ‘Unknown Places’, it’s one of my favorite tracks to sing and is incredibly haunting. Choosing from ‘Love On A High Floor’, I think ‘Believe In You’ and ‘Business Trip’ are running neck-in-neck for first place right now. But it’s so hard to pick just one. BUNNY X has so many genres within their catalogue so it depends on what mood you’re in when choosing your favorite track!

Abbi: Hmm I am really partial to ‘Still On My Mind’, one of the many collaborations we’ve done with the incredible SELLOREKT / LA DREAMS that was on our first album ‘Young & In Love’. I remember how nervous I was to reach out to Kevin (SLA DREAMS) about a potential collab and he couldn’t have been nicer. His music is so special and I really wanted to add a vocal topline to his original instrumental track and lucky for us he was up for it. I think the track also really captures the essence of the nostalgic vibe we have been trying to go for as well.

How do you decide what songs to perform, do have an individual power of veto?

Abbi: We do tend to perform a lot of the same ones as people seem to enjoy certain ones during our live shows such as ‘We Demand Fun’, ‘Perfect Paradise’ and ‘Daydreaming’. Since we have a lot of material now, we try to do at least one track on each album and lately we’ve been performing a lot of the new material. We’ve been performing lately with our longtime close friend and collaborator Conrad “Connie” Kaneshiro who has been joining us on stage for some Italo disco medleys. We call this part of the set the “Connie Rock Block” (CRB).

Jenny:  Abbi and I are usually on the same wavelength when choosing our set lists. But I usually defer to her final decision. As Abbi and I split singing lead on a lot of tracks, we also want to make sure we each have equitable time to shine during a set. Recently, as one might assume, we’ve been slowly rolling out and concentrating on the new songs from ‘Love On A High Floor’.

What is your favourite city to perform in?

Abbi: Well we typically play the most in Brooklyn which is my home base personally, so I prefer to play at the local venues in and around Brooklyn. It’s great to play in Manhattan as well as it’s more central and easier for some friends and fans to get to. We hope to expand our reach a bit and do an East and West Coast mini-tour at a point and we have always wanted to play in the UK so fingers crossed we can find a way to set that up before long… 🙂

Jenny: NYC has always been so supportive of the band. But we are excited to start visiting more cities soon here in the states and hopefully across the pond!

What is the essential thing that you can’t do without?

Jenny: Empathy. And a soda after a performance 😉

Abbi: Synthwave of course! Also Jenny, Daniel, sparkling water and my Romantasy / Sci-Fi books.

What’s the most annoying habit that the other has?

Jenny:  Not believing in herself 100% of the time! Other than that, Abbi is my perfect Bunny!

Abbi: Honestly, she’s too perfect – I’m like save some for the rest of us! Who can compete??

Which do you think is the other’s “go to” karaoke song?P

Abbi: My girl loves her 90s so definitely ‘Man in the Box’ and songs in that general wheelhouse. She also does a killer rendition of ‘White Rabbit’.

Jenny: One of the songs I love hearing her sing at karaoke is ‘Rush Hour’ by Jane Wiedlin.

What’s your favourite concert by another artist?

Jenny: I had an amazing time seeing GHOST this year. They had everyone put their phones in Yondr pouches so it was a truly enjoyable experience without little screens glowing everywhere.

Abbi: So many but I recently caught PETER HOOK & THE LIGHT and they put on a fantastic show.

If you had been Andi in ‘Pretty In Pink’, would you have chosen Blane or Duckie?

Jenny: Probably Duckie. Funny enough, I worked with Jon Cryer’s dad, David Cryer, when he was in the national tour of ‘The Phantom of the Opera’. I’ve been the press and marketing manager on that tour for the past 25 years.

Abbi: I think I would have been enamored by Blane at first but ultimately would have chosen Duckie as he was the real ride or die partner.

‘Two Broke Girls’ or ‘Romy & Michele’s High School Reunion’?

Abbi: Romy & Michele all the way.

