RS: A lot of the material on this record has a very somber tone to
it. Does that reflect on who you are or your feelings you brought in
to this album? The keyboards are lush in such a way that they emote,
and it's somber to a lot of people.
Kleerup: Some people, mostly in the UK, feel like the record sounds the same the way through, which is like that's the way it's supposed to be because it's supposed to be sort of recurring themes, not exactly, but filled with things that remind you what happened before now. It is sort of like an album to be listened to as a whole, you know, and the point to get across is like there does exist a light at the end of the tunnel but it might take some time. Like Brian Eno said, repetition is a form of improvisation, you know.
RS: I'm wondering, there's a song on the CD called “Sad Boy
Smile,” is that the…?
Kleerup: Yes, I just want to make a friend with one, yes?
RS: Is that the one that became the Neneh Cherry song afterwards
Kleerup: Yes, I mean, if you can't steal from yourself, who can you steal from? It's basically the same as the vocal track, that was a track I had called “Thank You For Nothing,” and then we made another track out of it. So it's basically like sampling ourselves, first you compose and then you treat your own songs like, you know, like a hip-hop producer and then you reuse yourselves without having to pay publishing rights to another guy. It wasn't really snatched from it, but it's the same kind of chord progression.
RS: OK. Why didn't the Neneh Cherry song end up on this album?
Kleerup: Because it's on another big thing for next year which I can't discuss right now, but you will hopefully know about this soon. So we're just waiting for that; it's in the pipeline for a big organization which does good stuff...
RS: OK. The video for "Longing For Lullabies," what was that like
to film that video?
Kleerup: Oh you mean the video with the girls?
Kleerup: It was excellent. I just wanted to have really good light, and the first day I sat in a bus all day in Copenhagen Park, and my sugar levels fell, but I had these beautiful girls to look at all day so I was still happy. And then the next day, I had this great actress, so it was the first time for me acting. It was a really good experience and, you know, it made me want to do more and more movie stuff. So I'm actually doing a lead role in a movie later this summer. So yes, it got my appetite for movies.
RS: OK. Why do you think Sweden has always been such a nurturing
home for dance pop music? I've consulted the history of ABBA and then
Roxette, Army of Lovers, Ace of Base, and then, of course, the Max
Martin Effect, it seems like it's a pop thing in your DNA.
Kleerup: It's like (filmmaker) Ingmar Bergman: life is kind of crappy and then you make it, you know, comprehensible. That sort of thing I think a lot of Scandinavians sort of share; we're not running around saying life is great. Because pop is, you know, kind of light in and of itself, so if you add a darker spectrum to it, I think that's why we do good pop.
RS: What would you like to say to all your fans out there?
Kleerup: Look on MySpace for friendly messages and I will give you a hug and answer all your letters and help you out if you have any problems with your girlfriend. And I hope to see you soon.
RS: And are there any plans to bring you to the United States?
Kleerup: Well, it's all to do with getting me a visa because my life a couple of years ago was a bit more on the partying side, and so I can't go abroad so I don't get, you know, thrown out. So that's why, otherwise I would come. I actually dreamt about New York a couple of hours ago because I used to go all the time when I was a kid. But let's see if it goes well, you know, I'm too old, I'm getting a baby in November, so I'd rather go over and do some proper shows where there are fans there. But I miss the States, though.
Posted September 1, 2009