Shout out Louds im Interview auf dem Melt! über schwedische Lieblingskünstler, ihr neus Album "Work" und ob arbeiten auf dem Melt! wirklich Arbeit ist. Bebban und Carl haben uns vor dem schönen Shout out Louds Konzert mit Ihren Antworten begeistert Benjamin und Ich haben auf dem wunderbaren Melt! Festival Bebban und Carl von den Shout Out Louds zum Welle20 Interview getroffen. Die Beiden waren nachdem sie bereits im See geplanscht hatten sichtlich entspannt und konnten sich nicht wirklich darauf einigen , ob das was sie da nun gerade tun eigentlich Arbeit ist oder nicht. Wir haben uns mit Ihnen über schwedische Künstler, die Bedeutung ihrer Musik für unsere Zeit und moderne Klassik unterhalten. Das anschließende Konzert am Nachmittag bei strahlendem Sonnenschein, war wunderschön und hat das gesamte Festivalpublikum zum tanzen gebracht. Natürlich sahen die Schweden dabei auch blendend aus und haben so manches Melt! Modeherz höher schlagen lassen.
- by Lizzy Geble
Welle20: You’re new Album is called “Work” is making music and beeing in a band something you consider as work?
Bebban: Yes it is, because that’s what we do for our living.
Welle20: Concerning work, Andy Warhol said you have to do a song every day, to Velvet Underground, do you think that is necessary for a band to be successful, do write a song every day?
Bebban: No I think you would end up, with way to many songs if you did this. I think is probably good for the mind and its probably good for creativity to try to do stay creative even when you’re doing stuff like this and do not wait for the time, when you gonna have enough time to sit down and write songs efficiently, but I don’t think that this is necessary, I think you can do what you want.
Welle20: Do you identify with the idea of pop Andy Warhol came up with, that pop is in a way commercial?
Bebban: Yes I think so
Welle20: We’ve read that you recorded your previous Albums in Sweden, in Stockholm and for this one you went to Seattle, so what kind of influence does the surrounding, the country you’re in have on you making music and recording an album?
Carl: I guess a big thing for us was to do it outside Stockholm, it was more kind of the big thing, we had everything before we went to Seattle, but Seattle was a good place for recording, but we didn’t write anything there.
Bebban: We came with the songs were more or less entirely finished, by the time we got there, so we didn’t really... the place you record is more influential on the mood of the band and of the state of the day but not so much on the songs that eventually end up on the album. But the reason why we went to Seattle because we wanted to leave Stockholm but we were more interested in picking the right producer and he was in Seattle and that’s why we went there but you know he could have been anywhere.
Welle20: Was it an advantage to go somewhere else, after you had already written everything to get some distance before recording everything?
Bebban: Yeah I guess so, but it was more a practical thing for us that we wanted to get away from everything else, because we always done it in our own hometown, and then has to have the mind full of what needs to be done at home who he has to see after the recording session and you have to do phone calls and you know all this normal life. That is what we wanted to try to have that completely isolated experience.
Welle20: That you went to Seattle, can that be connected to Walls , where you sing “to get to know yourself you got to run away, never trust anyone”?
Bebban: Yeah I guess so , I never though about it, yes but I suppose it makes sense.
Welle20: Is it very hard in that business to trust people?
Bebban: I think that there is no difference in this industry, than in any other industry, you just have to be aware of who you trust in life as much as in the work place. It’s more of a encouragement for people to trust themselves first and foremost and not to reinsurance in other people too much.
- by Lizzy Geble
Welle20: Concerning working tonight to play here a show is it a workplace of what you think okey I’d like much rather be in the lake than on stage or is it some place you like to work?
Bebban: This setting is so far from a normal work day for us and for anyone, cause there is a lake and were happy about that, but conditions like this when you play a show is just exceptional, we were talking about it earlier when we were in the lake, just talking about that this is actually our job and this is 24 hours for a show that were away, , with preparation and all that stuff, but playing music is always good, never wanna be anywhere else but on the stage while were on the stage.
Welle20:We noticed that with each album that came out the sound changed, is that something that just happened or is that something that just happens each album or is that something that is important for you?
Carl: Of course we develop in some ways, maybe a reaction to the last record to do something quite opposite always, to change and find out new ways to challenging yourself, like the last one was with loads of strings, loads of percussion kind of a lot of everything. And this time it was just the band being a band, and the record is very much it’s a band album, very old school a very strip, so to speak in it’s setup it’s like very guitar based drums, very striped down, so that was a kind of reaction towards, so let’s see what goes on on the next one.