Jenny: I think we would have more fun playing off of ‘Romy & Michele’s…’ though someone just noted that BUNNY X is very ‘Practical Magic’ coded, so I think that’s the true winner.

Which female actress pairing, past or present is most like BUNNY X?

Abbi: I’m gonna go with ‘Practical Magic’ as I think Jenny is the more Sandra Bullock-esque grounded of the two of us and is the glue that keeps everything and everyone together in so many aspects of her life to include her family, work and our project. I think I share some of those same qualities too, but I can also be a bit more in the clouds at times like Nicole Kidman’s free spirit character was in the movie. I am also slightly more morally grey like Kidman’s character while Jenny is more likely to give people the benefit of the doubt and take the high road. Also, have you seen our hair lately? Jenny’s our beautiful brunette and I am back to a strawberry / red tone. Amirite?!

Jenny: I think we may need to stick with the ‘Practical Magic’ theme here. Abbi is Nicole Kidman and I’m Sandra Bullock in this equation. Abbi absolutely brings the wistful playfulness to the band and every room she enters. People adore her. I feel I bring a bit of the bookish practicality (with an edge) to the band. Together – we are magic!


ELECTRICITYCLUB.CO.UK gives its warmest thanks to BUNNY X

‘Love On A High Floor’ is released by Aztec Records, available as a CD, vinyl LP, cassette and download from https://bunnyx.bandcamp.com/

https://www.bunnyxmusic.com/

https://www.facebook.com/BunnyXmusic

https://www.instagram.com/bunny_xmusic/

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

https://bsky.app/profile/bunnyxofficial.bsky.social

https://linktr.ee/bunnyxmusic


Text and Interview by Chi Ming Lai
5th October 2026

2025 END OF YEAR REVIEW

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

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

JOHAN AGEBJÖRN Southern Forest

Although best known for his work with Sally Shapiro, Swedish musician and producer Johan Agebjörn has always maintained a parallel solo umbrella for his various arctic ambient, piano, instrumental, dance and remix projects.

‘Southern Forest’ is his first solo album of new material from Johan Agebjörn since ‘Notes’ a decade ago. It is a collection of nature-themed electronic chill-out set in a glorious cinematic space with an immersive sense of escapism. Inspired by the deep forests of Sweden, the album features collaborations with ambient legend Dr Atmo, Cate Brooks of THE ADVISORY CIRCLE, German synthwave queen NINA and fellow Swedes Miranda Magdalena and Mikael Ögren.

Featuring honest vocal ad-libs from Miranda Magdalena, ‘Where Earth & Heaven Meet’ offers rich and warm tones over subtle midtempo dance beats that reflect the spirituality of the title. The covers of THE ORB’s ‘Little Fluffy Clouds’ is Agebjörn’s musical “thank you” for its 30 years companionship in his life with NINA’s reprise of the original Ricki Lee Jones monologue adding a dreamy alluring quality to the organic beatless interpretation of the track.

One can imagine the ambient house of ‘Their Shadows’ with Mikael Ögren being turned into a full blown dance excursion but its pulsing hypnotism suits the mood of ‘Southern Forest’ perfectly. Their other collaboration ‘Shorefront’ evokes sunsets and seas but avoids those beach music clichés often found in chill-out. ‘On The Ground’ with Miranda Magdalena has this jazzy feel with busy if unobtrusive pulsations while on ‘Dusk’, Agebjörn provides a gentle melodic lattice for Miranda Magdalena’s subtle high vocals melt into the soundscape.

With Dr Atmo in the building, ‘By Lake Ruidh’ is swathed in breezy atmospheres and keyboard melodics but the drifting moods of ‘Starwoven’ provide a harp-like hypnotism in a collaboration with English electronic musician Cate Brooks. ‘Scars’ strips things down to piano while the fittingly titled ‘Closure’ takes on a rainy synthy backdrop.

A wonderful Nordic sonic tonic, ‘Southern Forest’ is an aural relaxant brimming with Agebjörn’s melodic sensibilities exuding throughout. Despite being electronic, it is extraordinarily earthy downtempo accompaniment suitable for both perking up in the morning or unwinding at night.


