Шведская синтипоп группа с женским вокалом!
Formed in 1995, Club 8 became one of the pillars of Sweden’s pop scene with a string of melodic, eclectic albums. Members Karolina Komstedt and Johan Angergård had previously worked together in the band Poprace, and their new group -- which began as a recording project before growing into a full-fledged touring band -- explored everything from bossa nova to trip-hop.
Pop always remained at the center of Club 8's sound, though, and Angergård made additional contributions to Swedish music by helping run a respected indie label, Labrador Records, and logging time in several different bands.
Komstedt and Angergård recorded their first three songs in 1995. After fielding offers from several labels, the two decided to partner with Siesta, a Spanish label, for the release of their debut single, "Me Too." A full-length album, Nouvelle, followed in 1996. Both releases sported an animated twee pop sound, but the band’s second album -- 1998’s The Friend I Once Had -- found Club 8 stretching their wings by incorporating elements of dance music. One year later, the musicians headed overseas to make their live debut at the CMJ Festival in New York, which spread Club 8's music to a new continent.
Now releasing albums on an international level (and touring in support of them, too), Club 8 continued tinkering with different influences throughout the early 2000s. A self-titled album appeared in 2001 and earned comparisons to Portishead's work, while 2002’s Spring Came, Rain Fell was even more experimental and electronic, due in no small part to the construction of the band's own recording studio. After releasing Strangely Beautiful in 2003, Club 8 took a small break as Angergård turned his attention to a new solo project, the Legends, and working with Acid House Kings, a band that featured former Poprace member Joakim Ödlund as well as Johan’s brother Niklas Angergård.
Eventually returning to the Club 8 fold, he and Komstedt recorded their sixth album, The Boy Who Couldn't Stop Dreaming, and released it during the autumn of 2007. After taking another break (during which they absorbed the musical cultures of Brazil and West Africa), the duo recorded its seventh album, The People's Record, in 2009. Released in May of 2010, the record marked the first time Club 8 worked with an outside producer (Jari Haapalainen). For their next album, 2013's Above the City, Angergård was once again in the producer's chair. Using outdated recording technology and trying out some new styles, the album was their most varied and sonically interesting outing to date. ~ Andrew Leahey
Producer/songwriter Johan Angergård and singer Karolina Komstedt have been making music as Club 8 since they were teens. From the mid-90s their sound has evolved from Bossa Nova right through to electronic. Originally from Sweden, the Club 8 have made waves internationally with hits like Missing You. Now the pair are back with their latest album Pleasure; a record about love, sex and jealousy. A wonderful aspect of the album is the way that Karolina’s subtle vocal blends with Johan’s dense arrangements. Komstedt’s breathiness competes with the synths and persistent beat in Late Nights 1; combining two different approaches really works for this track. Love Dies is an interesting choice as the lead single from an electronic album; usually you would expect something upbeat and catchy, but it’s an airy track dedicated to romance that inevitably wilts. The production of the album isn’t overdone; it’s nice to be able to take in the music, the lyrics…the whole package. There’s a story told in Hush where the protagonist’s life is falling apart, the emotions felt successfully expressed in the arrangement. Upbeat moments from tracks like Movement breathe a little extra life into Pleasure to liven up the mood. Pleasure is a short and sweet record but if it had been any longer it may have lost its touch. Club 8 know exactly what they want from their music which has been shown over the years with the band’s genre swaps and confident experimentation. Here they have written an electronic album with production so subtle and precise that it allows listeners to really embrace it. Pleasure doesn’t need the over-the-top production that mainstream electronic music favours.
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