New Audio: Club 8 Returns with a Hypnotic Eastern Influenced New Single

If you’ve been frequenting JOVM over the past couple of years of its seven year history, you’ve likely come across a handful of posts featuring the work of Stockholm, Sweden-based electronic music producer, electronic music artist and Labrador Records label head Johan Angergård, who’s best known for his work with Karolina Komstedt in Club 8, with Rose Suau in Djutstin and his solo recording project The Legends. Now, Club 8 Angergård’s collaboration with Komstedt has a long-held reputation for a being difficult to pigeonhole sonically or aesthetically.  The duo, which initially formed in 1995 began as a Bossa Nova-inspired act with the release of their debut effort, Nouvelle; however, their 1998 sophomore effort The Friend I Once Had, the duo went through a complete and radical change in sonic direction, with the album’s material being entirely electronic and electronic dance music-leaning. Further cementing a reputation for being musical chameleons, the duo’s next three albums, released between 2001 and 2003 were featured old school soul-leaning material.

Throughout the bulk of Club 8’s catalog, Angergård had been the taken up all production duties — until 2013’s Above the City, which had the band working with an outside producer for the first time. However, Angergård returned to producing the duo’s work with 2015’s Pleasure, an album that Karolina Komstedt explained was about “love, sex and jealousy.” And you may recall that I wrote about album singles, “Late Night” a melancholic look at a love affair that starts off passionate before eventually cooling off; “Skin,” a decadent song that channeled Donna Summer’s “I Feel Love.”

2017 has been an extremely busy year for Angergård. His solo project The Legends released a solo album earlier this year, Djustin released their long-anticipated full-length debut Voyagers last month and Club 8 released their ninth, full-length effort Lost yesterday.  Lost‘s latest single, the slow-burning and moody album title track “Lost” pairs Komstedt breathily tender vocals with a production featuring chiming percussion and a chopped up and distorted vocal sample. As Komstedt explains in press notes “We’ve tried to step away from standard instrumentation and perhaps sound a little less typically western on ‘Lost.'” In fact, because of its chiming and propulsive percussion, the song possesses a hypnotic and Eastern-inspired quality reminiscent of Wolkoff‘s work with Icarus Moth — but a chilly yet sultry vibe.