‘Southern Forest’ is released by Constellation Tatsu on 30th September 2025, available as a digital album from https://agebjorn.bandcamp.com/album/southern-forest

https://www.johanagebjorn.info/

https://www.facebook.com/agebjorn

https://www.instagram.com/johan.agebjorn/

https://linktr.ee/johanagebjorn


Text by Chi Ming Lai
29th September 2025

A Beginner’s Guide To JOHAN AGEBJÖRN

Based in Lund, Swedish producer Johan Agebjörn studies psychology but makes music from time to time.

While involved in a variety of arctic ambient, piano, instrumental, dance and remix projects, he is best known for the Italo-inspired duo Sally Shapiro featuring an anonymous singer who has become known as “Sally”. Following the lead of Italo acts such as Valerie Dore and Katy Gray which were actually fronts for producers promoted under the names of fictional solo singers, Sally Shapiro would become worldwide cult favourites with their wispy melancholic synth swathed disco-friendly pop.

The journey began when Agebjörn demoed what would become ‘I’ll Be By Your Side’ and remembered a gathering in 2004 with everyone singing Christmas carols by the piano: “I asked a friend of mine whom I noticed had a sweet singing voice if she wanted to sing on it, and she gave it a shot. After hearing and mixing her recording, I felt ‘this is really something’ and posted it to various Italo disco and electro forums on the web. I quickly got a few offers to release it on 12” single and the Sally Shapiro project was born.”

Despite a publically announced retirement in 2016, Sally Shapiro has released 5 full-length albums with corresponding remix collections since 2006. In parallel, Johan Agebjörn has maintained solo career and worked with Samantha Fox, Ryan Paris, Fred Ventura, Tom Hooker, Lisa Barra and many more, along with fellow enigmatic duos such as ELECTRIC YOUTH and R. MISSING.

In 2025, there has already been a new Sally Shapiro long player ‘Ready To Live A Lie’ which proved to be the duo’s darkest yet, while coming in late September is a new nature-themed downtempo album from Johan Agebjörn called ‘Southern Forest’ which features Dr Atmo, Miranda Magdalena, Mikael Ögren, Cate Brooks and NINA.

Johan Agebjörn presented his personal stories and insights on 20 career highlights selected from his various musical projects over the years by ELECTRICITYCLUB.CO.UK


SALLY SHAPIRO I’ll Be By Your Side (2006)

“I remember writing this track being in an inspirational mood after having listened to Valerie Dore ‘Get Closer’” said Johan Agebjörn of the breakthrough Sally Shapiro track, “The track opened a lot of opportunities for us and maybe more importantly, it made me think that I could maybe actually write pop songs”. It attracted the attention of the Austrian label Diskokaine who would go on to release the debut album ‘Disco Romance’.

Available on the SALLY SHAPIRO album ‘Disco Romance’ via Paper Bag Records

https://www.johanagebjorn.info/sally.html


SOUVENIR Allô, Allô – Johan Agebjörn Remix (2007)

With the cult success of Sally Shapiro came remix commissions from all over the world for Agebjörn including this from a Spanish indie band: “This was one of the first remixes I made” he remembered, “I was amazed that someone would actually pay me money to remix something. I really liked the band and I was happy with the remix, I’ve played it quite often when I DJ-ed. Jaime of SOUVENIR later played the backing guitar on Sally Shapiro’s ‘What Can I Do’”.

