Per Gessle - They call us artists (PART 2)

Per: Super! This was an early idea of the album, it was, in a way, the key. It wanted to be good to dance on.  You listen to old songs from Bee Gees and you think: what is that thing that turns you to dance? Then you try to take that idea and you have also your own ideas… like ABBA did Dancing Queen from Rock Your Baby, with George McCrae.

Rep: Can you take your guitar and show it? Which guitar shall I take?

Christoffer: You can choose by yourself. You can loan one if you want J

Per: We have tried to take away the boundaries as much as we could, but sometimes it is… well, one of the conditions is to believe by yourself that the song is good. There are many songs that have become more classical, but it’s great because you like them.

Rep: So, Helena, what do you think…so you have started to sing a lot here, it is not the first time when you do it…

Helena: Yes, that’s right.

Rep: How does it feel?

Helena: It feels great! I have discovered the power to find other feelings that in fact I have never found before, when I sang.

Rep: You are talking abut a feelings machine?

Helena: Exactly.

Per: It’s really cool!

Per: Helena has come into my musical life during Mazarin album, she should have sung together with me in two songs. She came to Stockholm and we made some recordings at Polar studio, but she was so incredibly good that she got to sing in some more songs on Mazarin album. Since then I have worked a lot with her.

Per: I have written this album with the same enthusiasm as I would have done for Marie. I was thinking about every song I have written for Marie, that song should represent her. This time I have done it for Helena instead. Helena started to sing in one song earlier than it had been planned, so the tones should fit her perfectly… and so on. As I have started to rewrite the songs, she came and improvised something to fit her.

Per: I should sound also in a way that could be closer to her voice, as she came into the song and “scratched” the song with her voice.

Rep: When you hold your hands on that keyboard, it looks like you record in different points, we can say.

Per: It sounds fantastic, but also a bit nerd, perhaps. Well, anyway we have worked a lot on this sound, we have been working here for 30 days, or what? So of course I don’t remember what happened day 10 or day 12 or day 14, but here it is written exactly what we have done for each song, what instruments we have introduced.

Christoffer: So the most important drawing there is: don’t forget the bango (=a musical instrument less than a guitar)

Per: No one knows what bango means. We didn’t have one of this… or we had…  

Christoffer: Yes, we had.

Per Gessle likes: Merz – “Presume Too Much”; Sebastien Tellier – “Divine”; Nelly Furtado – “All Good Things (Come to an End)”.