Unify Separate: ‘Perfect Is Boring’ – Leo Josefsson on ‘The God Particle’

A Stockholm barbecue, a rather enthusiastic rendition of Glen Campbell’s “Rhinestone Cowboy” and an unexpected meeting between musicians from two different musical traditions: the beginnings of Unify Separate were hardly conventional. When Scottish vocalist Andrew Montgomery, formerly of Geneva, met Swedish producer Leo Josefsson in 2015, their contrasting artistic backgrounds became the foundation of a partnership that continues to evolve more than a decade later.

The Scottish-Swedish electronic duo’s forthcoming third album, “The God Particle”, is due on November 6, 2026, and introduces harder electronics and more assertive rhythms while confronting questions of mortality, political uncertainty, technological dependence and personal vulnerability. Andrew’s expressive vocal style remains central, but Leo’s increasingly elaborate production gives the new material a noticeably different physical presence. The album follows the single “Heart Aches”, released October 29, 2026.

Josefsson’s creative activities, however, extend considerably beyond Unify Separate. His history with Statemachine and LOWE, production work with Priest, collaborations with Rednex and Nassim Al Fakir, and increasingly extensive visual work for Diary of Dreams and The Mobile Homes reveal a musician whose interests have never been particularly obedient to genre boundaries.

In this conversation with Karo Kratochwil for Side-Line, Leo discusses the creative tension between his and Andrew’s musical backgrounds, the almost obsessive pursuit of technical perfection and his reservations about artificial intelligence. He also shares stories involving Richard Oakes of Suede, Adrian Hates, Priest and the unexpected rewards of simply having the courage to ask.

Interview with Leo Josefsson

Karo: Leo, the story of how you met Andrew Montgomery is rather wonderful: a barbecue in Stockholm, a spontaneous rendition of Glen Campbell’s “Rhinestone Cowboy,” and the beginning of a musical partnership. What did you hear in Andrew’s voice that made you immediately recognise its potential alongside your electronic compositions? And after more than a decade of working together, does he still manage to challenge your musical instincts?

Leo: Growing up with a lot of synthpop and various forms of electronic music shaped my musical identity in many ways. In my late teens, I also listened to a lot of indie pop, mainly from the UK, and Andrew’s former band Geneva was definitely on my radar.

When we met on that rather boozy night in 2015, we were taking a break from LOWE, and I was getting a little tired of my own vocals and being the frontman for so many years. I felt it would be nice to step back into the kind of role I’d had in Statemachine – behind the machines, taking on the occasional lead vocal.

I instantly felt that Andrew’s angelic voice would be incredibly interesting to explore. It was obvious that his voice complemented my darker presence, and the potentially fascinating combination of indie and synth immediately sparked production ideas.

And yes, working with a vocalist of Andrew’s calibre constantly challenges me to create the kind of soundscapes his voice deserves.

Karo: You came from the Swedish electronic scene with LOWE and Statemachine, while Andrew’s musical history takes us back to Geneva and the British indie scene of the 1990s. Those are two quite different traditions, particularly in their approaches to melody, emotional expression and production. Have you gradually developed a common musical language, or is the tension between those backgrounds precisely what keeps Unify Separate interesting?

Leo: That’s an interesting question. We both have very different musical (and cultural) backgrounds, and it’s incredibly liberating to see how well they come together when we’re writing music. There’s no ego involved, but our ambitions are always very high. Andrew’s melodies differ vastly from mine, and that clash can sometimes lead to really interesting results. So in a way, we’ve created a common musical language, but it’s constantly taking on new shapes. Or dialects, if you will. 🙂

Karo: “The God Particle” is a rather provocative title for an album concerned with human vulnerability, grief and existential uncertainty. You’ve described music as something that helps make sense of life’s contradictions. But can music actually provide answers, or does its real value lie in allowing us to confront questions that resist rational explanation? Has your understanding of what music can accomplish changed over the years?

Leo: I wouldn’t necessarily call “The God Particle” a provocative title, but perhaps a brave one. It tackles some very big subjects about existence and how we perceive life. I don’t think music necessarily provides answers, but it can help us navigate feelings and difficult times. Something that can “hold your hand” when you’re lost or simply need some perspective. It can also be incredibly powerful to listen to music you wouldn’t normally listen to. It can take you places and make you feel at home in the most unexpected surroundings.