Available on the SOUVENIR EP ‘Extras 64’ via Jabalina Música

https://www.facebook.com/Souvenirpop/


JOHAN AGEBJÖRN featuring SALLY SHAPIRO Spacer Woman From Mars (2008)

Filled with vocoder, “This is one of the recordings from the ‘Disco Romance’ sessions but we didn’t think the track fitted on the album, leaning more towards spacesynth than Indiepop-Italo” recalled Agebjörn, “Actually, Sally refuses to sing any songs about space, this was the only exception, so we released it under my name as the primary artist. I sent it to Lo Recordings who loved it and included it on their ‘Milky Disco’ compilation”

Available on the compilation album ‘Milky Disco’ (V/A) via Lo Recordings at https://lorecordings.bandcamp.com/album/milky-disco-lo62

https://www.johanagebjorn.info/


SALLY SHAPIRO Looking At The Stars (2009)

“One of my favourite tracks from Sally’s second album, ‘My Guilty Pleasure’” said Agebjörn of this starry eyed dance number, “The shuffled arpeggiated bass was inspired by Skatebård’s ‘Vuelo’. My friend and frequent collaborator Roger Gunnarsson wrote the lyrics, they are actually about the memories from his dead grandmother. FM ATTACK later made a really beautiful remix out of it”.

Available on the SALLY SHAPIRO album ‘My Guilty Pleasure’ via Paper Bag Records

https://www.facebook.com/shapirosally


ANORAAK Don’t Be Afraid featuring SALLY SHAPIRO (2010)

“Anoraak invited us to collaborate on a track from his debut album. My role here was to write the melody and the lyrics, I remember sitting at the library of Lund University writing it” said Agebjörn of this collaboration with the DJ from the French Valerie Collective, “Anoraak then re-made the backing track for his album version, but we later released the original version on Sally’s third album ‘Somewhere Else’ – so the version labelled ‘Alternative Version’ is actually the first version”.

Available on the ANORAAK album ‘Wherever The Sun Sets’ via Naïve

https://www.facebook.com/anoraak


JOHAN AGEBJÖRN Swimming Through The Blue Lagoon – Original Casio MT-52 Instrumental (2011)

“I got the idea for this track in a dream back in 2005” said Agebjörn, “The drums and the “electric guitar” are lead sound from a Casio MT-52 keyboard that I borrowed from Sally. To my joy, it was playlisted on some channel on Sirius XM radio and also included in the background of many TV programs around the world. We had also made a short version with some Sally vocals on it, as an opener to Sally’s second album”.

Available on the JOHAN AGEBJÖRN album ‘The Mountain Lake’ via Lotuspike

https://www.facebook.com/agebjorn


JOHAN AGEBJÖRN & ERCOLA featuring QUEEN OF HEARTS The Last Day Of Summer (2011)

“I asked Ercola to collaborate on a track after hearing his banger ‘Follow Me’ with Annie on vocals” said Agebjorn, “He sent me a loop that we developed into this instrumental. I asked QUEEN OF HEARTS if she wanted to sing on it, and she made a terrific job. Finally Ercola and I finished the mix in in Helsinki. This is one of very few tracks I’ve had playlisted on Swedish national radio P3”; QUEEN OF HEARTS would co-write the 2025 Sally Shapiro song ‘Hard To Love’.

Available on the JOHAN AGEBJÖRN album ’Casablanca Nights’ via Paper Bag Records

https://www.iamqueenofhearts.com/


SALLY SHAPIRO & ELECTRIC YOUTH Starman (2013)

A track recorded with the acclaimed Canadian synth duo, “Sally and I asked ELECTRIC YOUTH if they wanted to collaborate on a track, since we think they are pop geniuses” recalled Agebjörn, “We sent them this instrumental and they came back with ‘Starman’. After recording Sally’s vocal, it was selected as one of the singles from Sally’s third album ‘Somewhere Else’. There’s also a cool Miami Nights 1984 remix of it”.

Available on the SALLY SHAPIRO album ‘Somewhere Else’ via Paper Bag Records

https://www.facebook.com/electricyouthmusic/


YOUNG GALAXY In Fire – SALLY SHAPIRO remix (2013)

YOUNG GALAXY were a haunting dream pop duo from Montreal comprising who were label mates of Sally Shapiro at Paper Bag Records. Agebjörn reworked ‘In Fire’ from their fourth album ‘Ultramarine’ with a brooding gothic groove. “I met them once in Linköping, the city where I grew up and I DJ-ed before their live show” he recalled, “We made a remix swap with each other and I think this remix became quite dark and cool”.

