Artist
Anni B. Sweet
Fuengirola, Spain · b. 1987
Anni B. Sweet is a musician from Fuengirola, Spain, active since 1987. Their discography on Gatefold includes 3 records.

3
Albums tracked
0
In collections
1987
Since
Biography
Subterfuge Records slapped a commercial sync cover of A-ha's 'Take On Me' onto the reissue of her debut, and it nearly fenced her into coffeehouse indie purgatory forever. That 2009 record, Start Restart Undo, was tracked under producer Brian Hunt with clean acoustic fingerpicking and English-language sighs. It was polite, delicate, and sold solidly in Madrid while missing teeth entirely. Every indie label in Spain thought they had bought a homegrown, whispery folk act meant for afternoon festival side stages. She broke that mold by actively destabilizing it. Bringing in Phil Vinall and Vetusta Morla's Guillermo Galván on Oh, Monsters! showed she had zero interest in being anyone's darling girl with an acoustic guitar. She swapped English for Spanish, brought in James Bagshaw from Temples to slather fuzz and vintage modulation all over Universo por estrenar, and hooked up with prog fiends Los Estanques. The polite folk act vanished, replaced by an uncompromising psych-pop arranger with real bite.
Bio from The Clerk
The Arc of Anni B. Sweet
The pivots — what forced Anni B. Sweet to reinvent.
The Whispering Folk Inception
Producer Brian Hunt took the helm for 2009's Start Restart Undo, setting Ana Lopez up with clean acoustic guitars and sweet, breathy English vocals. The record blew up on Subterfuge Records after a commercial sync picked up her fingerpicked cover of A-ha's 'Take On Me'. It was gentle, charming, and thoroughly boxed her in as a twee folk newcomer. The catalog started on whisper-thin beds of pop that disguised the songwriting ambition lurking underneath.
The Darker Shift
She rebelled against the gentle singer-songwriter label on 2012's Oh, Monsters!, bringing in Ángel Luján, Javier Doria, and Guillermo Galván behind the desk. Phil Vinall stepped into the production picture, helping to drag the sound out of polite bedroom folk into thick basslines, minor-key tension, and reverb-drenched angst. The 2013 follow-up EP Ridiculous Games kept probing that rhythmic, jagged space. You could hear the acoustic sweetheart act getting buried under deliberate dynamic weight.
Soulful Retro Modernism
March 2015 brought Chasing Illusions, co-produced alongside Javier Doria and Lori Meyers frontman Noni Meyers. Instead of wallowing in the shadowy atmosphere of the previous record, she pivoted toward sharp new wave energy, upfront drums, and throwback soul elements. The tempos sped up, the hooks turned glossy, and the acoustic guitars took a backseat to synth pulses and rhythm-heavy arrangements. It proved she could carry big-stage pop without getting swallowed by the gloss.
The Bagshaw Psychedelic Pivot
In May 2019, she dumped English altogether for Universo por estrenar, her first full-length cut entirely in Spanish. Temples frontman James Edward Bagshaw handled production, coating the tracks in mellotrons, swirling space-echo, and layered synth hooks. Tracked with vintage psych-pop sensibilities, her vocal lines cut through the fuzz with urgent, razor-sharp melodies. It stood as her most definitive stylistic overhaul, turning breezy indie-pop into expansive cosmic psych.
The Prog-Rock Collision
She paired with Spanish progressive outfit Los Estanques in 2022 to deliver Burbuja Cómoda y Elefante Inesperado. Producer Íñigo Bregel stacked the deck with sudden tempo changes, aggressive 1970s prog-rock arrangements, and intricate vocal counterpoints. Far from a cautious guest appearance, she leaned into the eccentric time signatures and heavy organ workouts like a seasoned bandleader. It closed out any lingering memory of the coffeehouse singer, locking down a wild, unapologetic rock chemistry.
Influences
- A-ha — She famously cut an acoustic interpretation of their synth-pop juggernaut 'Take On Me' for the expanded reissue of Start Restart Undo. Stripping the track down to its bare chord changes proved how much her early melodics leaned on dramatic 1980s pop structures. It made her career early on, whether she liked it or not.
- Vashti Bunyan — Bunyan's pastoral British folk template hangs heavily over her earliest Subterfuge demos and her 2009 debut. The delicate, close-mic'd vocal delivery and sparse acoustic picking borrow directly from Bunyan's quiet 1970 blueprint. It was the exact sound she had to aggressively disrupt on later records to escape being pigeonholed.
- The Beatles — She has consistently cited Revolver and Abbey Road as formative songwriting textbooks across Spanish press interviews. You hear the lineage directly in the descending basslines, tight vocal harmonies, and psychedelic chord shapes across Universo por estrenar. The pop sensibility never dies; it just gets bathed in tape slap and backwards guitars.
- Blondie — Debbie Harry's blend of new wave attitude and disco groove became the direct stylistic reference point for her 2015 pivot Chasing Illusions. The punchy 4/4 beats, crisp guitar stabs, and upfront vocal attitude borrow heavily from late-70s Chrysalis releases. It was the record where she stopped being introspective and decided to push the tempo.
- Broadcast — Trish Keenan's eerie, retro-futuristic blend of British psychedelia and vintage electronics served as the spiritual launchpad for her late-era sonic shift. You hear it across the synth tones and dreamy, disorienting chord structures on Universo por estrenar. It bridged the gap between sweet vocal melody and genuine, unsettling studio experimentation.
Discography
Their records — most-collected first.
Around the web
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