Category: Releases

Posted on by — Leave a comment

“Pussy Was Wired for Sound” – track by track

Robert Johnson of Robert Johnson and Punchdrunks on Pussy Was Wired for Sound - track by track

Robert Johnson of Robert Johnson and Punchdrunks tells the stories behind the tracks on the album “Pussy Was Wired for Sound”.

Ask for “Pussy Was Wired for Sound” by Robert Johnson and Punchdrunks in your record store or buy it from us.

Duke’s Spasms

Gordon Presley (co-composer and producer) and I share an interest in John Carpenter in general and “Escape from New York” in particular. The best action film of all time and the best film score that isn’t Italian. Isaac Hayes gives an unforgettable performance in the film – as Duke.

Almodóvar’s Delusions

People generally think I bury myself in old Super 8 films and, like Lux Interior and Ivy Rorschach, collect kitsch and horror. Nothing could be further from the truth. I like Spain, especially Valencia. I adore Penélope Cruz and I love Pedro Almodóvar’s films. I can’t pick a specific film – I’ll take them all. Johan Wallnäs on organ and vocal effects perfectly captures women on the verge of a nervous breakdown. ¡Buenas! 👊💥

Mushburger

Gordon Presley and I play a right old mess. We barely know ourselves who’s playing what. It’s probably a ‘father-and-son thing’, I suppose, because now that Gordon’s started writing songs, they sound very much like my songs. He’s welcome to protest if he wants to. The title alludes to hopeless waves in a surfing context, and if there’s one thing we’re bad at, it’s being surfers. Worse than the Beach Boys, actually.

Voivoid Tensions In Hell

A tribute to one of the best-dressed men in music history, Richard Hell. As if that weren’t enough, he was in the right place at the right time in the 1970s rock scene down on the Bowery in New York. Television, Heartbreakers and The Voidoids make for a pretty impressive CV – but I remember him best for his tattered T-shirts and generally sleep-deprived look.

Fantastic guitar work by Jonathan Doe, which I reckon Richard’s guitarist Robert Quine (R.I.P.) would have appreciated.

Genocide In Space

Why a song about mass murder in space? Well, because one of Link Wray’s best songs is called “Genocide”. As I never want anything to sound 100 per cent retro, the “space card” is always a good way to get round the problem. Achieving both reverb and a hermetically sealed sound also fascinates me. Love it.

Fuzztone CEO

Who wouldn’t want to be the FUZZTONE CEO? Here it’s Jonathan Doe who lets rip with a mind-blowing solo several solar systems beyond Tune In, Drop Out blah blah blah… Love it!

Menopause Surf

Well, that’s what I’m called in Swedish. The Menopause Surfer. It was the cultural figure Marcus Törncrantz who coined it, and as everyone knows, you don’t just choose a nickname – you write a song about it instead. 😉

Link Wray Is Back For Good

Even as I was writing the song, I could picture a naked Link Wray – very much like T-2 – being dropped from the sky, only to then steal the clothes off bikers at a pool hall. It practically wrote itself. Great vocal effects too from Johan Wallnäs in the background.

Die Mauer Surf

Gordon Presley wrote this one himself and wanted me to contribute a backwards solo. When the song was finished, we both thought it sounded very much like Punchdrunks who’d got lost in Berlin. Great stuff, Gordy!

Dean Stockwell

Best film scene? Gosh, that’s impossible, but when Dean Stockwell sings in “Blue Velvet”, it’s definitely up there. From a child actor in films starring Errol Flynn to a supporting actor giant in a huge number of favourite films. I don’t know why I think of Dean when I hear those muffled synths. Håkan Lidbo has also added details to the soundscape that are far beyond my level of understanding. ❤️

Bullets Argue Well

Ennio Morricone. How does one pay tribute to him? The greatest, in my eyes. Impossible to answer. I’ll make a valiant attempt anyway with a Western theme. My daughter Olivia and producer Tobbe Einestad’s daughter Svea contribute backing vocals. Backing vocals were, after all, one of Ennio’s many hallmarks. Jonathan Doe plays what must be the first wah-wah guitar in the band’s history. Swell. 👍

Viva la Biafra Bay Ray

Two gentlemen with a past in the legendary Dead Kennedys. Unfortunately, they’ve been on a collision course with each other for ages. This is a musical peace pipe – or a joint, depending on where they happen to be. Punk, Punchdrunk style.

