New Skweee!

Two new skweee releases drop this week. Harmönia comes out with their twelfth record, this one a 12″ by Randy Barracuda. On The Low features three originals by Randy and a remix by Tes La Rok (whose credits include Dubstep Allstars Vol.05). The digital release includes a bonus remix by Sonig artist DJ Elephant Power. Over on Titched, the digipak of Stickem’s This Thing Is On single touches down with remixes by skweee pioneer Beem, dødpop mainman Beatbully, Lofi Funk’s Hybakusha, glitch-hop maven De Novo Creation, and a vocal treatment by Pubs P.

Panskweeeno Mixtape 1

Twenty-seven of your favorite songs performed by Pubs P, with music by many of the finest skweee producers from around the globe. Mixed into a delightful package for you to enjoy by the world famous Kid Logic!

Get it here:


 1- Body Blows -----------  w/ Boyz of Caligula
 2- New Lies   -----------  w/ Mrs. Qeada
 3- Point 1    -----------  w/ Joxaren
 4- Rap, What's That? ----  w/ Wankers United, Spinobi
 5- We Call it Skweee ----  w/ Daniel Savio, Da Gents
 6- Skweeeaholik ---------  W/ Claws Costeau
 7- Been Thru it All -----  w/ Limonious
 8- Bread Winner ---------  w/ Mesak
 9- 2nd Player -----------  w/ Mesak, Dopamine Rush, Spinobi
10- No Idea   ------------  w/ Miramichi
11- Pubs vs the Bully ----  w/ Beatbully
12- Pressing Charges -----  w/ Rigas Den Andre
13- Enjoyer --------------  w/ Wankers United
14- HomoCidal ------------  w/ VC
15- Distorting my Picture   w/ Hybakusha
16- No TO Drugs! ---------  w/ Rigas Den Andre, Spinobi
17- Dunk (Jordan Rmx) ----  w/ Luy B, Motem
18- Hood is Good ---------  w/ Motem
19- Camel Toe (Moller Rmx)  w/ Ass Music
20- Physical Appearance --  w/ Slow Hand Motem
21- Slurpin Juice --------  w/ Moller, Ass Music
22- Drunk ----------------  w/ JHnSN
23- Dick Funeral ---------  w/ Spartan Lover
24- Ass Music (VC Hype Rmx) W/ Assmusic
25- Pussinality ----------  w/ Joxaren
26- Average Rap Song -----  w/ Kid Logic
27- Humble ---------------  w/ Daniel Savio

The Man Called Beem

“Beem is the skweee producer the girls like” it’s often said. Beem has a new album, Peel, chock full of the sexy grooves, lush chords and well, killer hooks that the girls dig and the guys too. He has bypassed interest from multiple record labels to release it himself — for free.


What was the first music you heard that blew your mind?

We’re talking a long time ago… I loved sound. I recorded stuff on the radio and then cut the tape and played around with the record button. I loved when they sampled stuff in pop and funk and I tried to do the same thing with two tape recorders. I had children’s music tapes and there was one with a drum intro and I played it over and over. The rest of the song was crap but I loved the first two seconds.

What was your first keyboard?

I’ve had a lot. I had a Roland JX-3P, I think that was the first. Then I got a Yamaha QX5 sequencer. I did a lot on them. My first record was recorded with that. Then I bought the Juno 2. In the 90’s we had an acid jazz band and we were pretty bad. Then I heard Goldie and I started to experiment with a cheap Yamaha sampler and later an Akai 612.

I bought a little equipment from time to time and I reviewed records for a local newspaper. I got a record from Denmark that was sort of clean and had drum machines, and I loved it. I was hooked, so then I tried to make a track like that with 808 drums and it turned out pretty good. That was my first record as Electromagnetic Beem, in ’98.

So that was your start. And then?

I self-released two EPs in 1999, 2000. I think somewhere around there I first spoke to Pavan. He had just bought my record and we had been on the same compilation. He was working on a compilation for Flora and Fauna called The Night Shift. This is like 2003 or so. We kept in contact and then he came up with the plan to make this label for middle tempo music. His own record was number one (Punt Kick) and mine was the second (Mouth Everest/The Famous). Then I collaborated with a couple of rappers and made an album called Just Lit that I think was too diverse to hit home, but it was fun. The track “A Saab and a Gun” was on that.

Did you self-release that record?

