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Transmission Nova arrives

During the beginning of #WEATNU – from 2015 – 2016, one of six of our radio streams “Transmission Nova“, played shoegaze and indierock, this included many other sounds from the late 70s onward into the 90s and today. Indie artists, many unsigned, were post-punk, noise rock, alt-rock, dream pop and ethereal. WEATNU Records has been releasing this type of music since December of 2014, upon its arrival in the indie scene of the underground.

Now … Transmission Nova will have the same great vision as WEATNU and put the focus on this type of music, just as WEATNU puts the focus on electronic based artists. Bands as well as solo artists are welcome to join. Nothing changes, but we instead expand. Indie Rock has always been a love for me, from the days of growing up during the early 90s when MTV’s the Buzz would blast the greatest and latest bands.

Being a shoegaze aficionado and part of Gen-X, these types of memories never fade. I wanted to give the underground a taste of even more, as now both WEATNU and Transmission Nova will help artists be heard. Guitar-driven noise, eerie washed out vocals, experimental bass lines and visions by Ian Curtis. All these things tied into one place for this music to thrive. Shoegaze coming from the days of Batcave and Goth, and then the 90s grunge-like sounds, with noise-driven indie rock, British alternative, and other gloomy settings. Transmission Nova opens in 2022, and it is my hope to get these artists heard and signed with us. Contact today, as slots are open (for a time)

Shoegaze | Post-punk | Punk | Ethereal | Indie Pop | indie rock | Dream pop, and other psychedelics

To join, please contact us: https://weatnurecords/contact
Follow our Facebook : Instagram
Be sure to follow our Bandcamp: https://transmissionnova.bandcamp.com

#WEATNU Digital Magazine
November 2021

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The Story of #WEATNU

“It takes years for an idea to culminate and become something more than mindless thinking. Every diamond is created due to a great amount of pressure. I’m a musician, I write Electronic / Avant-garde, Left-field music. It is certainly in its own category.”

Coming from the roots of Industrial / Experimental and EBM, Ambient, Dub, and eventually those roots became an urge to write my own music, and I didn’t know what I was doing or how to go about doing it electronically.

I had been writing guitar music prior to that from 1992–1998, then getting into writing Electronic music that summer. Music has been with me since 1983, when my Mother first put on, Wham or Hall & Oats, H2O record, or when I heard the album, The Ghostbusters on tape, and being captivated by The Thompson Twins — In the Name of Love. When the Internet had its start in 1997 for me, I found myself seeking out music that moved me differently than terrestrial radio, as during this time, radio was dying out and becoming something of a mainstream money maker. MTV was still going strong in its post-grunge era.

One night, I started looking on Yahoo for internet radio stations, Realplayer had its share of the obscure, even at its low bitrate quality, but I didn’t care, the music is what moved me. It wasn’t long until I found a website called Radio Free Underground, they shut down in 2000, sadly. They played many genres I’d not heard, other than the experimental stuff I discovered through MTV’s The AMP. Goth being one of them, including PsyTrance, Techno, Electro, Electronica, Industrial, Darkwave, and more. The days when true discovery felt like you found something, and it was yours, it felt personal.

I remember first hearing Industrial from a NIN tape a friend gave me during school in 1992, then he gave me a recording of Ministry’s Psalm 69. By the time 1997 rolled around, I was hooked on darker underground music. After being subjected to the more obscure underground, including the MOD scene of 1995, given to me through floppy discs from friends, AMIGA-like computer music, Trackers, Fasttracker, iPlay, S3M, FT2 and so forth.

From the collection of all this, I started developing a great love for “The Underground”, and noticed from my experimenting with Electronic music, deeply in 2000 that Electronic wasn’t that huge yet, though, radio and modern music was still very pop-driven, and rock based. It wasn’t until 2003 and 2005 where I started really hearing the Electronic influence in artists, such as Aphex Twin, Squarepusher, Underworld, The Orb and Orbital.

