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This Is Not America – Photograph

by coldwarnightlife
written by coldwarnightlife

Claes Bang will be immediately familiar to television viewers from his role in the series, Bad Sisters. In that context, he played an abusive douche who managed to insult everyone around him. The Danish actor also starred in The Square, Ruben Östlund’s Oscar-nominated film about a thoughtless curator. The problem-ridden characters played by Bang might not generate much sympathy, but his musical side-line is more endearing.

This Is Not America is Bang’s studio project. He has recorded a number of tracks together with Marina Schiptjenko (Page, BWO, Vacuum), with whom he worked on The Square. A real-life gallerist at Stockholm’s prestigious Andrehn-Schiptjenko, she also has some musical side-projects, including the Riviera-tronica duo, Julian & Marina. The two clicked, and Schiptjenko joined Bang to record several tracks in a Danish studio.

(Photo: Lis Kasper Bang)

The latest EP from This Is Not America includes one solo track from Bang and two together with Schiptjenko. This one is not a million miles from the Pet Shop Boys; particularly in the chorus.

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The Top 22 of 2022

by coldwarnightlife
written by coldwarnightlife

This was the year of the music book. Instead of running the pop charts, many legendary figures migrated to the bestseller lists with their memoirs. Dr Martyn Ware provided his version of the Human League 1.0 in Electronically Yours. Trevor Horn offered some insights into his career in Adventures in Modern Recording. John McGeogh wasn’t here to write his own story, so Rory Sullivan-Burke took it on in The Light Pours Out of Me. Richard Evans’ Listening to the Music the Machines Make told the story of electronic music through the pages of the British music press. For Depeche Mode fans, the Halo book, revisiting the recording of Violator, was possibly more interesting than a press conference to announce a forthcoming album in the spirit of, well, Spirit.

Depeche Mode lost Andy Fletcher this year, reducing their original formation to two. Another casualty of 2022 was their former associate, Robert Marlow, who died without having achieved the broader recognition many thought he deserved. Nick Cave lost a second son, in an almost unimaginable tragedy. Hawkwind’s Nik Turner had lived a fuller life, but he couldn’t evade inclusion on a death roster that included Keith Levene, Klaus Schulze, Manuel Göttsching, Jet Black, and Vangelis. Front 242’s Jean-Luc De Meyer almost joined them, after running into heart problems. Andy Ross of Food Records wasn’t as lucky. There were constant reminders to show appreciation for artists while they are still alive.

There were plenty of opportunities to do so, as live shows were crammed into the calendar. The post-lockdown rush to get back on the road saw tours by many artists. Front 242 were up-and-at-them, as soon as the cardiologists were done, with a storming show. Rein took Manhattan (and a number of other US cities) as support for Front Line Assembly and other big name acts. Even the Electronic Summer festival returned en gång till, introducing Sierra and Piston Damp to a Swedish audience. Dave Baker’s Lonelyklown project had its stage debut. Minuit Machine valiantly returned to live performance after Helene de Thoury experienced significant inner-ear problems, but by year end de Thoury had to withdraw from live work. Kitka went to the Legion in Calgary for fries and draft beer. Test Dept beat the retreat with shows in Europe and the UK.

Mind you, some artists raised eyebrows. Patsy Kensit thought it was appropriate to snap the coffin at Fletch’s funeral and post to her IG account. We disagreed. Kanye West went full Yitler. Those lads from Right Said Fred continued to promote far right conspiracy theories. Just because you can sing doesn’t mean that everything that comes out of your mouth is golden.

Where the year fell short was in the number of quality new releases from established artists. Simple Minds, Dubstar, Leftfield, The House of Love, Wire, and William Orbit had new material on offer, but the release schedule was impacted by a combination of tour commitments, production backlogs, and record company apathy. When music is all about TikTok background sounds and  streaming service statistics, a band could get lost. Add to that the economic pressures on artists who struggle to make even a basic living, while the LiveNation monopoly sucks all the oxygen from growing scenes. It’s all about dynamic ticket pricing and pre-saves on Spotify: at the end of 2022, the crisis in music is in full swing.

