APOPTYGMA BERZERK were conceived in 1989 by Stephan Groth and Jon Erik Martinsen. In the beginning, they made their mark as a hard-hitting electro-goth-industrial outfit. Their first single ‘Ashes to Ashes’, released in 1991 on the Tatra label, was to be the launching point of their international career, with their first album ‘Soli Deo Gloria’ and the follow-up ‘7’ pushing their sound further.
In early 2000 APOPTYGMA BERZERK resurfaced with ‘Welcome to Earth’, taking them in a new direction. Less aggressive than their early material, this new incarnation was more synth than industrial, planting them firmly on the crest of the Futurepop wave. Continuing in this vein ‘Harmonizer’ added more complexity and pop textures to the mix until in 2005 the band diverged again, this time incorporating rock guitars and more traditional song structures.
That trajectory was maintained until in 2016 APOPTYGMA BERZERK continued their evolution with the release of the atmospheric ‘Exit Popularity Contest’, reinventing themselves yet again with an exciting new sound; different from, but complimentary to, the electro rock futurepop stylings of previous releases. With ‘Exit Popularity Contest’ Groth pays homage to his roots through emulating the analogue soundscapes of innovators like Kraftwerk, Tangerine Dream, Jean-Michel Jarre, and Vangelis, together with the driving motorik Krautrock rhythms of Neu!, Cluster and La Duesseldorf. All filtered through his own unique Scandinavian sensibility. ‘Exit Popularity Contest’ demonstrates an admirable musical purity and sincerity, channeling the best of the past to forge a path into the future.
Listen: Apoptygma Berzerk @ Spotify
In a career spanning over fifteen years Daniel Myer has been connected to but never belonged to a host of scenes and styles. It is true to say that he has been one of the modern alternative electronic music scenes most prolific artists, initiating or contributing to a legion of projects in addition to the legendary electro-industrial/EBM project Haujobb – including; Cleen, Cleaner, Clear Vision, Destroid, Dots & Dashes, HMB, Newt, Radioaktivists, Rendered, Scope, Covenant and last but by no means least, his current most active project ARCHITECT.
Formed in 1998 with the release of the first studio album ‘Galactic Supermarket’, ARCHITECT is a unique hybrid of IDM, electronica and dynamic soundscapes, inexhaustibly explored by Myer. The sixth and most recent full length album ‘Mine’ saw even further diversification into a more film soundtrack-esque production intertwined with the haunting vocals of Emese Árvai-Illés (Black Nail Cabaret).
Whichever incarnation or facet of electronica Myer chooses to present, ARCHITECTs most pronounced quality is the accomplished combination of powerful grooves and atmospheric soundscapes resulting in music that is suitable for both listening and dancing.
Listen: Architect @ Spotify
ME THE TIGER was born in Falun, Sweden in 2012 and has already received great international attention after releasing their second album ‘Vitriolic‘. In the summer of 2016, the band performed at some of Europe’s largest electronic festivals, including More Luna (Germany), Infest (England) and Nocturnal Culture Night (Germany).
In the autumn of 2017, the band will release their third album ‘What Is Beautiful Never Dies‘ and return to Europe for a release tour.
The lyrics and the band’s message is a central part of ME THE TIGER. In days when individualism thrives, the band wants to highlight the solidarity values and contribute to a fairer and warmer society. We live together and we have a shared responsibility to care for each other – regardless of class, ethnicity or gender. Their skill, however, is the actual craftsmanship. ME THE TIGER know how to create pop tunes, balancing the tension between melodic content, hooks and lyrics.
Listen: Me The Tiger @ Spotify
SEEMING is equal parts transcendent pop and eco-tinged nihilism. Led by author/theorist/composer Alex Reed, the New York-based act broke out in 2014 with their debut single ‘The Burial’ and their first LP ‘Madness & Extinction’, earning an Album of the Year award from darkwave tastemakers IDieYouDie.
Having previously made four albums with the electro-postpunk ThouShaltNot, Reed sculpted SEEMING to be leaner, larger, and singleminded in its posthuman purpose: with pounding funeral drums, blaring brass, and synth melodies galore, this is music to conjure an apocalypse that you can dance to.
2017’s followup album ‘SOL: A Self-Banishment Ritual’ introduces 1970s funk and psychedelia into SEEMING’s sound, and it delivers on the promise Reed made -to craft grandiose, otherworldly music that speaks with radically progressive fervour to real 21st-century crises of politics, race, population, and animal rights. SEEMING dissents against the human world of the past and future: no one is safe.
Listen: Seeming @ Spotify
The ELECTRONIC FREQUENCY project was formed in 2010 by Christian Kossat and Daniel Piepenburg (now no longer with the band), then later joined by Oliver Schulz.
With the release of their debut album ‘Kampfraum Guben’ in late 2010 with songs like Deprived Area, Terrorism or Pedophile they chose to tackle societal criticism and defined the direction for ELECTRONIC FREQUENCY.
A brilliant combination of Dark Electro and EBM. An avalanche of distorted synths, hard-hitting snares, sensitive strings, fat beats, memorable sounds and insane lyrics.
The duo don’t want to deny their membership of the dark electro scene, but they don’t want to be locked into a certain category. ELECTRONIC FREQUENCY are always experimenting and combining and try to mark the scene with their own personal stamp. The release of their second album ‘Human Abyss’ in 2016 with harsh and aggressive dancefloor EBM saw them confirming their place in the scene.
Listen: Electronic Frequency @ Spotify