Janosch Troehler
Editor
Lioba – Paperthin
Hamburg-based indie-pop artist Lioba premieres her new single, «Paperthin», today with Negative White.
Nothing is more beautiful and frightening than the early days of falling in love. The tender nervousness, the pulsating euphoria, and deep insecurities go hand in hand. How long do we walk together through life?
In the stunning new single, Paperthin, Hamburg artist Lioba delves into the intricate interplay of emotions arisising in the beginning of love where the human desire for intimacy and the fear of being vulnerable are maybe as evident as they could ever be.
«With you, I'm feeling paper-thin.»
Paperthin closely follows Lioba's debut album, Magnolia, which released in February 2024. The single is officially out tomorrow but celebrates its premiere already today right here with an impressive video clip—featuring a paper dress designed and created by the artist herself.
Lioba composed Paperthin without overbearing gestures. The restrained instruments naturally complement her evocative voice, seamlessly meandering between larger-than-life pop and soul's warm intimacy and rhythm. Her vocal performance mirrors the duality of falling in love, both in its delicate and fragile but also the overwhelming and powerful moments.
Annie Taylor – Perfect Pretender
Switzerland's Annie Taylor are back with new music. «Perfect Pretender» has all the ingredients an energetic rock song needs.
The rock quartet Annie Taylor just returned to Switzerland after playing a tour in the US with performances at SXSW and KEXP.
Time for a break? No way!
Their acclaimed 2023 sophomore album, Inner Smile, laid down the tracks for Annie Taylor to stomp down the gas pedal as hard as they could. With Push Me, taken from the album and released back in March, the band displayed a melodic blend of alternative rock and grungy vibe. However, we were still deprived of their new material so far… until today.
Today, we celebrate the premiere of Annie Taylor's new song, Perfect Pretender, which will be released tomorrow. Grab your seats—it will be an electrifying ride!
The guitars growl, the drums whip relentlessly, a driven push forward. Written on a dark and rainy summer day, singer and guitarist Gini Jungi remembers: «After a drive through the pouring rain after rehearsal, I sat soaking wet in my unusually dark room and started humming this song.»
Perfect Pretender sticks out like a sore thumb in today's polished pop-filled puddle and rises like the messiah—bringing dearly missed rock anachronism back to the starved masses. The song screams loud and proud its raw heritage. And, oh boy, the guitar solo is like the first sip of a cool beer in the scorching summer heat.
But Perfect Pretender is not only a rough rock anthem but, as it is Annie Talyor's signature by now, there is always a slight notion of creeping anxiety and melancholia: «You got me thinking about… that I'm the perfect pretender.» Self-doubt as a subject that is simultaneously shattered with the exceptionality of Perfect Pretender.
Edition #110
Today, we recommend the new songs by Hugo Trist, Harmless, Anna Erhard, Superdark, and Barbicop.
Welcome aboard, and enjoy today's roundtrip from Switzerland to Los Angeles, with a little layover around Berlin. We will serve you an exceptional variety of electronic sounds, a blend of driven indie-rock, topped off with some raw sprinkles of kraut-y psych-rock. Sit back and relax—if you can.
Hugo Trist – Say It, Mean It
Hugo Trist is Switzerland's emerging future garage enigma. Say It, Mean It demonstrates the artist's love for nostalgia-dripping 2-step sound. Despite the history's weight, Hugo Trist effortlessly catapults the track into a contemporary field of tension, meandering between melancholia and excitement. And the massive bass drones make you feel so small. What a banger!
Harmless – CYA
Formerly known as Twin Cabins, Harmless just released the album Springs Eternal, which deals with a near-death accident with a drunk driver. One of the eleven tracks, CYA, is especially intriguing: urging and fast-paced yet still airy. The song feels like a callback to early The Cure, blended with sun-flooded Californian indie vibes.
Anna Erhard – Botanical Garden
Anna Erhard was inspired by a joke Google review about how the middle of the Atlantic has terrible parking. She created a persona who is constantly unsatisfied, not even enjoying the flowers in the botanical garden. Botanical Garden is a warm and grooving composition, one that puts a smile on your face with the hilarious lyrics.
Superdark – Opposite Thumb
Opposite Thumb by Switzerland's Superdark roars and rumbles through a sea of so-called wisdom and advice to improve one's life. The raw, breathlessly pushing rock sound is a fitting anachronism to contrast the modern promotion of self-optimisation. Building up intensity, Opposite Thumb gains more and more despair but also energy.