The Severed Heads years…

I was actually heavily influenced from my early days of electronic music writing from Severed Heads, an Aussie artist, named Tom Ellard. For years after 1998 I didn’t have the Internet, I had to go to local university computer labs to use the Internet, usually every night for months on end. During the time of my depth into making electronic in 2000 through tracker software, Fasttracker II, I found myself looking up Severed Heads, who I was introduced to from a boss at my job Eureka Pizza in Springdale, AR.

I no longer felt like mainstream music was important as it once was, I had a drive to do different things. In that computer lab, I came across a website called groovetech.com, and this was my introduction into DnB, Dub, Experimental, Techno, Sampling, from some of the greatest DJs to ever be broadcast through camera, across the world.

Each night I was engrossed in watching these DJs spin for hours. The music was catchy, bouncy and addictive. Even to this day if you look up those podcasts on YouTube, you hear something special just starting to happen. The beginning of what electronic music was, and why it’s so important today.

Years pass…

My love of electronic music continued, in writing it alone, allowing only my family and at the time, during my marriage, my wife and her friends. Also in 2001 I didn’t have the Internet, but I still continued when I could, go to the local library to use it. By the time I got the Internet again, it was around 2010, and I began to think, “what if I upload this music I’ve been doing all these years, and let others listen?” It was through Soundcloud then Bandcamp, and YouTube, I started doing this. Friends on Facebook would tell me I should let others listen, I was reluctant of course, because it was so personal to me.

From venturing forth into various groups online, uploading music and speaking and promoting on twitter, I came to realize that unknown artists were being ignored, or even unheard. That it took a great deal of effort to even get people to listen. Of course during the early days of SoundCloud, people would listen to you more, due to the lack of algorithms.

The power of Social Media.

From the urge to get my own music heard and having a hard time doing it, it started building up in me by 2012–2013 that something needed to be done, something big, a huge idea, and since social media was just getting popular, I thought, “Why not, I want to make waves and create a storm even if I fail doing so. People on social media are making things happen, so why can’t I?” I thought.

During those days, it was hard to find any kind of help to get your music heard. Net-labels were elite and only allowed a certain type of music in, EDM was so big that people were making 200 grand per night when they played; completely ignoring The Underground scene. I wondered, why The Underground and experimental music was no longer around? What happened to it, was it hidden, did it die out? No… From meeting people on Twitter and other places, SoundCloud, YouTube and forums I found it was very much alive.

Great music is hidden.

There were others doing this, there were people like myself with the drive to be heard. Help groups, and Internet radio started popping up, like Bluetown Electronica on Facebook, Revival Synth, one guy who has been running his group well before #WEATNU started. Tracy Perry (Expansion of Presence) who has helped many indie artists for years and years, and continues to do so. Dr. Bones, an avid lover of The Underground scene from Canada, and so and so on. This was during 2013–2014.

I started thinking, “why is it so hard just to belong to a simple label, one without the rules many other mainstream ones cause to you endure? One that we all needed.” I said in my heart, “I will create an organization that will allow others to go up the ladder with me for free, and all of us will be helped.” I wanted to hold everyone on my shoulders; ALL of the indie scene on my back. I must have been crazy for thinking it. Something was burning deep inside of my soul, something I couldn’t stand any longer. I thought, “what if I create a SoundCloud group like others were doing?”, so one day out of the blue I made one called “We are the New Underground“, after having an in-depth conversation with a friend of mine through Facebook, namely, Nessi Holt who writes for a blog called Carpe Carmina. I remember telling her, “you know what! We are the New Underground“, and she said, “Yes!! We are.” Nessi Holt, did an extensive interview with me in 2015 on #WEATNU, she’s helped countless indie artists for many years, including working with RKC Radio.

The start of a new era…

After making the group, 100s poured in, during the first two weeks, it was so hard to help them all that I had to get others to help filter artists into the group. It was a phenomenon, I was hooked from the rush of helping these artists be heard. Starting to post each one who got in, onto Twitter, with their twitter @names attached so others could find that artist, making sure the legwork had been done. The platform and machine of #WEATNU had begun.