 

22. Sierra – See Me Now EP

Kicking off our list is Sierra from France. The solo artist has been making highly sought after releases for several years, but — hands in the air — we didn’t have her on the radar until the Electronic Summer festival in Gothenburg. That is an error we are happy to correct, because her music fuses the old school sounds of Vangelis and Jarre with the hardness of the dark wave set. After the insufferable flotsam of most synthwave, this is what we hoped for from the next generation of electronic musicians. It delivers in spades.

 

21. Alanas Chosnau and Mark Reeder – Life Everywhere

Released into the political crisis caused by the Russo-Ukrainian war, Life Everywhere was a timely release by Chosnau and Reeder. Built around a fear of government control, the tracks embed hidden caches of New Order and Human League, while making Orwell danceable.

 

20. Blancmange – Private View

Neil Arthur is one of the epic showmen of British entertainment. Unfortunately, due to serious health concerns, he has had to continue Blancmange without Stephen Luscombe; but he has bolted his songs to Benge’s electronics without losing his step. Private View proves that aging is no reason to give up making strong material or switching to blues-rock stylings.

 

19. Mark Stewart – VS

The Pop Group giant has never been the shy one. Here, he storms the heavens with industrial dub and other delights delivered by the likes of Front 242, Leaether Strip, Stephen Mallinder, and Eric Random. Stewart’s got a bone to pick with the universe, and he isn’t letting it rest until he gets a result. That makes us hopeful for more of this in the future.

 

18. Francesca e Luigi – Dirty Disco

The Swedes are going to dominate this year’s list — prepare yourself now. This track is one of the reasons: they are congenitally unafraid to play with disco, Italo, and other stylings that might be dismissed as cheese by others. Choose fun!

 

17. William Orbit – The Painter

The return of William Orbit, after some health challenges, was welcome news. The Painter found him collaborating with a range of vocalists — from Beth Orton to Polly Scattergood — while playing with the spacial capabilities of Dolby Atmos. Orbit’s bag of tricks is always full of bubbling delays, and this set of tracks was loaded with them. It is an exercise in recovery, rather than dancefloor beats, and no less beautiful for it.

 

16. Kitka – House of K

From the north of Sweden came House of K by Kitka, which married pop, synthwave and trap stylings to good effect. It’s not your father’s electronic music, but it is exactly the kind of creative work that needs to keep coming.

 

15. Karin Park – Private Collection

Page could have reissued Glad and been happy with the enthusiastic response, but Eddie Bengtsson has some of that 1970s UV spirit in him. “Vi kommer tillbaka” [EN: “We Are Coming Back”] arrived as a single just as the year was running out, easily outpacing the competition with a slice of golden poptronica.

https://open.spotify.com/playlist/4SIGoC25t0Kqxf9dsXkTh1?si=cI1TBDxtSVGJigKooLYH0Q&utm_source=copy-link


Karin Park returned this year with an album reimagining some of her previous compositions. Reaching back across two decades, the songs retooled on Private Collection were her own favourites; but they included many of ours, as well. Motherhood and time in the deep woods have had their effects on how Park hears her work, and we found the songs stood up well to a stripped-down, raw, and unapologetic approach.

 

14. The Ändå – Update & Reboot


The Ändå were back this year with this track that breaks down several boundaries. We have to wait until next year for the Twice a Man compilation, but Karl Gasleben and his collaborators in this project know how to keep the theatrical flame nurtured by the band alive. Is it silly? Is it serious? You would never ask that of Laurie Anderson, would you?

 

13. Fifi Rong – There Is a Funeral in My Heart for Every Man I Ever Loved


Fifi Rong went heavily into NFTs, using the emergent technology to share her music with fans. The Crypto Winter has possibility dampened the market for trading in tokens, but her current double album (one part English and one part Chinese) is also on CD. In any format, the songs on There Is a Funeral… are creative treats. The Yello collaborator has taken the indie route further than most, but her album deserves to reach the mainstream.

 

12. Waterflower – Mycelium (Step by Step)


Waterflower’s work incorporates plant-life, which conduct electricity in ways that can be processed. The signals generated by mushrooms are measured, timed, and turned into music that accompanies the vocals of Sabine Moore. This might sound like just a Tesco Disco, but the material is rich and enveloping — like the forest itself.

 

11. Front 242 – Rewind


Front 242 put on what was arguably the Concert of the Year in London, despite Jean-Luc de Meyer’s recent health scare. They weren’t touring a new record, but their countrymen at Alfa Matrix released a set of remixes this year, with Terence Fixmer, The Hacker, Kant Kino, and Radical G taking turns to play with some classic tracks. Rewind was originally planned for release last year, to mark the 20th anniversary of the label and the 40th anniversary of the band, but Covid did its thing.

