Blade runners

By MIKE MCKAY  |  November 14, 2006

If you were to do another album, would you bring him in earlier in the creative process so you would have the music corresponding to the imagery?
I would say that images -- like videos and all the visuals from the live show -- is something we do after having done the music. The music is our first thing; basically what we have on stage is a theatrical illustration of our music.

What’s your music-making process like? Is it you making the music and Karin singing, or is there more of a give and take?
We work with the music very equally. We often start the tracks on our own, we  spend quite a long while with them before presenting them for both of us. It's very mixed up, we do very different things from time to time. Even though Karin is the only one writing lyrics and I normally do the “beats,” all the instruments and arrangements and melody are done quite equally. We work very slowly; we often have 10 songs going at the same time for a year or more. It’s not a process-based music. We don’t have so much fun. We might enjoy getting started with the first ideas, like getting the mood and everything, but then it’s more like work.

You seem much happier with the darker sound of Silent Shout than the pop aspects of Deep Cuts. Do you see Deep Cuts as a mistake?
Well, Deep Cuts was really a sidestep in our development (laughs), it was a test when we were tying to get our political ideas and our issues about gender roles out to a broader audience. Also for the first time we tried to do normal pop songs, its was more of a joke almost. We were basically like, let's try to make this pop song, for example “Heartbeats,” and that is nothing that I feel so much for. [With our new record] we just really wanted to come back to ourselves and do music for us, and music that you get moved by, basically.

You both seem to have a very strong connection to your Swedish heritage. How would you say that Swedish culture or natural enviornemt in Sweden has influenced your sound?
I think in our music we have kind of an exotic relationship with nature. I used to live in Stockholm and I would "exoticise" over nature, and created this image of the environment that can be found in Sweden, I guess with lots of forests, and mountains in the north. I often think about images like that in the music, it's quite New Age (laughs). One feeling that we often come back to is sort of a deserted feeling, a sound that’s very empty with no people, and that’s a feeling that you rarely find in pop music. Its more of a feeling you get from a lot of ambient techno music, very soundscape-ish. And a lot of this music comes from Canada, which, looks a lot like Sweden, so I don't know if they're a link but you could think of it like that. 

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