It came to me that we needed more than just a group on SoundCloud and during this time, summer of 2014, We are the New Underground was just a name. Before long, the acronym #WEATNU was born. I noticed that a lot of hash tags brought attention to a brand or groups. December of that year, WEATNU Records was born, where the artists who found us were offered a means to be part of a label, where their music mattered, and where people would appreciate them with good results.

People felt the need to be heard.

Most of all, they would at least be heard. Sometime around Summer of 2014 WEATNU [OUR] Online Underground Radio was born, and a machine was created to help the underground. People started contacting me, wanting to make a difference. Soon DJCJ of RadioCoolio, an Internet radio personality in Canada, who also helps indie artists be heard, contacted my E-mail and Facebook, and wanted to promo and spread the word.

Roofy, another artist, who spent an entire year spreading the word about #WEATNU caused others to find us as well. Including Ivan of AMNIOTIC — By 2015, in the same year, Brian Diamond who at the time was just starting Shadows & Mirrors, and is now a label owner of Electric Dream Records, also came our way to help spread the word, as he and AMNIOTIC both wanted to help the community find our artists. During this era, UK artist Craig Manga, of Manga Bros, who later went on to form (Black Box Recordings) befriended our movement and spoke highly to many of those whom he followed, which helped further our cause. His friend, Mark Forster, was a force unmatched, as he loved the underground and its artists and #WEATNU, by helping them on ArtistSignal, he will be greatly missed as he passed away some years ago.

A publication was created.

Our magazine was helping artists be heard, shows on Mixcloud were uploaded from interviews I conducted with new artists weekly, live radio with artists and new songs, showcasing them weekly as well. Special shows on our Internet radio and many other things would happen to become what #WEATNU was developing into. A driving force, a movement that was needed, that wouldn’t stop. By 2016, over 400 artists from all over the world had graced their presence with us.

A new chapter begins

The rush was intense, and it was exhausting. It was time to stop working so hard, but I still had the drive. Our magazine went away that year, radio shut down in the Summer, but the label continued pumping out new music, but slowly. It wasn’t until 2018 where I had a conversation with a new friend, who joined us that year, and she told me “you get what you put in.” So taking that advice, I ran with it, pushing hard once again but, using what I learned before and pushed the label to become what I had envisioned years ago.

2018 – 2019

Our label started releasing finally to streaming platforms, including our already releasing music through Bandcamp since 2014. WEANTU Records was being noticed, once again, restored and still a great passion of mine, even after all these challenges. The radio also returned in November of 2018. Streaming of course helped greatly, but newer artists by 2018 started finding us, and The Underground was still being served. With a dream, a vision and a little fire, anything can be accomplished. Artists who have been helped and brought to the light from this effort , are as follows, and these are just a handful – AMNIOTIC, Bleepeater, Whettman Chelmets, Adryelle, Lie Craze, Dead Scrimshaw, Amattik, AR89, Belial Pelegrim, Bufinjer, Jazzykat, DigitalSlumberParty, Jessica Grant, Fluffytails, B. Hasemeyer, Bedtime for Robots, Lemonade Kid, Meter Bridge, Nurse Predator, The Aircrash Bureau!, Sound Engraver.

The magazine returns

One night, as I was going through old site snapshots on waybackmachine, I looked up our old magazine, which use to be at weatnu-magazine.com and a flood of nostalgia filled me. Reading the articles, reviews, and interviews that many people had written, including myself, I thought it was time to bring the magazine back. I started working on a new magazine website, the one you are reading now. The artist needed a voice, not just their music to be heard, but why they do what they do. Publications are important to fans as well as artists. I was pleased to have this final part of the #WEATNU machine return, and this time, it would remain, just like its radio. With all parts together once more, Radio, label and magazine, things felt complete and it is my hope they all further the cause of the Independent artist.

The label itself has signed over 100 artists since 2014, many of which are still with us. With the radio returning, WEATNU [OUR] continues to help artists outside the label as well, be heard. With its 24/7 streaming radio, 365 days a year, and free to join. Showcasing many of these types of genres, while encompassing the electronic array.