Theme from Pasolini’s Mind

I’m one of those who would have loved to see a sequel to *Being John Malchowich*, but starring Pier Paolo Pasolini. This Italian jack-of-all-trades died a brutal death under mysterious circumstances in the 1970s, but managed to create a few masterpieces before that. At least, that’s what I imagine the sounds in his head to be like.

Where can I find the album“Pussy Was Wired for Sound”?

Ask for “Pussy Was Wired for Sound” by Robert Johnson and Punchdrunks in your record store or buy it from us.

Posted on by

The sensational single “Fuzztone CEO” heralds the new album by Robert Johnson and Punchdrunks

Robert Johnson and Punchdrunks: Fuzztone CEO

The sensational single “Fuzztone CEO” is the first release from the new album by Robert Johnson and Punchdrunks, due out on 11 September.

If you’re a music connoisseur, you’ll already be familiar with Robert Johnson and Punchdrunks, who are among the most respected names in worldwide surf rock. However, the band’s nearly 35-year history hasn’t been plain sailing.
They have always challenged mainstream tastes and refused to pander to their own audience.

This has resulted in some missed opportunities and silent phones, but it has also meant that the band has continued to explore, surprise and present astonishing music of the highest artistic quality without interruption.

On 25 September 2026, Fanfar! will release another Robert Johnson and Punchdrunks album, ‘Pussy Was Wired for Sound‘. This album cements the band’s individuality whilst leaving the door open to past triumphs such as the classic album ‘Fried on the Altar of Good Taste’.

Just listen to the first taster from the new album, ‘Fuzztone CEO’, which is released on all digital platforms on 11 September. If that doesn’t set a new standard for surf rock, there’s no justice in the world (spoiler: there’s no justice in the world, but anyway).

To celebrate the album’s release, Robert Johnson and Punchdrunks will perform live on 18 September in Stockholm and on 25 September in Gävle.

‘Pussy Was Wired for Sound’ will, of course, be released on all streaming services, as well as in a limited edition of 300 copies on orange vinyl housed in a laminated gatefold sleeve — the most lavish release we have ever produced.

Now it’s time to celebrate! 🎉

Posted on by

Robert Johnson on the new album with Robert Johnson and Punchdrunks, ‘Surf på svenska’

Robert Johnson and Punchdrunks: Surf på svenska


Today sees the release of ‘Surf på svenska’ (Surf in Swedish), the new album by Robert Johnson and Punchdrunks. The leading exponent of distorted, guitar-based surf rock continues to surprise. Here, Robert Johnson talks about the album himself.

It has always been a question of when rather than if. Around the time of ‘Aloha from Havana’, Per Thorsell even designed a cover for ‘Surf på svenska’, which was called ‘Aloha from Hälsingland’ at the time. That was in 1997. The project never got further than the cover, which we translated literally into Swedish. However, Thomas Öberg and Jonas Jonasson from Bob Hund then came up with other ideas and the original plan was forgotten.

It would take 20 years before the idea resurfaced. At that time, I was a big fan of Tonbruket and went to all their gigs. Johan Lindström from Tonbruket was working on his newly formed septet and wanted some feedback. Strange, in hindsight. I spent a whole day in his studio listening to music and taking files home with me. I also helped out with a couple of tracks. I remember us knocking over SJ stools in the entrance hall of the studio. I told Johan that I thought his titles were weak and gave him lots of suggestions, such as ‘Lugnets Industriområde’ (The Lugnet Industrial Area), ‘Ålkistan’ (The Eel Chest) and ‘Kräftriket’ (The Crayfish Kingdom). I remember him seeming to agree, but when the album finally came out, the songs had ordinary titles and there was no mention of my help. I didn’t care that much though. I had got to see my favourite guitarist in action. That was enough.

Then, Johan played on one of my records, so we were even.