I wouldn’t say my understanding of music’s impact has changed dramatically. It’s more that I’ve learnt so much about myself over the years that I now have a better understanding of the effect music has on me. How it can heal or distract. Soothe or impact. (Wow, that’s actually a pretty good lyric line!) 🙂

Karo: There’s a noticeable shift between “First Contact,” “Music Since Tomorrow” and the harder electronic direction of “The God Particle.” You’ve previously acknowledged that touring exposed a need for more dynamic material. How much of the new album was shaped by that physical experience of performing? Did you begin writing differently because of what you observed onstage, or did the live performances simply confirm an evolution already underway?

Leo: We’re incredibly fortunate to have had the opportunity to play so much in Germany, where we really feel a strong connection with the audience. That connection is very powerful. We give every last breath we have on stage, and in return, we receive so much energy from the audience. It’s an amazing exchange. We’ve definitely brought that energy back into the studio and into our songwriting. We feel very much at home with emotional synthpop, but we also really enjoy exploring more aggression and more direct arrangements. It feels like a natural step for us. It’s something that’s been there beneath the surface for quite some time, and now it’s finally coming out. And I think you might be surprised when you eventually hear some of the songs we’re already working on for the future.

Karo: The new album moves between collective anxieties and intensely personal emotions, with titles such as “Slow Armageddon,” “Kill the Machine,” “Heart Aches” and “Forever Chemicals.” Are you and Andrew increasingly interested in the relationship between private emotional life and the larger systems that shape it? And do you worry that apocalyptic imagery has become so familiar in electronic music that listeners risk becoming immune to its meaning?

Leo: Yes, I can definitely say we’re interested in both our personal lives and the bigger picture. I’m much more introverted when I write. I hardly read anything, neither books nor the news, whereas Andrew reads a lot. And I mean A LOT! His knowledge of history, politics and just about everything else is quite remarkable.

Andrew writes most of the lyrics, and I’m constantly amazed by how many layers they contain and how differently they can affect you depending on your mood when listening. I think our different perspectives sometimes create something that even we find astonishing.

Our apocalyptic imagery comes naturally to us, and we don’t really compare ourselves to what other bands are doing. The world is taking turns that we can barely keep up with, and we’re simply trying to find some beauty in all of it.

Karo: You’ve spoken quite openly about your pursuit of technical perfection, particularly during the making of “Music Since Tomorrow.” But technical sophistication and emotional impact aren’t necessarily the same thing. Has your understanding of a successful production changed? Do you ever find yourself deliberately resisting the temptation to improve something because its imperfections communicate more than a perfectly controlled arrangement could?

Leo: To answer this, I think I need to approach it from a slightly different perspective.

Growing up, I never really considered that I might have some kind of diagnosis that could explain certain aspects of my personality. And perhaps I don’t. But in recent years, it’s as if something has awakened in me. Part of that might be down to the pandemic. Another part probably comes with age, increased self-awareness and experience. I’m more emotionally driven than ever before. It’s almost as if I’ve been hiding a person inside me who’s now determined to come to the surface.

In everyday life, the perfectionist side of me is becoming quite ridiculous. When I load or empty the dishwasher, everything has to be in exactly the right place. When I choose a T-shirt in the morning, it has to feel 100% right. Sometimes I change several times before I’m satisfied.

And this mindset definitely carries over into the way I write, produce and mix music. I’ve invested thousands of hours in technical aspects of music production that probably aren’t particularly healthy, or even necessary! Many of these details aren’t even noticeable to the human ear. But I believe they can be felt. And knowing what I’ve put into creating and finishing a song makes an enormous difference to me personally. I don’t take shortcuts. (And I’m not talking about Command-Z here!) If creating a bassline means running it through several saturation boxes, plugins and effects pedals before recording it back through an amplifier to achieve exactly what I’m after, then that’s what I’ll do.

I practise something called hybrid mixing and top-down mixing, which means that, at an early stage, I run the mix bus through various pieces of hardware, compressors, EQs, saturators and colour boxes, as well as plugins. To make things even more “difficult,” I also use analogue summing and outboard inserts that affect how the mix sounds and feels. It’s a time-consuming process, and it certainly complicates things. But at the same time, it gets me to where I want the production to be. So yes, I want things to be perfect. But perfect is boring.

That’s why I always try to leave at least a couple of things slightly unpolished, unexpected or deliberately out of place.

Perhaps “Slow Armageddon” is a good example as well, or more noticeable than “Return to Exile” (?).

