1. Hello! Who are you, where are you from and all that good stuff.
Hej Hej! I’m Michael and we are “The Music Liberation Front Sweden”. Now a days based in Fareham Hampshire in the United Kingdom.
2. Tell us a bit about the music you make.
The sound is based on collective musique concrète with the capturing of ideas, moments in history then take this and turning it into disposable electro kraut-pop songs.
3. When did you start and what made you want to start making music?
I love the idea of the collective and I suppose have been doing this since I can remember getting people to join together to make things with no objectives.
I like the idea of many mediums all influencing each other.
The band originally formed in Malmö Sweden, moved to Berlin Germany and then to Fareham Hampshire UK.
The Bio from Spotify reads: “The Music Liberation Front Sweden are a collaborative project which came about after the demise of the Electronic Watusi Boogaloo recording company ( Just Another Taste Of Electronic Watusi Boogaloo ) and TheUltra WideBand collective ( Ultra Wide Band Meets the Mighty Babalu Pt. 2 ).
Originally based in Malmö Sweden and though a love of CAN, Michael Evill Eastney Droners Sleeping Flies Babalu, Patrik Skoog Agaric, Mattias Nihlen VED, Gustaf Kjellvander RIP The Fine Arts Showcase, Leari Ljungberg The Ark, Joe Foster Slaughter Joe, Henrik Dahl Jivaro Sleeping Flies, Henrik Larson and Niklas Ehrlin Headroom Air Bureau released via Frankfurt label Saasfee their first album “Though I Wasn’t Doing Much I Felt More Satisfied With My General Situation Than I Should Have Been”.
Soon after the release the line up drifted apart and vocalist Carina Portin joined Evill and the band relocated to Berlin. In 2010 the band went full circle becoming Sound Carriers for Damo Suzuki. 2018 has seen new activity from the band with a string of new singles on Fareham University.
4. Stage or studio?
At times both. I like the idea of capturing jams. Those moments when things come together for that euphoric second when a bunch of friends just hang and play what they feel at that moment in time. Then these ideas would be cut and chopped, and sometimes left for years until revisited. Then maybe jam again over the top and the process starts again.
Sometime I like the idea of basing all this on an original played mistake building it into not a mistake, if that make sense. Eventually I will create a more comprehensive style song and add vocals.
5. What gear do you use to make your tunes?
I love Sugar-bytes Software.
I also lately love to use iPhones and iPads to capture things and do beats etc.
6. And what is your choice bit of gear and why?
My favourite piece of gear is my full size Yamaha Metalophone I can just bash away for hours playing classics to Velvet Underground ditties. I also love the fact it’s so big and heavy. I like to take it and play gigs with it as I love the idea of really having to do a work out to set it up.
7. Where can we check out your tunes?
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