Instead, I contacted Martin Hederos from the same band to ask if he would be interested in playing what I had seen. He was cautiously positive, but he already had a thousand projects in the pipeline, so it didn’t go beyond being a fun idea.

Another year passed before I approached Mattias Bärjed from The Soundtrack of Our Lives. It took him a year to respond, and he gave me the same answer as Martin. I also realised that it would be time-consuming and costly, and that he lives on Gotland, which would make logistics complicated. Much as I love his film music for Mikael Marcimain’s films, I decided not to pursue it.

It was now 2024, and I decided to make the album myself. I only had two requirements. 1. It would not feature any guitars. 2. It would feature the accordion. This was a difficult starting point, given that I’m a guitarist and I definitely can’t play the accordion. But I love the accordion. I love folk music, and Jan Johansson’s ‘Jazz på svenska’ is the best album ever produced in this country. No one else comes close.

It all started with the titles. Then came the music. I knew it was going to be beautiful. And it turned out that way. I devoted more time to this album than I would like to publicly admit. More than to any other project I have worked on. I worked hard, received help, and resorted to both traditional tricks and modern technology. In other words, I did everything that other musicians have time for, or that record companies are willing to pay for, at Atlantis Studio. I care as little about moralising as I do about deliberately playing the wrong notes on records and releasing versions that no sane person would keep. I have images and sounds of songs in my head twenty-four hours a day. They don’t sound or look like other musicians’ songs. How do I know that? I just know. I don’t think I’ve ever heard anything that sounds like my music. Never have. I’ll never hear anything like it either. No awards. No money. Just the occasional good review. Nothing more. I’ve had to explain this to everyone except Magnus Nilsson at my record label, Fanfar! I think he trusts my musical judgement. But I’m not sure. So I’ll keep making records until he tells me to stop. Then I’ll stop. Then I’ll just box.

It’s Magnus who wants this to be a Robert Johnson and Punchdrunks album. I don’t get involved in things like that. I love this music, but I’ll never perform it live. It’s just not that kind of music. In fact, I don’t think you can even drive to it. You might be able to listen to it on headphones during endless train and plane journeys though. I don’t do that either.

Beautiful.

Listen to and download “Surf på svenska” at Bandcamp.

The Yngsjö Murder

‘Yngsjömordet’ is about the last woman to be executed in Sweden. A fantastic 1960s film starring Gunnel Lindblom, Gösta Ekman and Christina Schollin. No, ‘Skånska mord’ with Ernst-Hugo Järegård is not better.

Tattooed Johansson

A little gangster romanticism is nothing new; it has always existed, and I have read countless stories about Salaligan (The Sala Gang) and dynamitards. The Swedish title is ‘Tatuerade Johansson’.

The Lugnet industrial area

‘Lugnets industriområde’. Before Hammarby Sjöstad, people used to go to underground clubs in Lugnet. Motorcycle clubs held parties there, and people played pool for money. Me included.

The glimmer of Handsome Bengtsson

‘Bildsköne Bengtssons glimt’. See ‘Tattooed Johansson’ above.

Alkeby in Dragonhagen

Dragonhagen was a dance hall in Brottby, Roslagen. I once met Djurgården’s goalkeeper Björn Alkeby there in the early 70s. He was bigger than any musician I had ever met.

Säter’s permanent pavilion

In Stockholm, we had ‘Beckis’, or the formal Beckomberga Hospital. In Dalarna, it was Säter with its ‘Säters fasta paviljong’, where the notorious Lars-Inge Svartenbrandt and others ended up. I think the name is mainly so eerie.

Sup i Ålkistan

A drink in the eel box… On the way from Brunnsviken to the Stockholm archipelago, boat owners would stop for a drink. It’s unclear why.

Sista vilan i Jomala kyrka

The final resting place is in Jomala Church. On my mother’s side, I have relatives from Åland. They are buried in Jomala Church. People from Åland are different. They are all sailors and don’t think it’s ever windy. Since reading ‘The Old Man and the Sea’, I have been afraid of the sea.

The Forsby-Köping cable car

‘Kalklinbanan Forsby-Köping’. That would have been a boy’s dream come true. The Forsby-Köping cable car was a cable car that suddenly appeared when driving to Gothenburg on the old E3 motorway. I would have done anything to ride in one of the baskets.