Karo: You’ve taken on a more prominent vocal role within Unify Separate, including songs such as “DETOX” and “Return to Exile.” You’ve described the human voice as another instrument, but surely singing also changes your relationship with a composition. Do you experience a different kind of vulnerability when performing your own material? And how do you and Andrew decide whose voice can communicate a particular emotional perspective most convincingly?

Leo: Yes, that’s true. The voice is often the most important instrument! This might sound strange, but I think that even applies to instrumental music. I believe that when you listen to music, your inner voice somehow resonates with the melodies and harmonies. That’s how you connect with the music, whether there are words or not. I think Andrew’s voice and mine complement each other, sometimes surprisingly well, and that’s a tremendous asset for Unify Separate.

More often than not, it’s obvious that Andrew’s voice outshines mine. But sometimes I can perhaps contribute a different emotional spectrum that completes the arrangement. And there’s definitely a certain vulnerability in stepping forward vocally, especially when you’re used to being the person behind the machines. But perhaps that’s also what makes it interesting.

Karo: Electronic musicians have always embraced technological innovation, yet you’ve expressed reservations about AI and automated creativity. What concerns you most: the potential disappearance of human authorship, the economic consequences for working musicians, or the possibility that artistic expression itself becomes increasingly standardised? And where do you personally draw the distinction between technology that expands creativity and technology that begins to replace it?

Leo: OK, here’s where I feel I have to take a stand and bring up something I find both important and quite interesting. Before AI, the creation of art and music was almost taken for granted. It was as if it had somehow lost some of its value, or at least suffered from a kind of inflation. Now that AI has entered the world of music creation, it’s almost as if “real music” can suddenly be appreciated in a different way. And I think that’s a good thing.

We’ll have to see what the long-term effects will be, but I’m quite confident that AI’s greatest potential lies in areas such as science, education, logistics and medicine. For me, the distinction is between technology that helps us express something and technology that tries to replace the person doing the expressing.

To truly connect with music, I believe the listener needs to feel a connection with real emotions, rooted in real human experiences. Not some cosmic meltdown of AI calculations and algorithms served up as music that a machine thinks we want to hear. And I think this distinction will become even more obvious when experiencing music live. Performed by humans. For humans.

Karo: Your relationship with Diary of Dreams has developed into something rather more interesting than the live collaborations many listeners already know about. You’ve recently been involved in the video for “my Vertigo,” and Adrian Hates publicly thanked you, Darkhall Filmstudio and Cthulhu Media, adding that you’d saved him. What exactly happened behind the scenes? How did you become involved in the band’s visual work, and how much creative freedom does Adrian give you when translating his musical universe into images?

Leo: We’re incredibly fortunate that Diary of Dreams have taken us under their wing and given us so many opportunities to support them live. That has opened quite a few doors for us, so a huge thank you to them and especially Adrian Hates for that!

Adrian and I have actually been talking for a long time about working together on visuals and music videos for Diary of Dreams. As for the “saving” part of his message, I think that mainly refers to the fact that, due to circumstances beyond our control, we had to postpone filming and production. At one point, meeting the deadlines seemed almost impossible. I tried to be as flexible as possible and worked incredibly hard within a very short timeframe to help bring his vision to life. So I imagine that’s at least part of what he was referring to.

I’m also involved in the video for “der Dunkelheit,” which premieres at 8 PM tonight (the very evening I’m answering these questions!) Adrian has a very clear vision of what he wants, but he’s also been extremely open to my ideas. We’ve been bouncing ideas back and forth until we both feel we’ve found the right approach. It’s a really rewarding creative process. I think “my Vertigo” turned out beautifully, with Adrian performing in a black-box studio environment that works incredibly well with the song.

For “der Dunkelheit,” the other song in the double release, we filmed Adrian in a similar setting, but also created a complementary storyline here in Stockholm. We cast Liv Östberg, who happens to be Richard Oakes’ stepdaughter (yes, Richard from Suede!) and she delivered an amazing performance.

It’s been a very rewarding experience, and I really enjoy being able to contribute to the visual world of Diary of Dreams.

Karo: You’ve also co-produced Priest’s “Altered State Police” with Linton Rubino and handled the album’s mixing. Priest already have a very distinctive sonic identity, so I’m curious about the negotiations that take place when another producer enters that creative environment. Where did your ideas genuinely change the direction of the record? And does producing another artist’s music sometimes offer greater freedom than working on your own compositions, where you’re inevitably attached to your original intentions?