 

10. Strikkland – Bodypop


Sweden’s love of EBM is well known, and the fact that new bands keep emerging to fan the musical flame is encouraging. Representing the west coast, Strikkland have finally issued their first album, and it is a stormer. Mixing body music and pop, the duo have made the most of their inheritance.

 

9. Emmon – RECON


Another Swedish act that has embraced the pop-body combination is Emmon. Previously known for seriously danceable pop, they have shifted direction to embrace all of the sounds from Emma Nylén’s DJ days. That means a bit of Goldfrapp, a dose of Depeche Mode, a shake of Nitzer Ebb, and a pinch of Front 242, blended until smooth. Representing the east coast, they have retained the sophistication and sexiness of their earlier work while turning up the body element of the mix.

 

8. Lederman – Rohn – Rage


This collaboration between Jean-Marc Lederman (Fad Gadget, The Weathermen, Kid Montana) and Emileigh Rohn (Chiasm) quickly punched its way up the alternative charts with an aggressive, menacing sound. It is a long way from some of Lederman’s more pastoral output, but the composer covers a lot of ground. Just the thing for a new Matrix movie, don’t you think?

 

7. Lau Nau – Puutarhassa


The promotional material explains this album better than we can:


“In the summer 2020 Lau Nau did a video performance Live in the Orchard for the Munich based concert series frameless. She built a little transportable wagon that fits a modular synth, a miniature recording studio and a sound system, and created a concept for the performance where she made field recordings in the garden while playing the synth. This record includes two straight takes from the live performance, remixed with other material Lau Nau recorded in the same vein in the same place, a tiny village on an island in the Western coast of Finland.”


What we can add is that this is exactly the kind of experimentation that Lau Nau does like no other. While Virginia Astley bottled the essence of British summers in From Gardens Where We Feel Secure, Lau Nau’s approach is less constricted by cultural expectations. Where Astley supplied familiarity, Lau Nau delivers surprises based upon observation and engagement. Call it quaint but never twee. A band should be named after this, called And Also the Bees.

 

6. Lonelyklown – Funny Sunday Morning


Together with Simon Leonard, Dave Baker is responsible for some of the best love songs ever made–even when they are about satellites and walks through Muswell Hill. There is only one track on this album written with Leonard, but the plaintive vocals and catchy melodies show direct descent from the ouevre of I Start Counting, Fortran 5 and Komputer. The twist is that it is impressed with a classic 70s vibe and more songs about things feline than The Stranglers ever managed.

 

5. Minuit Machine – 24


Minuit Machine are one of the top acts in the dark wave scene for a reason. Their ability to weave together haunting vocals and catchy electronics breathes humanity into the machines in ways that few other scene acts accomplish. Sadly, news came at the end of the year that Hélène de Thoury’s health would prevent her from touring in the future.

 

4. Amusi – EP-A


A combination of Joakim Montelius (Covenant), Khyber Westlund, Richard Hansson, and Ulrika Mild (Computer), Amusi are an alternative Swedish supergroup. Don’t confuse them with the Travelling Wilburys.

 

3. Page – Glad REISSUE OF THE YEAR


The original release of Page’s third album has been out of print for many years. Issued in 1995, on CD only, it has changed hands between collectors for full price ever since. Now issued for the first time on vinyl, Glad is a classic of Swedish pop. Marina Schiptjenko and Eddie Bengtsson stopped working together after this album, while the former concentrated on an ultrapop career and the latter explored guitar sounds, but their all-synth reunion has brought new life to these songs.

 

2. Dubstar – Two ALBUM OF THE YEAR


Since they reorganised as a duo, Dubstar have become more sophisticated and thoughtful. The release of Two gathered up some singles, including “Hygiene Strip,”  and some new material crafted with producer Stephen Hague (New Order, Pet Shop Boys). The latter made it out to Dubstar’s release event at Rough Trade East, where Sarah Blackwood and Chris Wilkie performed some of the songs for an entranced audience. Blackwood’s vocals are as strong as ever, while Wilkie’s guitar work is accomplished and confident. You would have to be to have been through the Machine and come out the other side with an album that is essentially faultless.