Kräftrikets förbannelse

The curse of the crayfish kingdom. I don’t actually know if there is a curse, but there should be!

Posted on by

‘No Quietus’: The Mommyheads’ Most Hopeful Album About Death Yet

The Mommyheads: No Quietus

The Mommyheads confront mortality head-on with No Quietus — their 17th album and perhaps most vital work yet. Out 7 November 7 2025, this defiant, danceable record turns death into a celebration of life, blending prog-rock ambition with raw emotional honesty. It’s an album about endings that feels like a beginning.

The Mommyheads releases their 17th record on 7 November 2025. Entitled ‘No Quietus‘, the LP is Latin for ‘no death’. While avoiding the clichéd character narratives and fantastical story arcs of classic rock, this record does have a core theme that weaves its way through every pulsating rhythm and guitar strum. Death is the main protagonist on this sonic journey, and it is far more pleasing to the ears than one might imagine.

‘Triumph and Crash’ barrels in like a prog-rock funeral march for the current geopolitical situation and/or any fallen empire in its final days. In the track ‘Black Veins’, our protagonist reveals a sense of vulnerability that continues throughout. ‘Take these black veins and turn them blue; I gave all my oxygen to you’ is a heart-wrenching reflection on the co-dependency that develops in any relationship. The title track, ‘No Quietus’, sees the protagonist grappling with the possible final days of the most important person in his life. ‘I’m Your Apocalypse’ sees the band at their most rebellious and angst-ridden, channelling edgy, dissonant synths that rub and gyrate against a deep 7/8 groove. ‘Always Reaching’ juxtaposes heady lyrics with danceable grooves, achieving this flawlessly within a 4:40-minute song. By the end of side one, we are eased into a late-70s Bee Gees groove, with the lead protagonist asking us to consider where heaven and religion might fit into this grand narrative.

Side two continues this theme with songs such as ‘Finally Free’, ‘Strong’ and ‘It’s Only Life’.

We are carried along this path, hearing the dreaded concept of how to deal with the inevitable topic that we never seem to have enough time for. Yet here is a musical document that tackles this delicate concept from multiple points of view. Like a prize fighter looking for any weakness in his opponent’s body, ‘No Quietus’ examines the death of society, loved ones, egos, relationships, religious beliefs, and one’s identity through song. The end result is a unique and refreshing musical collage that will stand the test of time. This record might just be the most hopeful LP of this band’s career.

In this band’s long and successful career, releasing a concept album about death has never seemed so vital.

The Mommyheads: The Beast Is Back
Posted on by

Ola Backström’s hidden treasure: Gråton.

Ola Backström

A selection of Ola Backström‘s posthumous recordings, ‘Gråton‘ is now available. Ola Backström (1953–2004) was something of a hidden gem in Swedish alternative popular music, yet simultaneously an important and idiosyncratic artist. Until now, his solo music has only reached a small circle of friends and family. Now, more people will have the opportunity to discover his work: songs that, in another era, could have become Swedish classics.

Backström was a guitarist in Dag Vag and Stockholm Norra and played on Torkel Rasmusson‘s solo albums. However, it was alone in his home studio that he created his most personal music. Armed with only a drum machine and a guitar, he explored sounds and feelings, free from any consideration of an audience or a market. The result is a collection of songs conveying both fragility and sharpness, humour and melancholy, and always displaying a curiosity about life.

‘Ola chose not to take the easy route. He found his own personal expression, emotional and ingenious,’ recalls Torkel Rasmusson. The recordings, found on overwritten cassettes and reel-to-reel tapes, were created purely for the sake of creation, amidst babysitting duties and everyday chores.

“Gråton” contains both finished songs and sketches, ranging from instrumental synthpop to absurd depictions of stage fright and everyday moments. This was an artist who never stopped searching, and whose music is now being heard twenty years after his death.

‘For Ola, art and music were a playful adventure, but also a very serious endeavour,’ says Torkel Rasmusson. ‘You can hear that in every note on this album.’