Leo: Yes, this was a great honour for me! We actually talk about this in more depth in my podcast Under the Skin With… PRIEST, available on YouTube.

Linton and I connected when we played with Priest in Jönköping last year. I think we both realised very quickly that we should work together. Just a few weeks later, Linton came to my studio in Stockholm and played me some of the songs he was working on for “Altered State Police.” I loved everything I heard and immediately embraced his vision for the album. It was almost as if a circle of trust was formed right there and then. Linton had already done some really solid pre-production work, and it felt as though he was handing over his babies to me. I think he wanted me to treat the album with my somewhat unusual production techniques and, of course, have access to my synth collection and all my analogue gear. 🙂

So there weren’t really any negotiations. I took his productions, treated them with enormous respect and made them mine. Actually, not mine – ours!

I also had a very clear ambition that I wasn’t prepared to compromise on. I wanted the entire album to feel like a journey through sound and emotion, with all the songs fitting together as one coherent piece. I had a plan for how to achieve that. I experimented with lots of different audio chains, combining hardware and plugins, to find a sonic approach that would work across the entire album and make it feel like one entity.

Throughout the process, Linton was highly involved, giving feedback while also allowing me a tremendous amount of creative freedom. That trust was incredibly important to the final result. I don’t think we fundamentally changed the direction of the album. Rather, we allowed it to evolve into something that truly did the songs justice. Linton’s songwriting and the way he’s embraced his role as a singer are incredibly impressive.

I’m far too biased to evaluate my own contribution objectively, but I’m extremely proud of what we created together.

Karo: Your collaboration with Richard Oakes of Suede is particularly interesting given Andrew’s history with Geneva and Nude Records. His contributions to “The Void” and “Waiting Game” brought a different musical sensibility into Unify Separate. Did Richard fundamentally alter your original arrangements, or did he understand immediately what the compositions needed? And what distinguishes a meaningful artistic collaboration from simply inviting an accomplished musician to contribute to an existing recording?

Leo: This is actually a very inspiring story, and perhaps something others can learn from. Let’s call this little exercise “The question is free.” If there’s an opportunity, take it! (Am I Jesus? Hmm. My last name is after all Josefsson = son of Joseph!) Anyway…

We’d had the amazing opportunity to open for Suede in Stockholm, and in my world, that meant there should be something more to it than just the incredible experience itself. So I suggested to Andrew: “Why don’t we ask Richard if he’d like to play the guitar parts I’ve sketched out for The Void?” Andrew, being very British and polite, immediately said: “No, you can’t do that! He’s far too busy!” And I thought: “Well, yes, he probably is. But you never know…”

So I asked. And Richard was actually honoured! The stars aligned, we managed to find a date, and he came to my studio in Stockholm. We had a fantastic time recording together. I had to rub my eyes a couple of times because, hey: Richard Oakes is actually in my studio playing guitar for me!

The recording went really well, and Richard came up with ideas we would never have thought of ourselves. His contributions genuinely made a difference to the song. We still had a couple of hours to spare, and being rather shameless, I asked if he’d like to hear another song that was almost finished. That song was “Waiting Game.” He immediately picked up the guitar again and started playing. I pressed record. The rest is history.

Unfortunately, Andrew couldn’t be there that day, but I had quite a surprise waiting for him. Richard Oakes playing on not one, but TWO songs on the album! So yes, the question is free. The worst that can happen is that someone says no, perhaps even slaps you in the face with it. But at least you gave it a go!

Fun fact: The young girl’s voice you hear on “The Void” is actually my daughter Juno’s contribution. And yes, she was named after the synthesiser! 🙂

Karo: LOWE and Statemachine remain important chapters in your career, and LOWE’s recognition at the Scandinavian Alternative Music Awards belongs to a period when the Scandinavian synth scene had a rather different infrastructure. Looking at that scene today, what do you think has genuinely improved, and what has been lost? Has the disappearance of some of those older institutions made independent electronic music more fragmented, or has it opened opportunities that would once have been impossible?

Leo: I feel incredibly fortunate to have been part of this scene for so many years and to have played in two bands that mean the world to me. The places they’ve taken me and the people I’ve met along the way are things I’ll always treasure.

