DJ Ron Slomowicz: I was very surprised because I've just got this press release
that your album is coming out in the United States, and I didn't think
your, well, masterpiece would ever make it over here.
Kleerup: Well, thank you. As far as all the different releases for
different territories, it still feels like you live in the same area
because of the internet.
RS: Yes. When you made this album, was it in your mind to work
with so many different vocalists? Was that the plan?
Kleerup: Well, the thing is, I was working on an album for quite some
time and it started off really electronic and then went power pop.
But then when I started sketching on “3 a.m.” and “With Every
Heartbeat,” I didn't want it to be too many different vocalists, but
then again, each song is really a collaboration between me and them.
And I feel that captures the essence of what the album is, which it is
basically a concept album, if you will, about relationships and having
someone you just can't really let go of.
RS: So the male vocals on the album, that's you singing, correct?
Kleerup: Yes, that's me.
RS: Is it harder to work with your own vocals as opposed to
working with someone else's vocals?
Kleerup: Not anymore. At first I was drumming and then guitar and
then production, and then I was like 'you've got to learn to sing.'
So I've been sitting, editing my vocals for quite a few years and now
I know even when it's good enough. So when I record the vocalists,
it's easier because I know how it feels to be in the booth or to sing
yourself. So I think if you're going to produce other people, I mean
you don't have to be like Lionel Ritchie, but you still have to know
what it's like to push out through your lungs and get notes from it. I
don't really enjoy recording other people, I record it and when it's
done, when you know you have a good take, that's the reward.
RS: Talking about a good take, when you wrote the song with Robyn
did you have any idea it would become as big as it would?
Kleerup: Well I don't know, it's really weird because that song was
trying to be mini and rural pop art, pinstriped, you know, Stravinsky,
whatever trance-y sort of experiment to see if you can cram multitudes
into three and a half minutes or whatever it is. So I was just like,
if this doesn't work I'll just go back to being like a session
drummer. So there was no compromise in it, but they did make a radio
edit for the UK, but it still was like 'this is my baby.' And then it
got big, and that's why I don't feel any pressure anymore, because
that was the true essence of me making music or art. So I don't know,
when the whole world finally agrees with your own taste it's a bit,
it's a bit weird, it's a weird feeling and you just have to embrace it
and remember to not get stressed.