Available on the YOUNG GALAXY album ‘Ultramarine’ via Paper Bag Records

https://www.young-galaxy.com/


ANNIE featuring BJARNE MELGAARD Swedish Kiss – Johan Agebjörn Remix Of Russian Kiss (2014)

Norwegian pop artist Annie is known for her Richard X produced hits ‘Chewing Gum’ and ‘Songs Remind Me Of You’ but one day, Agebjörn got an important call: “I’m a big Annie fan so I was really happy when she asked me to remix this pro-HBTQ rights, anti-Putin track. I turned it from what was kind of a monotonous acid house-inspired track produced by the genius Richard X to more of a chord-driven Italo disco track with lots of vocoder work.”

Available on the ANNIE featuring BJARNE MELGAARD single ‘Swedish Kiss’ via Totally

https://www.annieofficial.com/


JOHAN AGEBJÖRN & LONEY DEAR The Leftovers – Mikael Ögren Remix (2015)

“Loney Dear is a skilled and likeable Swedish musician, whom I contacted for singing this song from my album ‘Notes’” said Agebjörn, “Paper Bag wanted to make a remix contest around it, and I encouraged everyone to turn in remixes of it. One remix came in under a pseudonym, I loved it and we decided it was the winner out of some 70-80 entries. It then turned out it was made by friend and soon-to-be frequent collaborator Mikael Ögren.”

Available on the JOHAN AGEBJÖRN & LONEY DEAR single ‘The Leftovers’ via Paper Bag Records

https://www.loneydear.com/


JOHAN AGEBJÖRN featuring TOM HOOKER Have You Ever Been In Love? (2018)

“I was asked by Swedish director Kristian Söderström to make some tracks with various legendary Italo disco singers for his movie ‘Videoman’, as one of the characters listened a lot to Italo disco” said Agebjörn of this notable soundtrack commission, “This is one of the results, with vocals by Tom Hooker, the voice behind Den Harrow. It was also included on a CD compilation on the legendary Italo disco label ZYX.”

Available on the soundtrack album ‘Videoman’ (V/A) via Lakeshore Records at https://videomansoundtrack.bandcamp.com/

https://www.instagram.com/therealtomhooker/


SAMANTHA FOX Hot Boy (2018)

Another track from ‘Videoman’, Kristian Söderström suggested that Agebjörn ask Samantha Fox or Sabrina to sing on ‘Hot Boy’: “I sent it to Samantha on her official web site and her manager replied that she wanted to sing on it! Samantha recorded the vocals in London and I later met her in Gothenburg when we recorded a music video to it with the ‘Videoman’ team, it was an unforgettable day”; the track recently got its first vinyl release on Keytar Records as 12″ picture disc.

Available on the SAMANTHA FOX single ‘Hot Boy’ via Fox 2000 / Keytar Records

https://samfox.com/


JOHAN AGEBJÖRN featuring RYAN PARIS & SALLY SHAPIRO Forget About You (2020)

Agebjörn had produced a Ryan Paris vs Sally Shapiro duet called ‘Love On Ice’ for ‘Videoman’ and ‘Forget About You’ was its follow-up song: “It was fun to work on Ryan Paris on a few tracks, in return for the vocals on this track, Sally also recorded some backing vocals to Ryan’s track ‘Je Veux T’aimer Encore Une Fois’. Later, we turned ‘Forget About You’ into a Sally Shapiro solo track for the comeback album ‘Sad Cities’”.

Available on the JOHAN AGEBJÖRN featuring RYAN PARIS & SALLY SHAPIRO single ‘Forget About You’ b/w ‘Love On Ice’ via https://agebjorn.bandcamp.com/album/forget-about-you-love-on-ice

https://www.instagram.com/ryanparisofficial/


JOHAN AGEBJÖRN & MIKAEL ÖGREN A Tribute To Florian Schneider (2020)

“Mikael thought we should make a tribute track, since we are both KRAFTWERK fans” remembered Agebjörn when hearing about the sad passing of Florian Schneider, “Mikael had a basic idea for the groove using the analog Toraiz AS-1 synth. We tried to make the track as close as possible to the KRAFTWERK sound between 1975 and 1981. The vocoder lyrics are about Florian’s sounds continuing to vibrate in the universe”.

