Comprised of Jimmy Jönsson (vocals), Stefan Aronsson (synths and programming) and Per Linnerblad (synths and programming), the Stockholm, Sweden-based electro pop trio Red Cell can trace their origins to when the band’s founding duo of Jönsson and Aronsson formed the back during the winter of 2002-2003. Deriving their name from a character that appears in the TV series Nikita, the duo recorded their first demo “In Command” a few months after forming, and it was released to praise in the Swedish press for an industrial metal sound.
Stefan Aronsson, who played guitar on their first single was recruited into the band along with another member on synths and as a newly constituted quartet, the band’s sound became much more synth-based. After recording two more demos — “I Am The Way” and “Related Skin,” which received national attention, the band entered the Swedish demo-contest Quest For Fame and won a recording contract. And although the band eventually turned down the recording deal they won, with a growing national profile, the quartet toured around Sweden and started playing regular gigs in Copenhagen, Denmark, which begun to expand their international profile across Scandinavia.
By January 2005, the Swedish electro pop quartet had signed with Torny Gotberg’s Gothenburg, Sweden-based Progress Productions, who released their commercially successful full-length debut effort, Hybrid Society that September. The album peaked at number 7 on the Swedish metal charts and at number 53 on the National charts. A national tour to support Hybrid Society followed, along with the band’s first gigs in Norway.
The band’s last effort Lead or Follow was released in 2008, and as you can imagine across Sweden and the rest of Scandinavia, the news of their forthcoming third, full-length release, slated for release sometime next year has been long-anticipated. Although currently untitled, the album’s first single “Taking Back The Crown” is an anthemic bit of synth pop that sounds indebted to Depeche Mode‘s “People Are People” and “Policy of Truth” as well as The Human League‘s “Don’t You Want Me?” as layers of undulating synths are paired with propulsive drumming, enormous arena-friendly hooks and plaintive vocals.