The dream continues

WEATNU Records has taken in numerous genres and sub-genres over the years, such as Electronic, Electronica, Experimental, Industrial, Indiepop, Indie rock, Electro-pop, Synth-pop, Vaporwave, Trip-hop, Lo-fi, Instrumental Hip-hop, Synthwave, Darkwave, Ambient, Dark Ambient, Alt-rock, post-rock and so on, and we continue to allow The Underground artist to join. With the driving force of the unknown artist, we still have many people who support us behind the scenes. Many of whom are unnamed, but are greatly appreciated for letting others know what we do.

#WEATNU continues to help artists yearly, and that passion never dies. From 2014 and beyond, We are the New Underground is the heart of The Digital Underground, a beacon of hope for the artist who just wants to be noticed, without needing to sacrifice their hopes and dreams. We continue to help them. I hope this story of how we started influences you, and gives you hope that if you dream it, it will happen. We are the New Underground 10.10.2019 (originally published through Medium.com)

Almark – #WEATNU Digital Magazine – November 2019

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Uncles of Wise – Flyt

By Michael O’Morah

Uncles of Wise have landed with a paradoxically energetic yet relaxing EP entitled Flyt, released by Weatnu Records. Spawned from the Trivia Corporation. Uncles of Wise have been creating an exquisite brand of Electronica, House, Techno, Ambient and Dub since 1994 by direction of solo Sheffield artist, who simply goes by the same name.
Due to the eclectic style and methods by which Uncles of Wise composes music, I found it difficult to put my finger on any direct influences for this EP. However, Uncles of Wise have revealed, Underworld, Orbital, deadmau5, Daniel Avery, Chemical Brothers, The Black Dog and The Orb to be some of his favorite Artists. Now, it would be no surprise where I to learn that The Orb, Deadmau5, Chemical Brothers and the like, led Uncles of Wise to soar into these Techno-spheric Skies, but they are certainly a unique species themselves.
After I listened to the EP, Flyt, I decided to do a little reflecting back through the Uncles of Wise Discography. As indulged in this nostalgia, I could detect faint traces of Panopticon, and Circles evincing that Flyt has kept the line of Heredity strong and cogent. Uncles of Wise stand true to the’ Musical Style the UK artist has developed while ratcheting down the vocals a bit.
This Minimalist approach is most alluring, effectively enveloping the listener in a vortex of swirling, pulsating rhythms that lift you out of Urban drudgery. Flyt is an ambient journey that can whiz one through fast-moving Synthesizer Sequences which ripple by and spiral through scales of irresistible syncopation to the Rhythm of a clap and foot-thumping bass-driven Techno House and Big Beat. Meanwhile beckoning Female Vocals slip in and out with sultry echoes of siren song through the wormholes of your Conscious Mind.
I found the experience of listening to the three tracks of the EP to be an very engrossing experience. It felt warm and comfortable like I was ensconced in a booth near the back of the Mezzanine of a posh nightclub, while enjoying my drink with an old Friend or some new Companion! If you’re into Techno on the mellow side with a hot-house beat, then Flyt by Uncles of Wise will certainly take you where you want to be. Flyt is available on Weatnu Records.

Also on Bandcamp

Follow Uncles of Wise on Twitter.

#WEATNU Digital Magazine

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How Hot Is Your Cloud? – Autumn i

By Jessica Pink

Having only heard a couple of track by How Hot Is Your Cloud? prior to listening to this release I wasn’t entirely sure what to expect.

Autumn i, is the conclusive piece in How Hot Is Your Cloud?’s ‘Seasons’ series, and  is also How Hot Is Your Cloud?’s 4th release to date.
Tagged as avant-garde, experimental, and ambient, it fills each of these genres/descriptors nicely, with a reverb heavy, dream like quality.
It twists directions taking you on a ride through the three tracks carrying the weight and burden of its titles themes.