Welle20: Do you guys have a favourite song on the album?
Ebba: Yeah it’s “Paper moon” and “Walls”
Carl: I like “Walls” a lot.
Welle20: I read that with the Work Album you related to Irving Penn who died in 2009, so was he an inspiration for the album or why did you dedicate it to him, why is he so important for you?
Carl: It was a time we we’re actually doing the album cover, and the time that he died was just around that time and he was very much around in the media and so I was just struck in the way he kind of worked in the studio, very striped down and kind of getting the message across, even though it’s very minimalistic and someway it’s just about the object and.....
Bebban: ...natural light, thats the kind of, the similar to the thoughts we already had, how we wanted to do the album, because he normally didn’t really use models, or he told people the to come the way they are, to not get extra makeup or go to the hairdresser before or get special clothes they would even come in their work cloth and he would say come exactly as you are you’re a shoe shiner, come like a shoe shiner and no lights, just natural lights, I think that was in the studio in his apartment, from where he worked too. That was compatible to what we wanted to do with our music this time, to just not be anything else then what we are.
- by Lizzy Geble
Welle20: How important is art and fashion for you, if we relate to Irving Penn who was a fashion photographer, as a Band are you interested in the other arts too?
Bebban: Maybe not fashion so much as aesthetics and clothes you know because it’s interesting what people wear, it’s interesting how people put things together and I think it’s interesting how things are made, and I think that goes for anything, for architecture or photography or painting or sculpturing all the way down to clothes and even commercials. And aesthetics is important to us, and all of the arts you know writing literature. We are almost as interested in all of those things, because all the members in the band as we are in music.
Welle20: Do you like clean and simple things like Bauhaus too, because the album is very simple and clean?
Carl: Yeah I think so it kind of goes with the aesthetics we were earlier talking about since it’s all based down to a foundation about what a band is so we kind of wanted that to reflect on the cover as well, just as the expression of this album. Bauhaus, of course you know it’s very classical.
Bebban: I think it’s not always about necessarily choosing always the minimalistic way, but to have things that actually become classics, things that maybe you can in your head apply to an era or decade or things that actually go with things that are very much now.....I always find it very fascinating with anything you can place in a certain era, that’s just timeless.
Welle20: So do you like to be connected to this era, if we say we go to the future, 30 years forward, do you want to be the band of 2010, with “Work” people remember?
Carl: Yeah. I think it’s important to be in the now you know and if the now is something retrospective too it’s also kind of reflecting the now in a way it’s a reflection of what’s going on now as well as, it could only been done now cause it doesn’t sound like something made earlier, yeah it should reflect the now- it’s pop.
Welle20: To come to a close for tonight, how do the new and the old songs go hand in hand for you on stage ? How well does it work?
Bebban: It works really well actually, I think it’s kind of we can take that placing things in a certain era, because for us the last album is a separate era but it still goes together with what’s happening now for us. That’s what I think defines us, modern classics, you know. You know classics are important to us in a way, we all really like and respect things that are almost clichés in the way that they are so classical but there’s always an interest in new things that you don’t know what they are and somehow really great art and poetry and literature can be put together almost as a collage without a clashing I think....
Carl: you can break new ground with an almost cliché of contemporary and in that way make something completely new.
Welle20: Do you have any favourite contemporary artists at the moment?
Bebban: Do you mean music?
Welle20: What ever you like...any kind of artist people should defently know about....
Carl: I’m found of a Swedish photographer called Lars Tunbjörk he takes pictures of sweden and very Swedish things that are just so spot on, and it’s like a little of dark humor inside all those pictures but it’s also just a kind of also just so true. I like it a lot.
Bebban: I really like, I guess he’s a graphic artist and his name is Eric Ericson well he is, you have to look him up to see what you think yourselves, there’s one book he wrote – “letters to abroad” he is just a little crazy, he writes, he invents personas , that write letters of complains to cooperation’s or just makes up scenarios where he involves people that he writes letters to and pretends like they should know what he’s talking about and then he has published a correspondence between those people trying to push him out, explaining that they don’t know him and that they’re not- it’s really funny, it’s mostly funny, but all of his ideas are really pretty, he build a – this was a few years ago- but he build like a project building, you know like a housing project for socially unprivileged, but he did it for birds like it was small bird apartments on top of the big apartment so that each of the birds could move in one of these little apartments instead of having ordinary bird villas.