Per Gessle - Party Crasher EPK (Electronic Press Kit) 2009


Party Crasher

Per: This album is very different from the other albums. It’s an album which contains short specific songs. It’s an album without guitar, without rock. At the same time I wanted to keep those ingredients that make music function for me, I mean the melody and refrains that I like. So it is still my type of music, it’s just a different form to present it. Now I will record Silly Really, song number one.

Per: Good!

Christoffer: A good refrain.

Per: So Party Crasher is an album based on the fact that I wrote songs with a groove sound, a beat... which I haven’t done before. I always used to sit at the piano or take the guitar and played the melody. But this one is based on a groove sound...

Perhaps it sounds trivial, but to me there is a big difference. I tried to write it in another way. And this has been the whole essence of the album, even if it became a dance album or a party album, I don’t know, but I tried to make it move more than usual.

Roxette have sold 75 million albums. Roxette have had four number ones in the USA. Roxette have had two world tours.

Per: There is a bigger impact in case of Roxette than of En händig man, of course. And it is not just the language, because this album is in English. So of course that both Have a Nice Day and Room Service with Roxette were made the same way, just with some more rock attitude. Well, I understand what you mean; it is very possible that a modern Roxette album would have sounded quite the same...

There is a big difference between THAT Roxette and THIS Party Crasher. First of all because Christoffer Lundquist plays such an important role in my music. He is a producer, together with Clarence Öfwerman, in this project. Roxette was based on guitar in a way, and I didn’t try to make an album that should sound like Roxette. I tried to make an album that should sound unique, because it is mine.

It is quite clear for me when I start a project. I separate the songs that have to do with a specific experience, if I can say like that. It is very easy for me to place a Gyllene Tider song there and a Son of a Plumber song here... and a Roxette song there. I place a solo song in Swedish here and a solo song in English there. There are very different things for me. Even if you, who listen to them, place them on the same level. (laughs) But for me, it’s a very big difference. And it was very clear for me when I started this Party Crasher idea, too. I knew very well how I wanted it to sound. The last recording.

Christoffer: Cheers for it!

Per: What was the funniest when we recorded the album? ... I have been working with Christoffer for 11 years and with Clarence for 22 years. (to Christoffer) You, who haven’t had your hair cut for one year.

Christoffer: Yes, it was the funniest.

Per: Really? ... We have a lot of fun when we work. (to Christoffer) We turn off now, are you attentive? Is it really the funniest thing that happened? (Christoffer laughs) ... The latest albums, since Mazarin, we have recorded at Christoffer’s studio, in the countryside. It was something very nice in a very special environment. Many don’t go to work there. I hadn’t been there before either, just when I started to record Mazarin album. But I got used to it and now I think that it’s a fantastic location. At the beginning we used to record for one week. Now we record just 3 days a week instead. ... There is a lot of job, we work 7 days, go to bed at 2.30 and wake up at 8.30 and start again. It’s just the production that counts.

And moreover, there is something special when me, Clarence and Christoffer work together. It is a like a puzzle that is arranged all the time. Each of us is good at totally different things. So when I hear something that Christoffer has done by himself, it sounds fantastic. But he thinks that he wouldn’t have been so good if he hadn’t worked with us. He is exactly like me. I don’t think that I would have been so good if I hadn’t worked with Christoffer and Clarence. But of course that I agree the fact that if all of us co-operate, I have too much control on a project. And I just hope I will not have to do that again. (laughs) On the other side it’s very common in the music industry nowadays that artists change their producers, they have 4-5-6 producers for the same album. I have never been interested in that.



Per: I rather want to build confidence, to build something with the same person, simply just to see what happens. ... Helena is full of life, she is fantastic to work with. She has a lot of positive features, for example she doesn’t get tired. (Helena is singing)

Christoffer: That is damn good!

Per: we have to use this part, do you agree?

Christoffer: Yes.

Per: Clarence has to clean his glasses. ... There is also the fact that our voices complete each other really well, the same as Marie’s voice and my voice work so well together. But it’s not only this, but also the fact that she gives you so much energy. The music becomes exciting when she sings. I didn’t say to her to be in a certain way, she sings how she wants. I just write a song to fit her. So she is really great.

I started this album with the intention that it would become like Son of a Plumber album. But then I felt that I had found another style... so I didn’t want to disturb Son of a Plumber. (laugs) Son of a Plumber feels so great, like coming from the ‘70s, with slow rhythms. But it’s not the case of Party Crasher, which is more like from the ‘80s, more...modern, you can say. So it became a ‘Per Gessle’ album. In the end I wrote two more songs, exactly when everything was ready. If it happens that the album is too slow... because often, when you make a groove dance album, it gets a tempo somewhere in the middle... you try to introduce some movements. So if I feel that there are too many songs that sound the same, I take away five. In fact I wrote 2 + 2 songs, so if I don’t play 2 songs, I play the other 2. Just to get the rhythm of the album, to give it another feature.

I am very glad that I have this power to think like that, I can say, because it is not so easy after you have worked half a year in the studio... you can just say: ‘now it’s ready, thank you, bye.’ But we always go back and say: ‘this is very good, BUT it is not exactly what I wanted to have. Some kind of tempo is missing.’ I have done that before, as well, with our earlier albums. I remember that Roxette’s Crash! Boom! Bang! was ready and we felt that we needed something, so we came back the same day, very angry, and wrote Sleeping in My Car, which became the first single.

For me it’s easy to write if I am motivated, it is like that. If I am not motivated, if I don’t have any project to work with, I don’t write. Sommartiden from Puls album was another song which had been written like that... the last minute.

So I have done this album in English for two reasons. One is that I have done so much in Swedish here, at home. That is why it felt quite difficult for me to do an album in Swedish right now. I had to take a little break. Another reason was that I tried to come abroad with it and it was very nice. And of course I thought that it is funnier to have a playback in Germany than at home.... Together with Modern Talking or somebody else. (laughs) Of course I was thinking about a tour, but I haven’t decided that yet. And I have this band which I had for En händig man... and they say to me all the time that we should go out and play.

This album is my 6th solo album. The world According to Gessle has also some cool songs. As well as Son of a Plumber. The songs are in English, so they should work. I should keep the thumbs up, you know where...

The fact that Silly Really came into a lot of charts...well... it was damn cool! (laughs) The fact is that when you work with music and write music in the studio, you have a lot of fun together. Then, when it is ready, you depend on time, on your audience, on mass media and everything... record companies... You have to see how it works, to see the impact. So your product has to be strong. And we succeeded and that was really cool, indeed.