Jan 202012

[soundcloud url="http://api.soundcloud.com/tracks/33546651"]

No, no… hell no… when I say electro, I don’t mean that cheezy raptechno that you hear on the radio… I’m not talking about that French noise… and I’m most definitely not referring to your hipster friends art school “electro” rock band.

This is that terminator funk, that music to surgically remove government implants from behind your ears to. That cooking up C4 in the hotel room with Linda Hamilton music. Do a driveby on the flesh eating zombie population swarming in on your survivalist colony to this. Blast this while going back in time to eradicate the roots of Skynet.

Shout out to Magnus Natt och Dag, sitting by his cabin in the woods outside Göteborg, with his wife, some canned food, and a shotgun across his lap. (Excellent work on the mix!)

Jan 212011

Vissa dagar är det endast sån här intensiv ambient som duger: vackra, ödsliga pianon och suveränt återhållna beats som passar perfekt till grå- och brunskalorna i de postindustriella landskap vi rör oss genom.

Ett soundtrack ämnat för kontemplation, för att hitta den inre styrkan och vägen framåt.

Tack till M-Nod för den här.

Aug 112009


Minimal techno, click house, IDM – pretty much absent this year. The much anticipated skweee battle sort of ran out in the sand, with the majority of the audience leaving before their set was done. An anti-climax if anything. I guess they are better not live. Teatermaskinen represented quite nicely though with cheap food and drinks, tall tales of their new bauhaus, Johan Jönson reading from his latest book, and some industrial acts that I missed. I also missed Danish favorites Rumpistol and Kid Kishore / DJ Hvad, a damn shame. But what was really 2009?

8-bit beats. Role Model and especially Goto80, backed up by the intriguing VJ-wizardry of Raquel Meyers, knocked down all doors and the competition flat to the ground. They’re just getting better, and better. And more than a few happy amateurs could be seen on the camping area performing rituals of black magic with their gameboys.

Breakcore. Broken Note have learned his lessons from Kid Spatula’s epic track Hard Love, stretching them out and employing them for a set of maximum dancefloor action. The Teknoist was a nice surprise, too, and even had the good taste of dropping Bjork’s Joga over some modern electronic brutalism. DJ Producer convinced us that hardcore will never die, dropping riot techno beats while doing old school scratch routines on CD-players. Three pretty great shows. And around the camping area you could hear people blasting new strange hybrids of speedcore and jungle from their soundsystems. The hard music is back.


Acid. B12 won new fans (me included) with a traditionalist, transcendental, 303-based show. Another victory for knob-twiddling shamanism. And with Camp 303 organizing an official stage, there were no shortage of enthusiasts squeezing out the last drop of acid out of their beautiful analog equipment. The best music of the festival could often be found at that stage. But even with that crew becoming an official part of the festival, some of the most innovative and exciting performances could still be found on the camping area.


Jul 232009

Skweee-soldier Eero Johannes self-titled debut album on Planet Mu (label child of IDM-maverick Mike Paradinas, world famous for creating one of the hardest electronica tracks ever… well, at least it was the most uncompromising, beautifully controlled bloodsport BPM-beating of its era… seeing him live at Roskilde in 1998 was a defining experience for me) is the best I’ve heard in skweee so far.


What is skweee anyway? I mean, the sound is pretty diverse on their compilations, with beats and ideas all over the place. I think it’s easier to see it as a movement: a dozen or so Swedes and Finns who have studied electro funk, dirty south and modern R&B thoroughly, and now apply what they have learnt on the vintage synthesizers, video games sounds and DIY-spirit that they’ve grown up on. More than anything else, it is the lo-fi aesthetic that defines them (with skweee referring to squeeezing out the most of their arcane equipment).

Noting that, it is interesting to see the very talented Eero Johannes spreading his wings here, sometimes lifting from the lo-fi valleys of home to sail among the clouds in the sky. Lipton Service Boy delivers euphoric electro pop. He mixes dubstep and new romantic influences on Sumuhumus and gets away with it. Hal Manifesto is both computer poetic and mad funky at the same time (which is quite an achievement, actually). Natt i spårvagnen and Mobile 363 are equally funky, while Eläin wanders out further into the electronica wilderness.