I did, and I promised myself I would never do that again. It was a nightmare. I had released vinyl before and that was also a disaster. People liked the record but I never got any money for it. I sent it to Japan, Belgium, the U.S. and it sold, but I didn’t see a dime.

I’ve noticed that too.

It’s weird isn’t it? The story from New York was that someone stole the package. Then several months later they were selling it in their online store.

Then I tried to get something going with a vocalist because people were telling me that was the one thing my music lacked, and it seemed people can relate to music much easier if there’s a vocal. I worked with a lot of talented vocalists but it always sounded better to me when I removed the vocals.

Tell us about The Future album.

I had some new tracks and I just wanted to release something. I thought I had these tracks that fit together. I also wanted to expose The Famous and Mouth Everest that only existed on vinyl to a wider audience. I released it on the internet in 2008 and I think it still holds up.

Why did you choose to make the album available as a free download?

Flogsta hadn’t released any CDs or any full-lengths and weren’t ready to yet. I just wanted to put something out there. I felt I could sell maybe 500 copies, or I could give it away and get 5,000 or 10,000 out to people. That made more sense to me. And also it’s a nice thing to put up an album for free. It felt good. It has been downloaded a huge number of times, I think I have 70,000 downloads now. My earlier records exist in 300 or 500 copies. Probably a lot of people think it’s crap and delete it, but probably as many like it and share it with others. People get in touch all the time, so they’re listening somewhere obviously.

How did you distribute the album?

It’s a free download as mp3 on and I put it up as a torrent both as mp3 and lossless. I love lossless and I’m pretty tired of the mp3 format. There have been even more downloads in the FLAC version than the mp3.

What’s your feeling about genre and style? When you start a new track, do you think, ‘this will be a skweee tune’ or ‘this will be a downtempo track’?

Every time I’ve tried that I think the music sounded pretty bad. But I’ve also made stuff that was perhaps too free. I thought, “I can do whatever I want”. But when I look at my own music I think there’s some reason why people like it and there are some qualities, and it feels stupid to make music that aren’t in that quality box. If I tried to make something else it might lose the likeability. But of course when I’m starting a new track I don’t want to make the same track all over again. I think the best thing for me is to make my sort of song.

A year ago I bought a dulcimer and I sat for months and played on that. The first version of the first remix I did for you (Double Dog Dare) I thought, “this isn’t skweee at all!” and thought you were going to be disappointed…

I never got to hear that…

No, I threw it all out. I said, I can’t give him this, it’s too weird. That was dulcimer stuff and I don’t think it was bad but it was totally inappropriate. It’s like if you’re really hooked on singer-songwriter music from the 60’s, you can’t make 80’s sounding synth-pop.

We’re in New York and you’re laying down tracks for a new album. What’s the album about?

The plan is to make something that sounds a little new, a little different. Maybe step back from the more polished thing and “dry” it up a bit and work on the punchy feeling. I’m in a place where I’m not too excited about any weird music or weird instruments but just want to do straight-forward good music.

I’m trying with the new album to make it from another approach. I was caught in a trap where I’d make a drum and bass loop and try to make it perfect. This time I started with the chords and the form, so hopefully the tracks will be good when they’re finished instead of just funky. I work slowly because I want to make music that’s not just here for a short while but can last. There’s the British club idea where you make a track, press it on vinyl and play it out that night. That’s clearly not my thing. Even though that can be good when the music is that fresh.

You’re one day into three days of sessions at Wonderful Recording which has an amazing collection of vintage synthesizers from the 1970’s and 80’s like the OSCar, MemoryMoog, Prophet 10 and Jupiter 8. You came in with tracks recorded at your home studio and you’ve been substituting these classic and unique sounds into your tunes. How is it working out?

It’s working out great. It’s been a lot of fun to start to use these instruments, although overwhelming. People are satisfied with the soft synths and don’t realize the difference in sound.

If you could take one of those classic synths back with you to Stockholm which would it be?

Well the MemoryMoog is sounding really good, and it’s looking good too.


The ABC’s of V.C.

The debut release on the new Mässy record label is a stunner — Finnish skweee producer V.C.’s twelve inch EP featuring the tracks 30:00, Jello on Springs, Swamp Treat, and Rasco Lust.

Skweelicious: What were you up to musically prior to skweee?

V.C.: I tried and failed at lots of things in electronic music. I can’t really say what my musical output was before, but it certainly didn’t fit any genre I knew about.

How did you get involved in the skweee scene and producing skweee?