Barbicop – Electric by Feel!
There was a glitch in the matrix between Berlin and Switzerland, and through the digital cracks, Barbicop suddenly appeared with a sound as quirky as smooth and ethereal. In Electric by Feel!, Barbicop tackles the ever-mounting pressure to be productive and to find inspiration. The atmospheric composition definitely puts Barbicop on our watchlist.
You can listen to today's curation on selected streaming services:
Spotify • Apple Music • YouTube Music • Bandcamp
Markus Nikolaus – Pure Tears
Markus Nikolaus is about to play his first solo gigs in the US. Meanwhile, we are hosting the premiere of his beautifully stripped-down track «Pure Tears».
A message arrives at 2 am—sent by Markus Nikolaus, who is currently on the other side of the pond, in the United States of America, and about to play his first gigs in the land of the free and the home of bravely divided politics.
«Do you want to present my new single?» he asks—and the question might very well be rhetorical. Of course, we do.
Markus Nikolaus, singer of Lea Porcelain and the embodiment of general creative craziness, already starred in a previous premiere. With Hartes Porzellan—a collaboration with Simon Kaiser—he delivered the rumbling All In Your Head. And solo, Nikolaus made it even in our 2023 best list with the heartfelt Never Let You Go.
With his new song, Pure Tears, Markus Nikolaus stays on the soft and gentle side, similar to Never Let You Go, and yet, the composition has a unique vibe. Recorded with a great deal of room for the sound to expand, he kept it as stripped-down, as reduced as humanly possible: a flamenco guitar, a voice.
«Pure tears are the nicest way to die before your eyes»
However, the profound beauty of Pure Tears reaches deeper than its simplicity. It is an intimate feeling that the song is created while you are listening—a sonic stream of consciousness, underlined by its DIY-styled, lo-fi production, which, for once, does not feel like an act but a deliberate choice to facilitate immediacy.
Our Diary of m4music 2024
Negative White is attending the m4music Festival 2024 in Zurich. Two days of conference and live performances. Here is our diary.
Part I
Preparation
15.03.2024 • 08:45
Okay, the countdown is running: One week until m4music officially opens its gates.
And I can’t postpone the necessary preparation work any longer. I have to have a plan, which I will inevitably throw overboard during the festival because that’s just the festival’s nature.
But here’s my preliminary plan for the conference on Friday:
- A love story – SRG and the Swiss music industry
- Sexualised violence in the music industry – prevention and awareness
- Music and AI Now is the Future of the Past
On Saturday, I’ll probably only attend «Fair pay in the music scene: between expectations and reality» since I’ll also hang out at the invite-only «Business Mixer Brunch» by Swiss Music Export.
By the way, the official conference panels are free, so if you’re curious about any of them, you should definitely drop by. Here’s an overview of all panels.
I feel that the panels have become way more artist-focused, which is not bad but less attractive for me to cover as I’d be more curious about industry challenges. Also, a more fun and lighthearted panel is missing.
18.03.2024 • 07:25
After my recommendations for the conference, it’s time for the concerts I’m most looking forward to at this year’s m4music festival.
Moonpools
My favourite Moonpools memory dates back to July 2022. They’ve released their single, Damaged Goods, which immediately landed in my heavy rotation. We spent a week in Scotland and, one day, picked up two hitchhikers. The song was playing faintly in the background. One of the guys was in awe and asked who was playing. So far, I haven’t seen the Swiss band live. After their incredible new single, Never Mind, I can’t wait for their show.
Mary Middlefield
I could get a taste of Mary Middlefield’s raw live performance at last year’s «Musikfestwochen» in Winterthur, leaving me wanting more. She performs her indie-folk songs with the verve of a rockstar: intense, pressing, demanding.
BARON.E
The Swiss electro-pop duo BARON.E has been floating around my head since 2021’s COMME RÊVE. Their oscillating quality, paired with a love for detailed melodies, always grabs my attention. As with the Moonpools, I haven’t had the chance to catch them live on stage. It’s finally time to see them.
Hannah Jadagu
Last year, US artist Hannah Jadagu released the exceptional debut album Aperture. Songs like Warning Sing or Lose combine refined songwriting, soul-esque grooves, and rough-edged rock flair. And since up-and-coming musicians from the States rarely come to Switzerland, it’s definitely a must-see for me.
