Swedish art-pop artist Bonander continues the journey beyond her latest album, and we stood there, with a new remix of clay by acclaimed electronic artist EMMON. Released September 25 via Icons Creating Evil Art, it is the third collaboration from Bonander’s forthcoming remix EP, following reworks by MANX and Comfort Module.

The original recording turned persistent anxiety into forward motion through fractured drums, sampled voices and an unrelenting pulse. EMMON takes that tension into a new environment, transforming clay into a hard-hitting, techno-inspired club track driven by forceful rhythms, cold electronics and dark dancefloor energy.

The remix retains the sampled, elongated choir textures of Tusen Tungor, while Bonander’s own voice carries the central refrain, “We are clay”. EMMON places these elements inside a more physical electronic framework, turning a reflection on unease, survival and human adaptability into something immediate: anxiety converted into movement and collective release.

“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,’ — we can be reshaped. What once seemed impossible to let happen no longer feels impossible. And we adapt.”

That idea of transformation makes EMMON a natural collaborator. Through her fusion of synthpop, electro, EBM and club music, she has established herself as one of Sweden’s most compelling electronic artists, balancing mechanical precision with emotional intensity. EMMON draws the latent physicality out of Bonander’s production, pushing its restless pulse towards harder techno territory without losing the unease at its heart. The result connects two singular Swedish artists approaching darkness from different directions: Bonander through cinematic art pop and feminist critique; EMMON through synthesizers, disciplined rhythms and commanding electronic force.

The collaboration arrives as EMMON continues her own remix-focused chapter with the forthcoming project ICONMIXED, demonstrating how reinterpretation can open new spaces within an artist’s work.

The original clay features Elias Ortiz Venegas on drums and sampled choral textures from Tusen Tungor, with Bonander handling vocals, arrangements and production. In EMMON’s hands, those elements are dismantled and rebuilt for the club — proving the song’s central idea in the process: everything can be reshaped.

Bonander – clay (EMMON Remix) is released September 25 via Icons Creating Evil Art and will appear on Bonander’s forthcoming remix EP.

Swedish artist Bonander released her second album and we stood there earlier this spring via Icons Creating Evil Art. “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.

The album’s previous singles approached these themes from different angles. In edith the soul is fractured, complex, and dark, carrying both contempt and resignation.  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.”

Bonander's and we stood there—is an album that refuses silence, even when exhaustion sets in.

LABEL CONTACT

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