In 2006 while browsing a Finnish electronic music forum I noticed that a member of my all-time favorite live electro group, Imatran Voima, made some racket about this new thing called “skweee, the Skandinavian youth funk”. I checked it and there were links to some tracks. One of the tracks was Popkum by Mesak which gave me a totally new sensation of finding electronic music that felt familiar in every sense. This music felt very close to my thoughts and methods considering electronic music and the interests I had towards it. I started to listen to all the skweee tracks I could find, (which were of course, only a handful at that time) and to capture as much from them as I could. I started posting on the NOS forum about my first skweee tracks and received some feedback. After Harmönia released a couple of them, I guess I was involved…

Your EP is the first release on the new Mässy label. Tell us about the label — who is involved, why was it created, what are the future plans?

Mässy, like every other small independent label is the outcome of a great need to put out music that wouldn’t be heard by any amount of the public for various reasons. I think it’s not dedicated to any genre and I heard that you can expect even rock music to appear in the Mässy catalog. It’s run by my very dear friend, Mr. Spartan Lover, who enjoys a great variety of music and is keen to release all sorts of stuff. I hear there’s a CD compilation coming up this spring presenting skweee and other contemporary beat music, but that’s all the rumors that have reached me.

The V.C. EP is a 4 song 12″ and this is unusual because the standard format for short form skweee releases has been 2 song 7″. Any reason for this?

Well to be honest the idea for this release happened a long time ago, and back then the thought was it would be an 8 track LP. In the never ending process of making the LP a lot of dissatisfaction evolved towards the material and over time all the contents of the LP were replaced one and a half to two times. This pissed me and Spartan Lover off who was the biological mother of the idea in the first place. Due to these difficulties we agreed that it should be a short EP. It still took a ridiculously long time after that to actually get the record released, but I’m happy that it came out as it is.

Your tracks are among the most challenging in skweee in the sense that you feature dissonant melodies and jerky beats. What kind of reaction do you get when you play your material live?

It depends, like with every skweee set, some people feel it and others just walk away. I guess I have a somewhat challenging sound, at least that’s what some people have told me.

What are your thoughts on the wide diversity of skweee music? It sparks a lot of debate on the internet, I’ve read, “skweee is instrumental hip-hop”, “skweee is lofi electronica”, “skweee is IDM”…

I love it. It might mean that it’s going to be around still when the plausible short fad is over. I think this way cos I’ve heard so many descriptions and with some skweee tracks none of those can really hold up. Someday skweee could be seen to exist more as a sense of style or aesthetics than a genre in music. I would like to see it sneak back in to pop where I feel some of it came from. It would be amusing to see Pharrel or Timbaland copying someone who copied them. All in all I think that the origins of the idea of skweee is such a large bag to draw from that it naturally generates an output of great diversity. I hope that the universe behind skweee keeps expanding to keep the music fresh.

You’re always active in the gear discussions on, run down your studio setup for us.

It’s very humble. Just a couple of cheap synths, PC running Ableton Live and a turntable. I acquire gear rarely because I’m super picky and usually I try to learn about gear which I’m interested in before hand, to understand if it would actually do anything worthwhile for me or just mess up my work flow. This gets most of the “gas” out of me and usually I’m fine with not buying that particular piece I was after.

Finally, do you think skweee could achieve an audience size of dubstep for example? Or is it destined to remain small and underground?

Like I mentioned earlier, I wish it would go another route. I think dubstep and skweee have fundamentally only one thing in common and that is that they both are a part of this whole slow tempo electronic music thing. If skweee turns more into a DJ format electronic music then I don’t see why it couldn’t get bigger, and I feel that there’s already existing a so-called “skweee sound”.

To me that is not the interesting question. I think it can be big in another sense, like when it stays original and good and “live”, and thus affects other styles of music. Strict club/dance music contains a very real expiration date, and it always develops dominant characteristics so that it’s not enjoyable to create. In conclusion, let’s just hope that DJ skills will be the next big thing.


“We Call It Skweee” UK Screening

DONKY PITCH proudly present …




Donky Pitch 1.3, Thurs Feb 18th, The Jazz Place
Debruit(live) + Slugabed + Boss Kite(live Skweee)

Let Skweeedom Ring!