Each track flows through a variety of different sound palettes.
In ‘September (Your Last Breath)’ melodies and lead lines, collide with some spooky synth pads. Swelling into very rhythmic bass lines.
Birdsong and tearing sounds, overlay a building staccato, in the track ‘October (Funeral)’ and drop into ethereal, almost whisper like sounds before strange melodies, and distant drum beats are lead in by a surreal choir.
It all ends with ‘November (Going Through Your Things)’ starting up with eerie white noise and strange keys, shift to vocals edited into a curious mantra, that fade into a swishing soundscape with bells. The arrival of electronic drum beats and synths breaking into the flow of the final track, give it some punch, as though realisation is breaking through. An acceptance of an ending.

The artist them-self states;
“My most avant-garde yet personal album.
My dealings with death in experimental electronica.”

There is a general atmosphere of departure, and sudden changes in the tracks seem to express varying levels of acceptance, and loss.
Day to day sounds in the field recordings merge with the synths and white noise, creating moments of clarity amidst the ebb and flow of the albums sonic landscape.

I’m going to be checking out more of this artists work now, and if you are a fan of exploratory or experimental ambient, with something unique to offer structurally, go listen to and purchase their albums on Baboom.

Also on Bandcamp

Social media links
Follow How Hot Is Your Cloud? on Twitter
Like How Hot Is Your Cloud? On Facebook

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En Snares: All Tomorrow’s Yesterdays

By Almark

En Snares recent release to Weatnu Records. All Tomorrow’s Yesterday is a reminder of how music can really touch you in the deepest parts. The latest pop-laden / experimental artist does it again. Catchy synth parts, deep bass tones, chilly synth melodies and soft spoken vocoder vox make up this album. But it has a personality too, one that stays with you many hours after listening. For those who are fans of Röyksopp and Boards of Canada, then you’re sure to love En Snares. En Snares, music is bringing something different to the world of Electronic.  Get it on Weatnu Records.


Also on Bandcamp

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Review: FTNM – Kin

It was a gloomy, post-Canada week Saturday night, when I was drifting in and out of easy chair consciousness, figuring out where to begin with the next slur of album reviews… I should probably mention to those whom do not reside up here in the north, that Canada Day was Wednesday, July first, and (being a Canadian) I was socially obligated to be a poetic mess for close to a week or so, and to ferment in the presence of recording devices… All this being said, I did not intend to write this review right now (honestly), but as a result of Twitter, I found myself listening to “For the Naked Mind!”, now glued to my desk while the outside obligations of my civilian consciousness are faded into a rhythmic nonsense, unaware of the passage of my Saturday evening into the ether and back for a subtle change in what was once my bio-rhythmic pattern of menial daily activities and once conceived notions of what was downtempo / ambient / progressive electronica.

The implication of glitching, set to a concise and cerebral choice of melodies and chromatics, using well-crafted and immaculately timed synthesizer anomalies has successfully convinced me to return from the fluid and transcendent experience that is “For The Naked Mind”, spreading word of what may very well be an electronic opus, brought into the Internet market place through an invigorating cellar discourse with abstraction that has in fact changed my patterns of thought enough to the point of attempting an explanation of a harmony of both an invigorating and calming aural imagery…

Here being the point in my article, where I do so humbly invite the Internet audience to visit #WEATNU and give a listen, such that I could quite easily say something remotely clever, or somewhat philosophical, but I cannot use words for that which cannot be described as other than being an open door to a train of thought that is without words and has been concocted by “For The Naked Mind”.


Follow For The Naked Mind on Twitter.

JC Luff#WEATNU Digital Magazine


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WEATNU RECORDS: an open-label

What is an open-label? As far as I can tell, it’s something that is always open to new acts, whereas other indie labels stop the flow after a time. Music culture is always changing, always progressing. Electronic has many sub-genres, many styles, it never stops. We are the New Underground believes in this progression and the latest artists need an outlet to express their music. WEATNU RECORDS provides that outlet, we are always open to add new artists, much like 4AD but on a more raw intake. This is the future of indie labels and during the post 2000 phase of the digital world, one can easily take in more. Consider WEATNU RECORDS an experiment and a hybrid, we were once a full net-label, now we are an open-label. Artists sell music through us and that’s the difference.