Delicately balanced between futurism and nostalgia, Eero Johannes is a multifaceted and innovative release that you ought not miss.

Now let’s see what kindo of show they put on live!

Jul 212009

This Flogsta Danshall compilation from last year is quite a good introdution to the skweee genre (wikipedia says that the name “was coined by Daniel Savio, one of the originators of the emerging sound. The name refers to the use of vintage synthesizers in the production process, were the aim is to “squeeze out” as interesting sounds as possible“).

The tracks are mostly pretty experimental, with a few more stable electronic funk tracks to keep things interesting (even though they’re also pretty out there). Using the immanent lo-fi aesthetics of the genre to punch out IDM and glitch-like material feels too easy, and not very interesting to listen to. Of those tracks, Eero Johannes’ Finnrexin, from his brilliant self-titled Planet Mu release, gets a pass thanks to its beautiful electronica vibes. Other than that – add some much-needed funk to the recipe or get out of the kitchen!

It is better to take the said dirty south and booty-influences of the genre seriously, crank up the bass, and skweeeze out some ass shaking, titty bouncing, sweat inducing, dance floor bangers. Well, they’re not quite there. Not yet. But with tracks like Drums’ Giants, Randy Barracuda’s Shock The Plankton and Metske’s Street they have written a new chapter in the book of electronic funk. For that I salute them.


You can catch the Flogsta Danshall crew going live against the Harmönia collective at the Norberg festival this summer!

Jul 032009


Passed by at the FUSION FESTIVAL last week. You know, generally it takes some days to gather your thoughts after an exhausting experience such as this… many new impressions, new musical and personal acquaintances… let me start by saying, that this was probably the best festival I have ever been to.

Germans know how to organize. Excellent, cheap, all vegetarian food. Logistics that makes sure you can walk anywhere on the festival area in a few minutes – and art exhbitions, food stands, bars and light shows between the stages and DJ floors that make sure you are never bored when moving around. Free toilets everywhere. (If you wanna flush down your shit and wash your hands with soap, you can do that for half a Euro… which felt like a sweet deal in the dirt and sweat of the festival.) Free showers (OK, in the morning and around noon, the line was almost an hour long… but times flies when you are waiting in the sun with the grass and the trees around you… and you are talking to nice people who also enjoy the Basic Channel-techno heard from the nearby dancefloor).

The whole thing was like clockwork. But the thing I found most enjoyable about the whole deal was that the crass commercial spirit, haunting festivals all over the world, had been successfully supressed here. You can take your own drinks when you see the music. No company logos. You can take all the drugs you want to, as long you’re not an asshole about it. No fights. Very few hipsters with too much attitude. In general a very relaxed and friendly atmosphere. And the whole four day festival costs only 55 euros, which, as an example, is about a fourth of the Roskilde festival.

Before going I was familiar with less than a handful of the names in the program. That did not matter, though. Walking around I could hear electronic music all around me at all hours of the day, most of it quality stuff. It is the place for you to discover new names.

The Argentinian Hijo de La Cumbia was very nice, taking a hardcore, junglist approach to Cumbia (a genre that is, as I understand it, to Peru, Bolivia and Northern Argentina what reggae is to Jamaica).

Extrawelt gave us some tight, analog techno that sounded very different (much better, fatter) than what I found with them on youtube. One of the highlights of the festival.


Marc Houle showed class, masterfully serving us hard after banging hard techno track in the very early morning.

Best of all, as well as an old favorite of us here at Brytburken, was the German dub techno wizard Marko Fürstenberg. He showed the way to a minimal future with a set finely balanced between rich dub bunker pads and sharp, edgy, digital techno rhytmhs. It was well worth to ascend to consciousness at 11 AM to see that. That he played on the outdoor floor pictured below did not make things worse.


May 092009

Which is the strongest track on the Analord-series?

AFX – Where’s Your Girlfriend

Much of that project reminds me of a favourite from Drukqs.

Aphex Twin – Vordhosbn

Richard’s machines play together with the same kind of warmth and joyful improvisation that you’d expect from a jazz band that’s known each other for a thousand years. Perhaps he’s the Hansson & Karlsson of IDM? Erik Satie as a bedroom producer? The white Miles Davis?