I’m not necessarily aware of every change that’s taken place, but it’s obvious that the way people consume music today is very different. There are so many new genres crossing over and sometimes helping the scene evolve. At the same time, I think it can all become a little confusing. Especially now that everything can be measured. There was a time when the number of CDs you sold at a gig could tell you something about your popularity. Now it often feels more like a competition of numbers and algorithms that nobody can really explain or fully understand.

I’m happy that some of the old record labels and distributors are still hanging in there. I feel quite nostalgic about that, and it’s something I find genuinely precious. I’m certainly not convinced that the synth scene is dying. But who knows what the next generation will choose to keep and cherish? And as you say, all these new possibilities also mean that people who might never have discovered the scene before can now find it and connect with it.

Viva la Synth!

Karo: Your work also extends to The Mobile Homes, a band with its own considerable history within Swedish electronic music. How does your approach change when working with artists whose aesthetic identity is already firmly established? Do you see production primarily as interpreting somebody else’s intentions, or should a producer sometimes be prepared to challenge the very qualities an artist considers central to their sound?

Leo: I grew up listening to The Mobile Homes and was a huge fan, so I feel like I know in my bones how they should sound. There’s never really been any conflict or complicated process in that respect. I’ve been involved in a few of their music productions, but even more so in their visual work. I’ve filmed and directed quite a few of their music videos (probably around ten by now!). It’s been incredibly rewarding to contribute to their visual identity and overall concept as well.

As a producer, I believe one of the most important things is to make the artist feel comfortable, relaxed and confident in what they’re doing. Your role is to get the very best out of their performance, listen carefully to their vision and, most importantly, truly understand it. And perhaps even amplify that vision.

Because at the end of the day, it’s their music and their legacy that matter most.

Karo: Your production work with Rednex, including the 2024 viral version of “Cotton Eye Joe,” offers an extraordinary contrast to the alternative electronic scene. You’ve also contributed to the Grammis-winning project by Nassim Al Fakir. Having experienced such different musical environments, do you think commercial success, cultural visibility and artistic achievement have become increasingly disconnected? And has witnessing the mechanics of viral success changed how you approach promoting Unify Separate, or made you even more sceptical of the industry?

Leo: This probably won’t go down particularly well in the synth scene, but hopefully there’ll still be a place for me after this interview. (Smiling nervously.)

I’ve actually been working with Rednex on and off since 2000. I hope that didn’t hurt the readers’ eyes too much! It’s been both a fun and challenging ride.

And working with my good friend Nassim Al Fakir, one of Sweden’s most popular public figures, and receiving a Grammis (the Swedish Grammy) has certainly strengthened my confidence.

I’m not a particularly sceptical person. I think that if you’re willing to explore different musical directions, there’s an enormous amount you can learn. It’s a bit like an actor who, at least once in their career, should crawl around on the floor barking like a dog, just to understand what that experience is like.

That’s why I’ve embraced so many different kinds of music, including commercial music. Sometimes to make a living, of course, but most importantly to learn, develop and evolve (and buy a lot of synthesizers!). I think commercial success and artistic achievement are two very different things. Sometimes they meet, sometimes they don’t. But there’s something valuable to learn from almost every musical environment.

Rather than making me feel disconnected, these experiences have given me a kind of bird’s-eye view of my own musical process. And I don’t think going viral is something you can really plan for. It’s often just a fluke that happens when you’re focusing on something else entirely.

Of course, I hope our music with Unify Separate will touch as many hearts and souls as possible. But I believe that takes hard work, determination and a little bit of luck. Although, if there’s some kind of music lottery I can enter, perhaps you could point me in the right direction? 🙂

Karo: Finally, with “The God Particle” approaching release, Unify Separate seem to be entering another particularly active period. Are you planning to take the new material further across Europe, and has the harder electronic direction changed your ambitions for the live presentation? Between Unify Separate, LOWE, your production work and now visual collaborations, you seem to have developed an unusually broad creative life. Is there still a musical direction you haven’t explored because you’ve never found the right circumstances, or perhaps the right person, to make it happen?

Leo: Yes, we’d absolutely love to play more shows across Europe, and we genuinely believe we’re a band that can deliver a great live performance at any level. Small club or arena. Andrew’s voice can knock just about anyone off their feet, and I think our music and visual presentation are incredibly powerful live. (What!? A Swede actually saying something positive about himself!?) We believe our harder direction and more varied live set have the potential to reach an even wider audience.