Almark#WEATNU Digital Magazine

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ArchivesNew albums

Bedtime for Robots: The Dismemberment Tapes

Straight from the depths of Michael Ferentino’s dark, experimental moniker, Bedtime for Robots, comes The Dismemberment Tapes.  BFR has painstakingly constructed a sonic world unto itself. Percolated metallic globules, juxtaposed against unsettling echo-drenched voices and dissonant sonics…all being driven toward you with cinematic precision. The obvious attention to detail within the sound spectrum makes The Dismemberment Tapes a chillingly mesmerizing, purposeful listen. Incredible washes of oddness tinged with creepy vocal cascades and sinister synths abound. Ambient curves and growling bass notes plod as they warn of bad things lurking on the perimeter. Reversed nuances and chilly strings usher in electric spurts and crashes….all winding into a deep abyss of bubbly reverberated gloom.


Follow Bedtime for Robots on Twitter

BP#WEATNU Digital Magazine

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Interview with Naimi

“Swedish experimental artist Naimi is no stranger to #WEATNU. Her music has been on our radio for a while now. She creates 8-bit influenced tunes, as well as synthpop styles. Her influences range from Punk to Indie rock. We were thankful to get some insight from her words.”

Almark: Hello Naimi, how are you today?

Naimi: Hello, quite ok.

<iframe style=”border: 0; width: 100%; height: 120px;” src=”https://bandcamp.com/EmbeddedPlayer/album=3700457922/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/” width=”300″ height=”150″ seamless=””>Demonsongs EP by Naimi</iframe>

Almark: Thank you for doing this interview with #WEATNU DM.

You’ve just released your first EP Demonsongs to WEATNU Records. But you’ve been creating electronic for some time now. How has coming to #WEATNU helped you?

Naimi: I got more followers on soundcloud and on twitter, and more people listen to my music on soundcloud. And I know more electronic music now!

Almark: Great to hear.

How long have you been writing?

Naimi: I did some songs when I was like 10 years old, and when I was 15 years old. But I started make music more seriously in 1998, when I was 19 years old.

Almark: You mentioned that you use Jeskola Buzz to create electronic music. Is this your main piece of software these days?

Naimi: Yes, I almost do all electronic music with that program, have used it since 2005.

Almark: And you being Swedish, and the author of Buzz is also Swedish, did that somehow allow you to find Buzzmachines? I too have been using the program off and on since 2005 as well.

Naimi: hmm I did not know that the author of buzz is Swedish hehe.

Almark: I believe he is, as the program itself greets you with the word. “hej” laughs

Naimi: aha…

Almark: It isn’t hard to tell that you like video games, at least I can hear the PCM droning in the background on some of the songs on this EP such as OCD3. Is that right?

Naimi: I really don´t play video games, but when I was a child I did play a lot Nintendo 8-bit. What are PCM?

Almark: Pulse-code modulation. It’s that droning sound you hear in popular NES games, like Contra

Naimi: I think I know what you mean!

Almark: How well received is your music to the new listeners, and since this is niche music, aka avant-garde type, who are you targeting?

Naimi: It´s good! I don´t think so much about who is my target, people who like it like it. But I have noted that not so many people at Spotify listen to my electronic music, but on soundcloud they do.

Almark: It’s quite difficult to pipe followers into Spotify.

What music influences you to create what do you?

Naimi: when it comes to my electronic music, nothing special. It´s more my feelings and mental health that influences me.

Almark: What got you into creating electronic?

How did it begin?

Naimi: I got a synth when I was 10 years old, I played a lot on that, then when I was like 19 or 20 years old I found that synth again, and started to make music on that, melodies, a combination of Nintendo 8-bit and folk-music, and this was like 1999, and 2005 when I found Jeskola Buzzmachines I started to make more different electronic music. I wanted to do different music. Also I did and still do a lot of guitar music. I don´t want to do just one type of music.

Almark: You also mentioned that you own many analog synths?

Naimi: yes, like maybe 20!

Almark: That’s a lot of synths indeed!

Naimi: Yes I collected them before.