Is this his best track ever?

Apehx Twin – Polynomial-C

You get the impression that he made a thousand similar ones before arriving at this amazing discovery. It’s so simple, so cinematic, so perfect. If I have this in the headphones when leaving home, it will be a good day.

In some of his music, especially the meditative tracks from SAWII, there is a strong arhaic, collectively subconscious, nearly religious feeling. You almost believe him when he says he composed that album in a state of lucid dreaming. It’s fitting that John Peel interviews him at this place.

Aphex Twin – Stone In Focus

inget representerar bättre den förhöjda livskänslan som hör samman med den rena upptäckarglädjen i hemdatornätverkens generationer

Apr 102009


- C64-trickster Goto80 is the only one that looks familiar at a first glance… But I dug beneath the surface, and I’m digging what I found:

- SKAM-artist Ola Bergman

- UK techno legends B12

- If Milanese gets “more than OK’d” by known dubstep-hater Altemark, he has to be doing a good job at beating the most out of the genre.

- “There is little known about Syntheme, who keeps very discreet; but rumours circulate of the origins of her work, and whispers of collaborations with Global Goon and Aphex Twin refuse to disappear.”

- The DJ Producer: almost-gabber if I remember correctly… should be interesting at least.

We’ll meet there…!!!

Apr 022009

Old but news to me, according to Wikipedia:

“Florian Schneider, one of the two original co-founders of the pioneering German electronic group Kraftwerk left on 21 November 2008. Commenting shortly after Schneider left the band, the Independent newspaper had this to say about Schneider’s departure: ‘There is something brilliantly Kraftwerkian about the news that Florian Schneider, a founder member of the German electronic pioneers, is leaving the band to pursue a solo career. Many successful bands break up after just a few years. It has apparently taken Schneider and his musical partner, Ralf Hütter, four decades to discover musical differences.‘”

Perhaps The Hacker is right. Is Computer World the best album ever?

On the other hand, you can’t hate on someone if he prefers one of these meisterwerken.

“Along with their message about the unification of man and machine, it seems, Kraftwerk is suggesting that we are all citizens of the same global community. “This is because we live in Düsseldorf,” Hütter points out. “It’s in Germany but it’s only 20 minutes from Holland and a little more than half an hour from Belgium, not even two hours from France. It’s a very mixed area.”

The tunes Europe Endless and Trans-Europe Express also express this idea. “We travel a lot in Europe,” Hütter reports. “And it’s not like in America, where you travel a thousand miles and you’re still in America. Here we have to adapt to different situations more. And electronic music, I find, is by nature an international medium. Radio waves go around the world, and this music can be understood and can communicate with people all around the world. Our music has been called industrial folk music. That’s the way we see it. There’s something ethnic about it. Wherever you go, you never leave the modern world.” This is especially true of Düsseldorf, because the town was the center of German industry before World War ll and consequently was bombed and completely destroyed. The entire city today is newly built. “All our traditions were cut off” Hütter says. “It left a vacuum. We are the first post-War generation, and so we are the beginning of something new”

Because Düsseldorf is still heavily industrial, the sounds of industry have themselves had a direct impact on Kraftwerk’s music. “Our first album was recorded in a studio that was right in the middle of an oil refinery” Hütter recalls. “When we came out the door we could hear the sound of those big flames burning off the fumes – all kinds of industrial noises. Even engines are a kind of music. You can hear the harmonics in their tones. When you walk down the street you have a concert; the cars play symphonies. And we use this fact in our music. ln Autobahn the cars hum a melody. In Trans-Europe Express the train itself is singing.”

But in spite of this emphasis on sound effects, much of Kraftwerk’s music has straightforward tonality and simple, easy-to-understand melodic lines. Entire sections of a tune or even whole tunes may be played on a single chord. The music is invariably in 4/4 time, and virtually always falls into precise, regular, four-bar phrases. Which certainly doesn’t sound progressive when you describe it that way. The effect on the listener, however, is another story.”

(from Electro Shock! Groundbreakers of Synth Music; Greg Rule)

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