The Scandinavian aesthetic is very clean and considered do you think growing up there has had an impact on how you create music and your sound?
Maybe not so much my music and sound but I feel it definitely has had an impact on my visual aesthetic. Sonically, I think Scandinavian culture has had an impact on me because melancholy in music is very big here, and in all Scandinavian countries. As for my sound, when it comes to music I think I’m rather maximalist than minimalist.
What is your creative process for writing and making music?
It usually revolves around me being inspired by a certain sample or sound. For my album, I was focusing a lot on soundscape and the audio image, so naturally, sample selection played a major role in inspiring songs. Chords, melody, and rhythm were slaves to the samples I had chosen, rather than the other way around.
You’re gearing up to release your debut album Places We Don’t Know this month. What’s the story behind the album?
The album is me trying to mirror a naive world that only exists in your head. The less you experience, the more naive you can stay, and the more beautiful the world can be, in your head. That’s where the name comes from because the Places We Don’t Know are the places that can truly remain beautiful.
What’s your favourite track from the album and why?
I love all of them in their own way. I think my two current favorites are “Over You” and “Bara Du.” “Over You” just captures something I haven’t heard before, and there’s this perfect symbiosis between the vocals and production, Frida Sundemo feels like the perfect vocal counterpart to my productions, we try to deliver that same feeling. “Bara Du” is the same thing there, I feel like I haven’t heard anything like that song. It’s very exciting to be feeling like you’re venturing into ground people haven’t been before.