Ola Backström: Gråton

Ola Backström: Gråton

Gråton is the first and only solo album by artist Ola Backström (1953-2004). It is an unexpected album from the guitarist who helped start bands such as Dag Vag and Stockholm Norra in the 1970s. His own recordings show a Swedish path between Swedish prog and American, bright post-punk.

28,00 €
Shop now
Posted on by

With ‘Box Office Poison’, Robert Johnson and Punchdrunks continue to break down all resistance

Robert Johnson and Punchdrunks

For over thirty years, Robert Johnson and Punchdrunks have been world leaders in the surf rock genre. Over the years, they have become less puritanical yet more incisive. ‘Box Office Poison’ is a fascinating work from a band that just keeps evolving.

Depending on whom you ask, the band Robert Johnson and Punchdrunks came into being either in Solna or in Stockholm more than thirty years ago. But it doesn’t really matter. What matters is that it is frontman Robert Johnson who has been at the centre of most things over the years, and his creativity and dedication that have carved the band’s history in stone. Robert Johnson and Punchdrunks don’t follow other people’s trends or the whims of the times; they are stubbornness personified.

As a record label, of course we like the artists we release — who wouldn’t? — but one has to be amazed by an artist who is so stubbornly independent. And continues to develop. Finds new paths and breaks new ground. Even if it goes against the expectations of their fans and risks losing their loyal supporters’ love. For Robert Johnson and Punchdrunks, there is no alternative. It’s their way or no way at all.

On ‘Box Office Poison’, Robert Johnson and the band’s former bassist take centre stage. The album sounds the way it does and the songs are constructed the way they are largely thanks to Tobias Einestad.

The result is impressive. Not least on vinyl. Rarely has pressed black vinyl crackled with such weight as on ‘Box Office Poison’. We have a vested interest in saying so, of course, but it’s still true. Bear in mind that there are only 300 copies of the vinyl. Once they’re gone, they’re gone for good.

This is a gift from the gods to all self-respecting rock DJs. ‘Box Office Poison’ is also a godsend for radio sports broadcasts. You know what I mean.

Buy the album today!

Posted on by

Could this be a future Swedish classic? “2017–2022” with KC BABY

KC BABY: '2017-2022'

The duo KC BABY are releasing a summer single that packs big emotions into a condensed format. ‘2017-2022’ has the potential to become a Swedish classic.

When KC BABY formed in 2017, it was the result of two people’s intense shared passion for music. However, it was also a natural consequence of sound artist Kajsa Magnarsson and Bob Hund icon Conny Nimmersjö becoming a couple. When they parted ways five years later, they chose to maintain and develop their shared bond in the form of KC BABY.

The single ‘2017-2022’ is now being released from their second album, ‘Nästan perfekt’.

When a relationship ends, the reason is rarely clear-cut. In ‘2017–2022’ by KC BABY, Conny Nimmersjö sings his own lyrics. Jan Gradvall wrote in Dagens Industri: ‘In the clinical “2017–2022”, Conny Nimmersjö sings about a summer when they “suddenly were done with each other”, without a hint of bitterness.’ He gave the album a rating of four.

This is arguably the most powerful song ever written in the Swedish language about divorce. Additionally, the song has a memorable melody and arrangement. It is no exaggeration to suggest that ‘2017–2022’ will be considered a Swedish classic.

Posted on by

KC BABY – back with even more pop for adults

KC BABY (Photo: Emily Frick)

When Kajsa Magnarsson and Conny Nimmersjö formed KC BABY around 2017, their motto was ‘the small band with big feelings’. Although the duo’s sound and focus have changed, their vulnerability remains. On 9 May, Fanfar! will release their second album, Nästan perfekt (Almost Perfect), on vinyl and streaming services.

The album took more than five years to make,” says Conny Nimmersjö. ‘Not because we had a creative crisis. There was a pandemic. We had children. There was a war. We separated. The album is a soundtrack to all that.’

Kajsa Magnarsson: ‘Everything that is sung is true. I am very grateful that it was finished. It might be a bit messy in form, but that’s okay. It came out that way, like so many other things.’