Available on the JOHAN AGEBJÖRN & MIKAEL ÖGREN album ‘Dynamic Movements’ via Lo Recordings at https://agebjorn.bandcamp.com/album/dynamic-movements-music-for-exercise-relaxation

https://www.instagram.com/mikael_ogren_music/


PET SHOP BOYS The Man Who Has Everything – Johan Agebjörn & Mikael Ögren Re-edit (2020)

“I’m a huge PET SHOP BOYS fan and this track is one of my favourites from their “underground” album ‘Relentless’ included with the limited edition of ‘Very’” confirmed Agebjörn, “I was so thrilled when I found a copy of it in a record shop in the small city in Sweden where I grew up. I felt this track could benefit from a more modern sound and I asked Mikael if he wanted to join me on this re-edit. It’s an unofficial edit only with all proceeds going to UNHCR.”

Available on the PET SHOP BOYS single ‘The Man Who Has Everything – Johan Agebjörn & Mikael Ögren Re-edit’ via https://agebjorn.bandcamp.com/track/the-man-who-has-everything-johan-agebj-rn-mikael-gren-re-edit

https://www.petshopboys.co.uk/


SALLY SHAPIRO Fading Away (2022)

“This was the first Sally Shapiro single in 5 years, our comeback after having announced that we ended the project, but then we changed our minds” said Agebjörn on Sally coming out of ‘retirement’, “It was also our first single on Italians Do It Better. Mikael Ögren co-produced the track, his most notable input is the beautiful pads from the Roland JD-800. This was my first attempt to make a ‘proper’ synthwave production, whatever that means.”

Available on the SALLY SHAPIRO album ‘Sad Cities’ via Italians Do It Better

https://www.instagram.com/sally_shapiro_official/


YOTA & JOHAN AGEBJÖRN Our Highs (2024)

“I really had fun working with Yota for our EP released last year, and this was the last track we recorded for it” said Agebjörn of this collaboration with the Paris-based Swede, “Basically it’s a track that was born because I was playing around with the Korg Polysix for the bass and arpeggio. Yota liked the instrumental and got some nice vocal ideas for it. The intro and ending is Yota originally singing in a lower key, pitched up in some weird 90s Eurodance way!”

Available on the YOTA & JOHAN AGEBJÖRN EP ‘Universe In Flames’ via Keytar Records at https://agebjorn.bandcamp.com/album/universe-in-flames-ep

https://www.instagram.com/yota_official_artist/


R. MISSING & JOHAN AGEBJÖRN Fakesnow (2025)

“I worked several months on the groove of this track, it took a while but it had this very deep bass and hypnotic loop that I kept returning to” said Agebjörn, “Finally with an Italo disco beat, I felt it was worthy to present to some singer, and I thought it would suit the dark approach of R. MISSING whom I had worked with earlier mixing one of their tracks ‘Verónica Pass’. Sharon Shy really turned it into a great song, I’m really happy about it.”

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

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


JOHAN AGEBJÖRN featuring NINA Little Fluffy Clouds (2025)

Agebjörn paid a visit to Berlin to work with the Queen Of Synthwave: “THE ORB’s original has been a companion in my life for over 30 years, it never sounds too old. I was playing around with the harmonies without any serious intention to develop it into a finished track, much less having it be the lead single from my new ambient album. But with NINA‘s spoken word on it, the track became a quite dreamy and organic beatless interpretation of the track.”

Available on the JOHAN AGEBJÖRN album ‘Southern Forest’ via Constellation Tatsu

https://www.iloveninamusic.com/


Text by Chi Ming Lai with special thanks to Johan Agebjörn
26th August 2025

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