LFO

And then I met another guy called Simon Hartley, who was an English guy who had moved to Stockholm.

And he was friends with LFO.

So he toured with them.

He came to Sweden the first time and he had his project called Wild Planet.

you know what I

mean? A little bit cheesy, a little bit naughty, but they were also at the exact same time, even before LFO.

Yeah,

right.

As weird and minimal as you get, yeah.

But, yeah, people like Cold Cut and S-Express were sort of smuggling odd techno wobbliness through the back door.

Then you had this real moment of LFO and those early bleep warp records, which really were techno, actually becoming mega popular.

And then, like, Brave...

And this was produced by a fledgling film production house called Warp Films.

Warp Films was, at the time, an experimental offshoot of Warp Records, a pioneering independent record label from Sheffield in England, whose artist roster includes Apex Twin, LFO and Nightmares on Wax.

And if you've never heard of Nightmares on Wax, by the way, their album Smoker's Delight is quite phenomenal.

Having worked on film scores and with pioneering music video directors like Chris Cunningham, the founders of Warp Records, Rob Mitchell and Steve Beckett, were keen to move into film production.

A black-and-white Persian-language vampire western directed by Lily Amipour, the film was universally acclaimed.

The Hollywood Reporter called it moody and gorgeous, and IndieWire said that it, quote, gives the impression that you're witnessing something iconic and important unfold before you, end quote.

The studio's next production was the 2014 horror comedy Cooties, and they followed this in the same year with a science fiction thriller called LFO and a techno thriller called Open Windows.

The previously mentioned psychodrama The Boy was released a year later, in 2015, and that is rather good, by the way.

No, no.

It's like that, that and the LFO record are basically like, okay, there's bleep.

It's done.

Yeah.