On ‘Nästan perfekt‘ KC BABY are joined by Mattias Alkberg and Insomnia Taxxi, who both sing on ‘Till Berlin’. Amanda Werne (known by her stage name Slowgold) plays the accordion and sings backup on ‘Nu är det så’.

It’s hard to resist ‘Nästan perfekt’. Lyrics, music and expression vibrate close to the nerves. It’s pleasant and disturbing. At the same time. That’s what KC BABY are all about. What we hear is pop music, but the lyrics – which move between tender observations of everyday life and bitter reckonings – give the music a more mature tone than we’re used to.

Conny: ‘When Kajsa and I started playing together, I was convinced that it was only a matter of time before Kajsa’s singing voice would become one of the most popular in the country. And it’s still only a matter of time.’

Photo

Photo of KC BABY taken by Emily Frick.

Posted on by

“Till Berlin” is a strong return for KC BABY

KC BABY: "Till Berlin" ('To Berlin')

Finally, new material from KC BABY. Kajsa Magnarsson and Conny Nimmersjö follow up their strong debut with a single featuring Mattias Alkberg and Insomnia Taxxi.

The band KC BABY release the digital single “Till Berlin” (‘To Berlin’), a prelude to the album to be released in May. The song features guests Mattias Alkberg and Insomnia Taxxi. The latter is a pseudonym for Iryna Novikova, an experimental musician from Charkiv, Ukraine, with a style somewhere between Nico and Sisters of Mercy.

“Till Berlin” is a song about movement – away from something, towards something. The verses are about being stuck and looking for a way out – to a friend, to another place, to a better state. The lyrics could have felt out of date. They don’t.

The album “Nästan perfekt”, which will be released on 9 May, has evolved over five years – through a pandemic, separation, war and the toddler years.

“The songs have become a soundtrack to all this”, says Conny Nimmersjö, who forms the core of the band with Kajsa Magnarsson.

“Everything that is sung is true”, says Kajsa. “The record might be a bit noisy in its form, but that’s okay. It came out that way, like so many other things.”

Guests on the forthcoming album include Amanda Werne (Slowgold) on accordion and choir.

Release date for “Till Berlin”

“Till Berlin” is released on 4 April 2025. The song will initially be released as a digital-only track, but will be included on the LP to be released later this spring.

Listen to “Till Berlin”

Posted on by

A powerful swing from the Swedish kings of surf rock

Robert Johnson and Punchdrunks (photo: Pär Wiksten)

Since 1992, Robert Johnson and Punchdrunks have been internationally recognized as the undisputed kings of surf rock. Now the band’s twelfth album is out, and the group shows no signs of stagnation – quite the opposite. Always challenging and confounding their own genre and audience, Robert Johnson and his punchdrunks twist and turn b-sides and obscure references until you’re dizzy. And you’ll love every second of it.

The new album “Pills, Thrills & Acting Smart” contains twelve powerful original songs. The band features Conny Nimmersjö of bob hund and Finnish guitar legend Pekka Laine of The Hypnomen. Conny Nimmersjö also has been involved in the recording and mixing. The album will be released digitally only.

A few words about some of the songs:

“Flamboyant Persona” features Robert’s son Gordon Presley on drums and Lady Murena on vocals. A return to the pure surf we know from the band’s early records.

“Unitar Swag” is exactly what it sounds like – a tribute to the strange instrument unitar. Here it is Conny Nimmersjö who plays lead guitar.

“Cooling Board”. Hawaiian music has long been unexplored territory for Robert Johnson and Punchdrunks, although the band has touched on the exotica genre a few times. Now the band is taking the plunge and going all the way with the help of the Nordic region’s foremost expert in the field – Pekka Laine. Although Robert Johnson and Pekka Laine have been walking side by side musically since the 90s, this is their first collaboration.

“Pills, Thrills & Acting Smart” is the only surf rock album you’ll ever need. Okay, keep the ones with Link Wray, Davie Allan and Ike Turner. But you can throw the rest away and you won’t miss them.

It’s all here and then some.

Read more about “Pills, Thrills & Acting Smart”.

Photo

Photo of Robert Johnson taken by Pär Wiksten.