Deadletter
Skimming through the festival’s line-up, Deadletter stood out, but then again, I’m a sucker for UK post-punk, and the band adds a flavour of DIY and 2000s indie-rock to the sound. I’m predicting a sweaty and escalating show.
Part II
Festival
22.03.2024 • 08:21
Good morning. Today, I will start scribbling in this festival diary for real. And the first day obviously needs to start with fuel.
I’d say I’m more or less prepared for the whole thing, but I still need to pack the essentials. In a way, m4music is unique since I get to sleep in my own bed tonight, but simultaneously, it’s also a drag not to have a place to sleep really close by—even if it just would be a tent.
22.03.2024 • 12:30
Okay, all set and on the way. I’m not sure if the laptop will be really necessary; we’ll see. Better save than sorry.
22.03.2024 • 13:30
Okay, it feels like always: A slow start, people hanging around, chit-chatting, saying hello. Some drink beers, while others still rely on coffee. The sun’s shining, life’s good.
And as always, the growing crowd is a unique blend of business casual industry guys, cliché rocker dudes, and everything in between. For now, I’m just waiting for the first panel to start. And I think I’ll stick with Mate for now.
22.03.2024 • 16:00
As expected, the plan starts to fall apart. I’ve been to the SRG panel; however, as soon as I sat down, I thought this might get quite boring: It was supposed to analyse the relationship between Swutzerland’s public broadcaster and the music industry. «A love story,» as the panel’s title hinted.
The panel started with a speech by Gilles Marchand, the soon-to-be-ex director of the public broadcasting institution. He obviously praised the SRG’s efforts in promoting Swiss music, and some of the numbers he presented were quite impressive. Then again, this speech could have been a PDF.
The essential question, the political threat against the SRG, was only touched lightly. If you’d like to know more about the potential impact of cutting the public broadcasting fees in half would have on the music industry, check out this article:
Janosch Troehler
Marchand’s speech was followed by individual presentations of the language divisions of SRG. Also, impressive numbers, cool visual trailers, but ultimately nothing new or controversial. The actual discussion panel, featuring two SRG people and two people from the music industry, started off with enough cringe to get out and start with the first beer.
22.03.2024 • 18:00
My plan completely derailed. I skipped a couple of panels and caught up with some people instead. Mary Middlefield drones over the place outside of Schiffbau, the festival’s primary location.
We’re talking about wokeness, awareness, and the fact that the Swiss music industry is too nice. No drama. No scandals. Everybody’s playing ball. Cheap supermarket beer fuels the debate.
22.03.2024 • 20:00
I’ve been slacking around a bit. Undoubtedly, witnessing the saddest moment so far when Neil, singer of Bahnhofbuffet Chancental, kicked and spilt his beer.
Also, I had a quick chat with Frank from Lautstark, a music promoter. Now, it’s time for music. Club Exil. Deadletter.
22.03.2024 • 21:00
It smells like sweat, beer, perfume, and maybe a bit of piss. The only atmosphere the UK band Deadletter truly deserves.
They play with the aggression of earliest post-punk, dressed in 90s grunge, handling their instruments with the exceptional sophistication of art-rockers. Explosive. Disruptive. Angry.
One can’t be sure if it’s their attitude or the frontman is actually pissed. The audience could have been more enthusiastic, but that’s just Switzerland for the most part… No comparison to a pub full of drunk Englishmen.
And the saxophone… oh my! If you can, see them!
22.03.2024 • 22:25
After Deadletter, it can only go down. Well, probably. Right now, and that’s the exhausting thing about m4music, I can’t walk 10 meters without saying hi to someone.
That’s why I sit in the Hall, the biggest stage at the festival, and a guy from Paris is playing. Aime Simone. I don’t know, and it sounds rather underwhelming.
23.03.2024 • 00:16
On the train home, or at least in that direction. I’ll have to call a cab to get home. But it was time and a good opportunity to say goodnight. The first day is done—and, unfortunately, but expectedly, relatively unspectacular.
However, some of the conversations I had (which made up the bulk of my first day) went deeper, discussing the broader challenges the music industry is currently facing. But, let’s be honest, we also reminisced a lot about past times.
It’s the beauty but also the dirty little secret of m4music: The music is incidental. It’s about seeing and being seen, about connecting and networking—building relationships—especially for younger artists. I met a woman who worked in my team a few years ago, moderating comments for a big media brand. She has now started creating music. For her, the festival provides the perfect opportunity to learn and meet people.