Skweeelicious presents Let Skweeedom Ring! — a free 75 minute mix showcasing the synthetic funk from Scandinavia as we enter the new decade. Mixed by Stickem, Let Skweeedom Ring features tracks from forthcoming albums by Mesak, Limonious, and Beem, as well as upcoming singles, cuts, unreleased gems, and a few classic nuggets from skweee artists all over the globe. This mix exhibits the beauty, wit, funkiness and diversity that make skweee important and fun. We invite you to download Let Skweeedom Ring! and in return we ask you to share this link. Most of all, enjoy!

Mrs. Qeada (SWE) Dreamatis Personea
Melkeveien (NO) Fantôme
Claws Costeau (FIN) Cold Smokin’ Tofu
Boss Kite (UK) CMYK
V.C. (FIN) 30:00
Ricky Lemon (DEN) Copenhagen
Bellybelle (USA) Supercell Strut
LaZERcrotch (USA) Neon Dude’s House Party
Spartan Lover (FIN) Zbieg
Wankers United (FRA) Superfönky
Hybakusha (ESP) Lebannon79
Kid Logic (USA) Polyester Shirt
Miramichi (CA) Leggo My Ego
Limonious (SWE) Degenerate
Beem (SWE) Automan
Easy and The Center of the Universe (NO) Yazid
Daniel Savio (SWE) People Die, Love Don’t
Rigas (SWE) feat. Markis Sage (SWE/FIN) Love Over Gold
Stickem (USA) This Thing Is On – Beatbully (NO) remix
Mesak (FIN) Sly Filmfestival (Sotchi Montage)
Sprutbass (NO) Hot Water Dirty Pits
Randy Barracuda (FIN/NL) Overnight Romancin’
Mackaper (SWE) Tale of Tale of Tales – Joxaren (SWE) remix
Slow Hand Motëm (CA) feat. Pubs Panseno (USA) They Lied

School of Mesak (HRMN-11) out Jan. 30

A school (from Greek schole, originally meaning “leisure”, and
also “that in which leisure is employed”, “school”), is an institution
designed to allow and encourage students (or “pupils”) to learn, under
the supervision of teachers.

School of Mesak (Harmönia, HRMN-11)
Album release date 30.1.2010 ||

School Of Mesak record release concert dates
16.1.2010 – Debaser, Stockholm SWE
Mesak + support Sprutbass, Rigas Den Andre, Pavan
6.2.2010 – Mbar, Helsinki FIN
Mesak vs. Claws Costeau DJ set
12.2.2010 – Krill, Tallinn EST
Mesak + support
19.2.2010 – By:Alarm (Mandelbrot), Oslo NO
Mesak + Koppen, DJ Eldfot (Basstronomisk Institut)

Harmönia Presents: International Skweee Vol. 2

HRMN-10_int_labels_previewi SIZED

The eagerly awaited sequel to Harmönia’s International Skw*** compilation has finally landed! Once again Harmönia’s artists are setting new standards for electronic dance music.

Unlike the blood suckin’ vampires of brain dead club music of today, these cats have been mastering their art in silence and are just about to teleport mankind back to the zone of full funkativity! The Funkentelechy has been found once again!

12 artists – 10 tracks of the finest analogue soul

International Skweee Vol. 2 opens with the smokey P-Funk stylings of our favourite Frenchman: Wankers United! You can definitely hear the atomic dog barking. Skweeemasters Beem and Joxaren have united their forces for the first time in history and produced a next generation banger of harsh acid funk. AC/DC goes Skweee? Swedish-Iranian Uday is back and this time with a message. The shah of Middle Eastern electro has teamed up with an unknown Iranian woman to bring us this revolutionary piece of Arabian funk with a message of strength and democracy: “Boland Shin” (Rise Up)! The A-side is wrapped up with the flute-driven disturbed grime of Coco Bryce’s “Ghetto Freaks” and Finnish noise-generator Claws Cousteau’s “North State of Mind” which is a party rockin’ example of his aggressive Stylophone crunk.

The B-side opens with the amazing Arab-influenced RnB of Easy and The Center of the Universe. “Hamada” sounds like Erkin Koray teaming up with Lil Jon and 40 virgins in an Ottoman hashish orgy. Finnish-Swedish Markis Sage makes a fantastic return with the 80’s tinged mellowness of “Creature of Lagoon”. Rarely can a track of this beauty be such a funkster at the same time. Icelandic prodigy Rabbi Bananas lashes out a broken beat holocaust with a riotous SH-101 screeching. “Cat Eat” is a true bastard of a track from the tiny country mostly known for its shoe-gazing soundscapes. We don’t know what the Canadian caveman Slow Hand Motëm was thinking when he sculpted the slow-burning crunk of  “Smells Like Randy Barracuda”, and we don’t really give a shit. It’s Great. Shine on you crazy bromosexual! The victorious compilation is finished with one of the Harmönia staff’s favourites: Despite the misspelling, Daniel Savio’s heart achingly beautiful “People Die, Love Don’t” shines through the darkness like a thousand crystal suns.