 

1. Page – Vi kommer tillbaka SINGLE OF THE YEAR


When John Foxx left Ultravox!, they lost more than their punctuation mark. Foxx’s presence gave the band bite. Midge Ure made excellent, soaring pop but left no teeth marks–well, apart from the time he kicked Warren Cann out of the band he had founded. Musically, at least, there is something to be said for having an edge.


Page could have reissued Glad and been happy with the enthusiastic response, but Eddie Bengtsson has some of that 1970s UV spirit in him. “Vi kommer tillbaka” [EN: “We Are Coming Back”] arrived as a single just as the year was running out, easily outpacing the competition with a slice of golden poptronica.

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https://open.spotify.com/playlist/4SIGoC25t0Kqxf9dsXkTh1?si=cI1TBDxtSVGJigKooLYH0Q&utm_source=copy-link

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Page Reissue Glad

by coldwarnightlife
written by coldwarnightlife

Page, the Swedish poptronica pioneers, have reissued their 1995 album, Glad [EN: Happy]. Originally released exclusively on CD, the new version of Glad comes in both vinyl and CD formats; the latter including two bonus tracks from singles released around the time of the original album.

Loaded with fan favourites, Glad was the last album that Marina Schiptjenko took part in before leaving to join the ultrapop band, Vacuum. It took some time; but, thankfully, she rejoined Eddie Bengtsson after a hiatus to record new music and breathe new life into these songs on stage. Today, tracks like “Förlåt” [EM: “Sorry”] and “Står i din väg” [EN: “Stand in Your Way”] are sing-along classics that still get audiences swaying.

Marina Schiptjenko and Eddie Bengtsson

The expected release date is 11 November 2022 via Energy Rekords.

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Julian & Marina – And the Summer (Play That Fuckin Bass Julian)

by coldwarnightlife
written by coldwarnightlife

Lifted from their 2014 album, Absence & Distance, and remixed for the scorching Midsummer of 2022, comes “And the Summer” from Julian & Marina.

The Swedish duo of Julian Brandt (Bobby, Lustans Lakejer) and Marina Schiptjenko (Page, BWO, Vacuum) have been capturing the feelings of summer days and starry nights since 2012. Their last single, “Open Relationship,” was about their musical collaboration. Long may it last.

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Julian and Marina – Open Relationship

by coldwarnightlife
written by coldwarnightlife

The glamorous duo, Julian and Marina, return from the Riviera to share their new single, “Open Relationship.” In an age of betrayal, everyone is in one with their phones, but here the song refers to the pair’s musical commitments.

With a touch of the 70s electro-funk vibe, merged with layers of glitter and glam, “Open Relationship” heralds a new set of recordings from the Swedish stars. Wait for them at Riche, and don’t forget to make eye contact with the DJ. You never know where the night will go.

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Lets Get Digital: Page Singles Hit Platforms

by coldwarnightlife
written by coldwarnightlife

Sweden’s Page are back on release, with a selection of their early singles finally going onto the major streaming platforms.

The choice cuts include “Som en vind” [EN: “Like a Wind”] from 1989 and “Som skjuten ur en kanon” [EN: “Like the Shot from a Cannon”] from 1986. Sandwiched between them is the 1987 split single with Page’s “Blå fötter” [EN: “Blue Feet”] and XL’s “Sorg flyg bort” [EN: “Sorrow Fly Away”]. The latter was a one-time collaboration between Eddie Bengtsson and Katarina Larke. All of the other songs feature the core Page lineup of Bengtsson and Marina Schiptjenko.

These tracks were all released on the Accelerating Blue Fish label in the 1980s, and did not make it onto their first album. Their return on streaming platforms fills in an enormous gap in their digital output for poptronica fans.

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This Fish Needs a Reissue

by coldwarnightlife
written by coldwarnightlife

First released in 2004, Between A&B was Eddie Bengtsson’s first solo album with English lyrics. Until that point, the Page and Sista mannen på jorden (SMPJ) front man had made a point of singing in his native language. So, it was a pleasant surprise for non-Swedish speaking audiences when the CD came out under the artist name, This Fish Needs a Bike.

Between A&B was in a similar vein to SMPJ: bubbling synthetic bass lines, science fiction themes, and adventures in minor key poptronica. It even had a version of SMPJ’s hit, “Luft,” rendered as “Air.” Essentially, it is the “missing” SMPJ album between Bengtsson’s time on the Subspace and Energy labels.

