Swedish artist Bonander releases edith on January 16 via Icons Creating Evil Art. The song is the final single ahead of her second album and we stood there, due February 13, and stands as one of the record’s most dramatic and conceptually charged pieces.

“The album is about different stages of powerlessness,” Bonander explains. “I think that comes from feeling a simultaneous apathy and panic toward the chaos of the world right now.”

Bonander has been described by GAFFA and Hymn as one of Sweden’s most underrated artists—an irony not lost on an artist whose project has existed and evolved for years beneath the surface. With and we stood there, she takes a decisive step into a more confrontational musical language, tracing how ordinary people are shaped by political anxiety, exhaustion, and the slow normalization of the unthinkable.

edith is based on, and freely interprets, the poem “Dagen svalnar” by Edith Södergran. The poem’s iconic final line—“you sought a woman and found a soul – you are disappointed”—is gradually constructed through sampled voices, metallic synths, radio-like rhythms, and robotic vocal expressions. In Bonander’s version, the soul is fractured, complex, and dark, carrying both contempt and resignation.

“I wanted the soul to feel broken, layered, and uncomfortable,” Bonander says. “Not idealized—just very human.”

Beneath the surface, the acclaimed choir Tusen Tungor can be heard screaming in the song’s refrains, while much of the beat is built from sampled sounds gathered from forest floors and ground textures. The track closes with an unexpected physical turn as co-producer Elias Ortiz Venegas enters on live drums, grounding the piece in movement and breath. The single is mixed and mastered by Gabriel Lundh.

Thematically, edith connects directly to the emotional core of and we stood there, an album that explores apathy, frustration, grief, and anger—but also the physical and psychological fatigue that arises when time, energy, and hope seem to slip away.

“It’s about how your limits slowly change,” Bonander explains. “How your bar for what’s acceptable gets lowered, almost without you noticing.”

The album’s previous singles approached these themes from different angles. apathy functioned as a direct confrontation with political numbness, collaging media fragments, distorted choirs, and fractured rhythms into a defiant rejection of passivity. clay focused instead on quiet transformation—how anxiety becomes a survival strategy, and how adaptation reshapes us over time. Both tracks received strong early support and quickly appeared on influential playlists such as Spotify’s Oyster.

Musically, and we stood there is built through a solitary, labor-intensive process of sampling sounds, instruments, and voices, later expanded through collaborations with a wide circle of musicians. The album features contributions from Dan Berglund (Tonbruket), Kristina Issa, a string quartet, and Tusen Tungor, whose presence—sometimes explicit, sometimes deeply embedded—has become central to the album’s sonic identity.

Despite its heaviness, and we stood there is not a record of surrender. Aggression and fragility coexist, leaving room for grief while insisting on motion, resistance, and collective force.

“I hope the album can spark some kind of drive,” Bonander says. “To keep reacting. Maybe even to act.”

With edith, Bonander closes the chapter of singles and opens the door fully to and we stood there—an album that refuses silence, even when exhaustion sets in.

 

“You Sought a Woman and Found a Soul”: 
Bonander releases final single edith 
ahead of new album and we stood there

Single released January 16th via Icons Creating Evil Art.
( alt pop / dark pop / art pop )

Album promo available upon request

Listen to the single on all major streaming services here (Jan. 16th)
Stream/Download mp3/wav via ICEA on Disco
(incl. cover art, instrumental and press photos)

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Label/Publishing: Icons Creating Evil Art
Distribution: Virgin Music
Swedish PR: Noi PR
R.O.W. PR: Icons Creating Evil Art

SINGLE

Listen on streaming services here (Jan. 16th)
Stream/Download via ICEA on Disco
Swedish artist Bonander releases edith on January 16 via Icons Creating Evil Art. The song is the final single ahead of her second album and we stood there, due February 13, and stands as one of the record’s most dramatic and conceptually charged pieces.

“The album is about different stages of powerlessness,” Bonander explains. “I think that comes from feeling a simultaneous apathy and panic toward the chaos of the world right now.”

Bonander has been described by GAFFA and Hymn as one of Sweden’s most underrated artists—an irony not lost on an artist whose project has existed and evolved for years beneath the surface. With and we stood there, she takes a decisive step into a more confrontational musical language, tracing how ordinary people are shaped by political anxiety, exhaustion, and the slow normalization of the unthinkable.

edith is based on, and freely interprets, the poem “Dagen svalnar” by Edith Södergran. The poem’s iconic final line—“you sought a woman and found a soul – you are disappointed”—is gradually constructed through sampled voices, metallic synths, radio-like rhythms, and robotic vocal expressions. In Bonander’s version, the soul is fractured, complex, and dark, carrying both contempt and resignation.