Free your mind and your ass will follow – The kingdom of heaven is within!

-P. Jerkman/A&R, Harmönia Records

Harmönia presents: International Skweee Vol 2. (HRMN-10) – OUT NOW

1. Wankers United (FRA): Superfönky
2. Beem & Joxaren (SWE): Pros and Cons of War
3. Uday (SWE-IR): Boland Shin
4. Coco Bryce (NL): Ghetto Freaks
5. Claws Cousteau (FIN): North Stae of Mind

1. Easy and the Center of Universe (NO): Hamada
2. Markis Sage (FIN-SWE): Creature of Lagoon
3. Rabbi Bananas (ISL): Cat Eat
4. Slow Hand Motëm (CAN): Smells Like Randy Barracuda
5. Daniel Savio (SWE): People Die, Love Don’t

Vinyl distribution: (worldwide), (Japan)
Digital distribution: ,

Gameboy Lover Lo Fi Funk 001


First release from this exciting new Spanish label focused on future-synth beats with enough funk to appease George Clinton.

This is the first release too for the Spanish beatmaker Hybakusha, a pioneer of the Skweee sound in Spain. “Gameboy Lover” is a noisy 8 bit robotic skweee track which mixes chip tune drums and cutting edge filtered synths in a crazy groove.

On the flip, the Mesak remix takes the track into more spacey and deep territory, giving this record the official and personal stamp of the Finnish Skweee maestro.

The digital edition also includes 3 banging remixes. USA skweee flagship producer Stickem, Broke Landers, and the Californian voice of skweee Mr. Pubs Panseno, show their personal points of view of the original track.

Joxaren’s Journey


There’s something about skweee that attracts artists with mile-long resumes. This is especially true with the subject of our current interview, Stockholm’s Joxaren. He is more than a pivotal figure in the skweee movement, he has an extensive and wide-ranging musical history as well…

Before we get started, just a brief note to upcoming interview subjects: We’ve noticed a trend that began with the Randy Barracuda post, and in the future the phrase “I have no idea” will not be an acceptable answer to the question “Where is skweee going from here?”!

Skweeelicious: What were you up to in your pre-skweee days?

Joxaren: I entered a drawing competition back in 1986 for this chewing gum brand and won the first prize, a full-size Yamaha home keyboard. Even as a kid I realized there was cooler gear than that, so I managed to sell it and got a Boss Dr. Rhythm drum machine and a Yamaha DX100 synth. Eventually, I got a Fostex 4-track and a delay pedal and started making demos with my friends. First, I was making synthpop and body music, but I later got into industrial sounds a lot. I was in a band between 1988-1996 called Big Fish, we started with a pure industrial sound but somehow ended up a metal-punk band with Swedish lyrics, folk music melody lines and metal percussion. We made five records. For a while during that period I was also in a really hard industry band called Pure Pain. After quitting Big Fish in 1996, I teamed up with Frans Carlqvist and formed Tip Top BK, a huge dub and beat project. That band later turned into Moder Jords Massiva, an electro/dub group of about 20 people that toured the world during the early 2000’s and released four albums. I also released a jungle 12″ ten years ago and some other records and tracks under the name Slummer. In addition, I have worked as a stage musician in different constellations. I’ve tried to keep busy.

S: Skweee was kind of up and running when you got involved. How did you get hooked into the scene?

J: I had been developing sounds alongside people like Pavan and Rigas den Andre for quite some time, so the step was not too big for me to adapt to the format. When skweee first developed, I was busy doing other things, but the basic components of the sound felt quite familiar to me. I realized that the guys really had come up with something, and I figured it was too much fun to miss out on. I started my Joxaren project secretly in the summer of 2007, and handed out demos to the Finnish skweee crew before I played any of the stuff to my people back in Stockholm.