The industry aspect of m4music seems more profound this year: The conference mainly provides hands-on information for musicians, event organisers, or other professionals. Admittedly, for me, the unfortunate thing is that these topics make rather boring stories, even for overly interested music fans. It’s too nerdy.
Nevertheless, tomorrow—well, later today, actually—there are definitely more bands I plan to see. But you know, plans and m4music don’t really work out as intended.
23.03.2024 • 09:15
After two coffees, I’d consider myself halfway living again. A glance out the window offers all the reasons you’d need to stay inside: It’s cold, wet, and terribly windy. But it can’t stop me from finally seeing Moonpools today, whose song Never Mind is already a high-chance contender to land on this year’s best list.
I had the chance to talk to Alain and Arthur from Young+Aspiring, Moonpools label and booking agency. They assured me their upcoming EP, Hide and Seek, will feature another excellent banger. They also revealed that there are about ten demos for their debut album. I’m already excited.
23.03.2024 • 12:30
I’m later on the train to Zurich than I originally intended. I needed more time to get in a ready state, ready for another night of standing around, talking, and listening.
Some of yesterday’s discussions are still ringing in my head—especially those around the function of music journalism in small Switzerland.
If you’re a regular reader of Negative White, you might find that we rarely write negative things about Swiss artists. There are two reasons:
First, Negative White is a volunteer project. Nobody earns any salary, and at least I have no interest in spending my free time ripping apart music I don’t like. Then, I would not write about it, although I know it would generate way more traffic.
Second, I see a significant difference in writing about an artist’s work, critiquing or praising it, and reporting on the industry itself. The latter requires much more journalistic distance and rigour. There is no reason or need to be overly cautious reporting on institutions and large organisations.
23.03.2024 • 14:15
Just came out of the interesting «Fair Pay» panel, which definitely needs some more digestion. But now, with perfect sunshine, Moonpools.
23.03.2024 • 15:11
Moonpools promised. Moonpools delivered. The Swiss band pushed its already heavy wall of sound with pressure over the sunny place without compromising on the dreamy wave elements.
23.03.2024 • 15:55
Waiting for Obliecht to start. First beer.
23.03.2024 • 16:15
Obliecht. Atmospheric dulcimer indie rave sound with Swiss German and English lyrics. Weird but good.
23.03.2024 • 19:25
Alright, a quick update on what happened. Had a couple of beers and met a couple of people—old and new. And I saw EDB, a Swiss guy, live on stage. With his Swiss German lyrics, he certainly has boundaries, but his show was energetic and charismatic. Now, I’m mostly looking forward to Hannah Jadagu.
And, completely honest, after that, I’m probably done.
23.03.2024 • 20:50
Hannah Jadagu hammered heavily in Exil Club. Between sugary melodies, raw rock energy, droning noise, and R&B groove, her performance was incredibly cool. The loudness perfectly contrasted with her soothing voice, and when the sound got more complex, Jadagu and her band really shined in sophistication and brilliance.
23.03.2024 • 21:30
Alright, final entry of the festival part of this diary. I call it a day shamefully early, but I’m too old for FOMO, and Hannah Jadagu’s concert seemed like the perfect final closure.
Over these two days, I’ve experienced great performances by local and international artists, reconnected with musicians and industry people, and generally had a good time. But there’s also some criticism, which I’ll elaborate further in the diary’s third and last section in the coming days.
In the meantime: Thank you if you followed my reporting so far. 🙏
Part III
Final Thoughts
The m4music 2024 is now part of history. Although an overall urgency was absent from both the festival’s line-up and the conference, it was again a must to be there. It is the one event almost everybody in Switzerland’s indie music scene is attending and for me to have some face-to-face time with people whom I only am in contact via email throughout the year.
So, in a way, it doesn’t really matter if the programme is better or worse—the main focus remains networking and relationship-building. However, that makes for a terrible report.
On the other hand, I could still experience some musical highlights: Deadletter, Moonpools, Obliecht, EDB, and Hannah Jadagu delivered all energetic and impressive performances I shall fondly remember. Also the moments of genuine laughter and fun. Or profound debates with people, which added new insights and perspectives to my understanding of the challenges of the music business.
Nevertheless, when I reflect on this year’s festival edition, everything felt a bit too cosy, a bit too nice. There may be no need for a big scandal, yet a pinch of controversy and opposite opinions might create more intrigue and new ideas. I couldn’t shake the feeling that the business remains stalled in the face of significant global shifts.