Almark: What is one such vintage piece of gear you own?

Naimi: I have a little sampler synth, Casio I think, I don´t remember its name now!…


That´s the name!

Almark: Lots of small synths then?

Naimi: Yes

Almark: Yard sales?

Naimi: Flea market and second hand

Almark: Those are always fun.

What type of music do you enjoy, outside the electronic spectrum?

Naimi: singer/songwriting, indiepop, shoegazing, postrock, grunge.

Almark: So you grew up to some punk as well?

Naimi: oh i forgot, punk!!

Yes, I did. Mostly Swedish punk, but also American hardcore

Almark: Like Black Flag?

Naimi: More like NoFX.

Almark: ah, I remember them.


Naimi: Yeah, I have heard them.

Almark: Cool.

How is the Electronic scene in Sweden going? How is your music being received there?

Naimi: hmm I´m not so updated, I know Andreas Tilliander, Ola Bergman, The Knife, Sophie Rimheden. The Knife is very well known in Sweden, but the scene is not so big. I think many musicians know about me, but not so many other people.

Almark: Indeed

How do you create your music?

Naimi: you mean the electronic?

Almark: Yes

Naimi: I often use the program buzzmachine. A few times I have used Mixcraft with a midi-synth, and sometimes I use my physical synths. Before, like 2000-2005, but it happens now and then.

Almark: Not many know about Jeskola Buzz. Since it’s the hidden daw of the Internet since 1998, I personally can say it’s one of the best free, if not free, at least completely unique pieces of software I’ve ever used.

Have you also created with Renoise?

Naimi: Yeah, Buzz is the best!! But I have not heard about Renoise, what is that?

I also have used AudioMulch and Sunvox

Almark: Renoise is a modern tracker program, much like Fasttracker II. Also did you know that FT2 and Buzzmachines were created by Swedish programmers? AudioMulch is very interesting

Do you also create music by playing MIDI controller as well?

Naimi: Yeah, I learned that from you that they were Swedish 🙂

Naimi: Yes, sometimes.

Almark: Are you currently playing live anywhere? Locally

Naimi: No, not anymore, I used to play live in like early 2001, I don´t now, but the last time I played live was I think about 18 months ago. I have played quite a few times at clubs and festivals, but it was a long time ago.

Almark: So you’ve come back again, this time to the Internet?

Naimi: I have never stopped, but it´s like only on Internet now.

I´m too scared to play live, maybe I am going to do that in the future.

Almark: What plans in music do you have for the future?

Naimi: I have like music ready for 5 more albums, I’ve just got to record them, but it´s not only electronic music, it´s a lot of guitar songs and organ songs, plus I have plans to do a synthpop-album and a guitar-punk album with electric guitar.

<iframe src=”https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/203498987&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ frameborder=”no” scrolling=”no”></iframe>

Almark: Much like the song you created “I miss Talking to you”?

Naimi: yeah.

Almark: Are you seeking a band for those, or more solo work?

Naimi: it´s solo work.

Almark: Have you found any artists under #WEATNU whom you enjoy listening to?

Naimi: yeah, Adryelle!

Almark: Ah, yes, she’s great 🙂

Are you working on new music?

Naimi: yes, with the synthpop EP and with a Buzz EP with vocals.

Almark: Great!

Would you like to say what your Demonsongs EP is about?

Naimi: It´s about my mental health.

Almark: Do you think our reviewer hit the nail on the head about your EP?

Naimi: I think so, the titles say quite much!

Almark: Yes!

Naimi: And the feelings in the music.

Almark: last question favourite food?

Naimi: Hallomi is my favorite food!!!

Almark: Thank you Naimi for doing this Interview with #WEATNU DM. Good luck to you and your future in music.

Almark#WEATNU Digital Magazine

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Buy Demonsongs on WEATNU RECORDS

<iframe style=”border: 0; width: 350px; height: 470px;” src=”https://bandcamp.com/EmbeddedPlayer/album=3700457922/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/” width=”300″ height=”150″ seamless=””>Demonsongs EP by Naimi</iframe>

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