S: Electronic music genres tend to be very strictly defined. If it’s drum n bass or breaks or electro or whatever it’s got to have a certain beat, and the bass has to have a certain timbre and so on. Now here comes skweee and tempos are all over the place. Claws is doing noisy 8-bit stuff and Rigas is doing majestic pieces like I Am Crane, and Beem is doing groovy tunes you can bump to. It’s odd for one style to be so diverse, no?

J: I guess that depends on what you focus on to define a genre. You can argue that if techno is a genre defined by equipment and dub is more of a method, then skweee is an attitude. That’s why it can be so sonically diverse but still be skweee. To me that attitude is about deliberately putting yourself in a place as a producer where the music sounds so silly or awkward that you risk to make a fool out of yourself, and then overcoming that by being very convincing. Still for my own production routine I like to try to stay around 105 bpm and limit the arrangements to the hardware I got, which is three synths.

S: On some internet boards there are arguments as to whether skweee is really its own genre. What are your thoughts on this?

J: Yes probably you can debate on that. But every time I play live people come up to say stuff like “I love it, what is the style called?” and then it’s very nice not to have to say “electronica” or “IDM” or some other useless word that someone else came up with. So far, the audience loves the S-word as long as they get to ask for it first. The scene has definitely benefited from the genre name, it’s like there is no threat in sounding like another skweee artist, you know, instead of being rivals we grow the scene together.

S: The International Skweee compilation on Harmönia opens with your track LIHOP which is very emblematic of the skweee sound. Here again, it’s another branch on the tree because I can’t think of another skweee track with that sort of double-time feel. When you produced it were you consciously making a skweee tune?

J: This was a very early Joxaren track, maybe the first, and it is definitely hard to mix into a regular skweee set. But the attitude and the simpleness of the sounds and melodies are very skweee. I myself was unsure whether it would fit on a skweee compilation but Randy Barracuda is into boogie rock too so he said “Hell yeah”. LIHOP mixes excellently with crunk, though.

S: You recently did some touring around Europe, where did you play and how was the reaction to skweee in some of these countries where they have probably never heard it?

J: In Berlin there is a very solid domestic scene, the Berlin sound consists of electro and minimal techno and traces way back in the 60’s so it’s hard to break through there with this slow backbeat sound. Nevertheless, at my latest gig at Weisepuff in Berlin there were only around 30 people, but they were all very enthusiastic about it and it led to a lot of new contacts. In Glasgow it’s different, they have this broken beat-scene going and all these B-boys showed up at my gig and enjoyed it, so I built a solid fan base there. The Spanish skweee crew are a bit different, more like squat-people. In Copenhagen, we only attracted a small crowd when we were there, but last weekend in Tallinn, Estonia, me and Mesak played for around 1500 people. It varies a lot.

S: You’re slated for a vinyl release on Flogsta Danshall 13. Tell us how this came about and what we can expect?

J: It’s been planned for a while, that release. One side is a brand new unreleased track in a bit darker mood, and the other is my minor hit Ritambluz from last year. That track has been played out a lot but was never released on vinyl so I’m very pleased with that coming out.

S: Just this year we’ve seen four new skweee labels pop up. Yet it’s not easy for this music to break through to a larger audience because it’s quirky and as we said earlier, hard to define. Then there is the fact that it’s still largely centered in Scandinavia which is, shall we say, off the beaten path. What are your thoughts on the future of skweee?

J: I have no idea, but if it gets any more busy than this I’ll have to quit my day job. I’m not sure that’s worth aiming for, many of the dubstep deejays I’ve seen out on tour seem pretty wasted and jaded by now.

S: Lets talk gear, what kit are you using in the studio?

J: I’m using a Mac OS9 Logic setup, it works the best. And then I have an MPC 2000 XL, a Clavia Micro Modular, an MFB synth II and a Micro Korg. I also use a mental German distortion box called Gold Fuzz and a Boss RE20 space echo. Mostly travel size budget gear.

S: How about your live setup?

J: It’s the same, my studio is my instrument. Only I don’t bring the computer on stage.

S: Finally, what’s coming up for Joxaren in the second half of 2009 and beyond?

J: On Thursday next week I’ll be going to Hamburg to play at the Kubik club, really exciting. And then I have like five more live sets scheduled for the summer. We also just launched this skweee weekly in Stockholm, a Monday club. So I’m hoping for that to be successful enough. I am also touring with Rigas backing up this electro-pop act Parken which is doing really well right now, there are about ten summer festivals booked. After that, I have no idea. I will continue making music as long as it feels like a challenge.

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