The album has now been released to streaming services by Energy with the addition of four new tracks. To the classics, including “Stan” and “Putting My Suit On,” have been added four new songs from the archives. Fans can now hear “Sharkattack,” “Little Punkgirl,” “How Do You” and “Headache.” The new tracks are unmistakably part of the Bengtsson canon, and fans of his recent work with Page will be surprised by the presence of non-Moog keyboards like the Yahama CS-15. They will also be charmed by the catchiness of songs like “Do It” – one of his best dance tracks.

Between A&B is live now on Spotify.

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Page Remain on the Bleeding Edge of Pop

by coldwarnightlife
written by coldwarnightlife

Page, the Swedish poptronica pioneers, have revealed a striking new EP.

Page preparing for a show in Gothenburg

The title track, “Blutest du,” is a German rendering of the song, “Blöder du,” from their current album, Fakta för alla.

Released in a limited edition of 300 copies, the EP also contains an English-language version of “Start,” a cover of Gary Numan’s “Tracks,” and a new instrumental. “Saint Anastase” is named for the street address in Paris of the modern art gallery, Andrehn-Schiptjenko, which is co-owned by Marina Schiptjenko.

Page have released material in English before, but this marks their first foray into German. Like ABBA and Kraftwerk, in whose shadows Page was founded, the duo have discovered that switching languages is not only a way to reach broader audiences; it is also an opportunity to play with the context of a song.

The results are engaging. Page have been moving in the direction of the electronic sound from 1977-1980 for some time, and the shift to German places them firmly in Conny Plank’s kitchen studio.

Order now from Hotstuff for international delivery.

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Beauty and Electricity: Julian and Marina

by coldwarnightlife
written by coldwarnightlife

European cool was born in black and white.

Think of Chantal Goya looking demure in Masculin Feminin, Anna Karina in Alphaville, or early footage of Françoise Hardy.
Their images were captured with a wide tonal range and fixed in silver salts by the photographers and film-makers of the 50s and 60s. Their youth, culture and bearing formed an iconic style that is sadly remote from the graffiti-, filler- and golden toothed-culture of modern film and music.

All has not been abandoned to the pages of nostalgic fashion editorials, however. Julian & Marina keep the spirit alive with For Beautiful People Only, their new album.

Recorded in Stockholm, FBPO channels the perfumed air of Riviera bars and the sensuality of Anita Ekberg refreshing in a Roman fountain. From the strings of the opening, title track, the listener is transported to a lounge stocked with more crystal than Kristal. The voices of Julian Brandt and Marina Schiptjenko float effortlessly over proceedings, as a soundtrack to romantic meetings or a pause between cocktails.

Everyone needs “Someone to Cling To,” and particularly with the PSB-style of Julian & Marina’s production. Liza wouldn’t struggle to keep pace with the song’s minor key touches, and the Malcolm McLaren of Fans and Paris would have found a lot to appreciate in the classy electronics, as well.

“Hello Darling” finds Schiptjenko rapping verses in front of a funky bass line while Brandt leads on the choruses. It is solid state pop for the post-transistor generation.

“The Saddest Girl to Ever Hold a Bellini” invites the listener to leave the party for a little walk under the moonlight, but don’t forget your sunglasses.

The PSB influences really come to the fore on “Love on a Summer Night.” You can practically feel the sand between your toes as you carry your shoes along the beach.

Who are the beautiful people? You are. And this is your music.

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We Are All Kloner

by coldwarnightlife
written by coldwarnightlife

Page, the Swedish poptronica pioneers, have unwrapped the first single from their forthcoming album.

“Kloner” [EN: “Clones”] isn’t a cover of the Alice Cooper song but it does have the feeling of 1980s poptronica. With classic Moog sounds and Eddie Bengtsson’s talent for spellbinding hooks, it is a new wave gem for 2019.

Introduced with piano and infused with Moog filters, the influences of Dramatis, Gary Numan and Ultravox are evident. The brooding, gliding sounds of Moog oscillators are timeless, and Bengtsson’s vocal lines are pure ‘tronica heaven. No one else is making music like this today, and “Kloner” leaves Synthwave clone bands gasping in their cyan-magenta mist.

The track is up on Spotify now.

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