I’m amazed almost every day that I get to work creatively with so many talented people, whether it’s through music, visuals, photography or other creative areas. I’m always open to new collaborations, especially within the synth and electronic music scene. And as it happens, I’m currently involved in a project with one of Sweden’s biggest rock stars, so stay tuned for that!

But most importantly, check out our new album “The God Particle.”

And don’t be afraid to pick up the phone.

We’re coming for you!!

(Final word: don’t forget to buy more synthesizers!)

About Leo Josefsson

Leo Josefsson is a Swedish musician, songwriter, producer, mixing engineer and visual artist whose career reaches well beyond the boundaries of the electronic music scene in which he first established his reputation.

His early work with Statemachine placed him within Sweden’s developing synthpop movement, while LOWE provided an opportunity to explore a more expansive combination of electronic arrangements, melodic songwriting and live performance. As the band’s frontman, Josefsson contributed to albums including “Tenant,” “Kino International” and “Evolver.” LOWE and Statemachine received recognition at the Scandinavian Alternative Music Awards, helping establish his standing within Scandinavian electronic music.

Parallel to his activities as a performing musician, Josefsson developed an extensive career as a songwriter and producer. His credits include work with Rednex, Yaki-Da, Shebang and Daze, as well as collaborations across Swedish commercial pop. He worked with producer Oscar Holter within the Capitol Records/Universal environment, contributing to the development of artists including The Pusher, Alex Saidac and Robin Stjernberg. His songwriting and production credits also include “In My Head” by Tilly and Elliphant.

His work with Swedish musician and entertainer Nassim Al Fakir contributed to the Grammis-winning project “Årets Album.” These experiences reflect an unusually broad professional trajectory, ranging from underground electronic music to commercial pop, children’s music and international productions.

Josefsson’s contemporary production work includes collaborations with The Mobile Homes and Swedish electronic act Priest. On Priest’s 2026 album “Altered State Police,” he worked alongside Linton Rubino as co-producer and mixing engineer, helping shape the album’s overall sound through extensive experimentation with analogue equipment and digital processing.

His studio work has a particularly detailed approach to electronic sound design. Operating through his Stockholm-based Kiss the Needle studio, Josefsson combines analogue synthesizers, outboard equipment, saturation, hybrid mixing and digital production techniques. He has also taken responsibility for recording, producing, mixing and mastering Unify Separate’s albums, giving him considerable control over their sonic identity.

Alongside his recording career, Josefsson has developed an extensive body of visual work. He has directed music videos for The Mobile Homes and collaborated with Adrian Hates on the visual presentation of Diary of Dreams, including the 2026 videos for “my Vertigo” and “der Dunkelheit.” Photography, filmmaking, editing and visual storytelling have become important parts of his professional activities.

As a member of Unify Separate, Josefsson contributes synthesizers, programming, production, songwriting and vocals, working alongside Scottish singer Andrew Montgomery. The project provides a particularly interesting meeting point between his background in Swedish electronic music and Montgomery’s history in British indie rock.

About Unify Separate

Unify Separate is the Scottish-Swedish electronic duo formed by Andrew Montgomery and Leo Josefsson in Stockholm in 2015. Their collaboration brings together two distinct musical histories: Montgomery’s background as the frontman of British alternative band Geneva, whose releases on Nude Records attracted considerable attention during the 1990s, and Josefsson’s extensive involvement in Swedish synthpop through Statemachine and LOWE.

Initially performing under the name US, the pair released their debut album, “First Contact,” in 2019. Their second album, “Music Since Tomorrow,” originally appeared digitally in 2022, followed by a remastered CD edition in 2023. The record expanded their arrangements through guitars, more elaborate production and contributions from Suede guitarist Richard Oakes, who performed on “The Void” and “Waiting Game.”

Performances alongside Diary of Dreams, as well as appearances in Germany, Sweden and the United Kingdom, played a considerable role in the duo’s artistic development. Their 2025 “Heavy Meta” material introduced a harder electronic direction, subsequently expanded through remixes and further singles.

Their third studio album, “The God Particle,” scheduled for November 6, 2026, continues that evolution. Combining more forceful electronic production with Montgomery’s expressive vocals, the record examines personal loss, political uncertainty, technological anxiety and the search for meaning in an increasingly unpredictable world.

The duo’s music remains closely connected to their contrasting artistic backgrounds: Josefsson’s precise electronic construction and Montgomery’s melodic sensibility create a distinctive relationship between emotional immediacy and technical sophistication. More information is available on the duo’s official website.