“I wanted the soul to feel broken, layered, and uncomfortable,” Bonander says. “Not idealized—just very human.”

Beneath the surface, the acclaimed choir Tusen Tungor can be heard screaming in the song’s refrains, while much of the beat is built from sampled sounds gathered from forest floors and ground textures. The track closes with an unexpected physical turn as co-producer Elias Ortiz Venegas enters on live drums, grounding the piece in movement and breath. The single is mixed and mastered by Gabriel Lundh.

Thematically, edith connects directly to the emotional core of and we stood there, an album that explores apathy, frustration, grief, and anger—but also the physical and psychological fatigue that arises when time, energy, and hope seem to slip away.

“It’s about how your limits slowly change,” Bonander explains. “How your bar for what’s acceptable gets lowered, almost without you noticing.”

The album’s previous singles approached these themes from different angles. apathy functioned as a direct confrontation with political numbness, collaging media fragments, distorted choirs, and fractured rhythms into a defiant rejection of passivity. clay focused instead on quiet transformation—how anxiety becomes a survival strategy, and how adaptation reshapes us over time. Both tracks received strong early support and quickly appeared on influential playlists such as Spotify’s Oyster.

Musically, and we stood there is built through a solitary, labor-intensive process of sampling sounds, instruments, and voices, later expanded through collaborations with a wide circle of musicians. The album features contributions from Dan Berglund (Tonbruket), Kristina Issa, a string quartet, and Tusen Tungor, whose presence—sometimes explicit, sometimes deeply embedded—has become central to the album’s sonic identity.

Despite its heaviness, and we stood there is not a record of surrender. Aggression and fragility coexist, leaving room for grief while insisting on motion, resistance, and collective force.

“I hope the album can spark some kind of drive,” Bonander says. “To keep reacting. Maybe even to act.”

With edith, Bonander closes the chapter of singles and opens the door fully to and we stood there—an album that refuses silence, even when exhaustion sets in.

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D I S C O V E R
Facebook: https://www.facebook.com/bonandermusic
Instagram: https://www.instagram.com/bonandermusic
Spotify: https://open.spotify.com/artist/4tM87IYx08XNUSdrlky6y2
Apple Music: https://music.apple.com/us/artist/bonander/1204751753

 
PREVIOUSLY RELEASED

Listen on streaming services here 
Stream/Download via ICEA on Disco
Swedish art pop artist Bonander (Ellinor Sterner Bonander) follows the cinematic intensity of Apathy with a new single, clay — a song that embodies the gnawing sense of unease we try to suppress in everyday life, only to discover how it reshapes us over time.

“Clay is an embodiment of that pecking anxiety we push away in daily life. How long can we use that feeling as a survival strategy before it changes us as human beings?” Bonander explains. “‘We are clay,’ sings the choir — we can be reshaped. What once seemed impossible to let happen no longer feels impossible. And we adapt.”

Driven and unrelenting, Clay is built from a patchwork of broken drums, sampled choir (the collective Tusen Tungor), and a pulse that never stops moving forward. It channels unease into motion, tension into transformation.

The track features Elias Ortiz Venegas on drums, with the choir of Tusen Tungor sampled throughout. Everything else — arrangements, production, and vocals — is handled by Bonander herself.
 

WATCH  the music video for apathy here: https://youtu.be/uTadJ2mejgs

Check out Bonander's music video for apathy – handmade stop-motion by Sofia Nystrand 

Back in August 2025, Swedish art-pop artist Bonander released apathy, a dramatic, cinematic indictment of our era’s most dangerous emotion: indifference. Today, the song finds a new visual life in a handmade stop-motion film by Sofia Nystrand (Vargkvint), portraying the daily flood of opinions, images, and impressions—and how easily they can turn us toward hate or numbness.

“I just feel so thankful towards Sofia who made this video and created this new world for the song. Through her video she’s illustrated the amount of opinions, views and impressions we intercept each day and how easily that can change us to something hateful or something indifferent.” — Bonander

The video amplifies the track’s dual voices—power’s cold calculus vs. the individual’s weary clarity—mirroring the music’s fractured beats, forest textures, airy choirs, and found-cutlery samples. Produced with Elias Ortiz Venegas and featuring the choir Tusen Tungor on backing vocals, Apathy opens a new chapter in which Bonander explores anger as a form of resistance.

LABEL CONTACT

Carl-Marcus Gidlöf
Head of the Snake
Icons Creating Evil Art
Råsundavägen 73, Solna
Sweden
cmg@icea.se