31 Dec 2005

P, C & C rockin' the plumber's crack (VIII): Happy Junk Year

It has been a busy year for Christoffer Lundquist and friends' recording company. In December, they released the first digital audio books in Sweden.

Another international artist was recording at AGM Studio this year: the Belgian Lio. She will publish her new album next week.

Junk proudly presents: Junk Books! We released our first AUDIO BOOKS. We have recorded two of Sweden’s most talked-about authors, Linda Skugge & Per Hagman. Linda was recorded in her own living room, Per read his book at Hotel Savoy, Malmö. Magnus Börjeson from Metro Jets did the recording and editing. The books, “Saker under huden” (Linda Skugge) and “Att komma hem ska vara en schlager” (Per Hagman) are available both as ordinary downloads and as mobile/cell phone downloads.

There’s a huge interest in our Audio Books. Newspapers are calling. Television is calling. Metro-Magnus (Magnus Börjeson) is editing the last chapters of Per Hagman’s book. He sends them to Brainpool-David Birde, who checks for errors. The files/chapters are uploaded to the retailer’s servers the moment they are cleared. It’s an interesting process. It’s fast, fun & groundbreaking. These are the first Swedish novels that are published this way.

2005 Junk Musik Releases
Junk Musik has released these albums in 2005

We finished our work on our audio books and sent the files to London, where the servers are. Our Linda Skugge & Per Hagman audio books had been released monday 19 December.
Anders Mildner (Junk Musik)
Anders Mildner

It is snow everywhere today. I just got back from a meeting with a publisher. We discussed new audio books & new ways to sell them. It’s funny how easy it is to come up with new ideas for a business (books) that is so static. Anyway, tomorrow it is new year’s eve. We will try to sum up the highlights from our first year with Junk, and – hopefully – be able to release a new podcast with snippets of everything we have done so far. Thank you all for a great 2005! We could not dream of this much support when we started in april. In our new PODCAST you can listen to pieces from all our releases this year. We hope you will have a great new year’s eve – and we’ll see you in 2006. We can’t wait to get started!
Anders Mildner, Magnus Börjeson, David Birde,
Jens Jansson and Christoffer Lundquist
- Junk Musik

2006  Lio - Dites au prince charmant

Lio is a Belgian singer and actress, born as Wanda Ribeiro de Vasconcelos in 1962 in Mangualde, Portugal. In 1968, she and her family moved to Belgium. She was an enormous pop icon in francophone Europe during the 1980s. In 1982 the American music duo Sparks worked with her on the album Suite Sixtine, on which some of her previous songs were translated into English.

She has an extensive discography and has collaborated with several important French music artists, including Etienne Daho and Jacno. Many of Lio's singles were successful, but her biggest hit was probably 1980s Banana Split. This track was redone on the Suite Sixtine album as Marie Antoinette. Now she lives in France and works in French television.

According to her own website:
"It took five years, encouragements from sister Helena, threats of kidnapping, a short disappearance and a small studio somewhere in a Swedish forest (Aerosol Grey Machine Studio, in Skane), but finally, it's here: Dites Au Prince Charmant, the marvellous comeback of Wanda Ribeiro de Vasconcelos, better known as Lio. 43 years old right now, but she still looks ravishing. No more electropop, but clever, beautifully arranged acoustic songs with lyrics about loneliness, disillusionment and dreams that did not came true."
2006 Lio

The album, published today in France, was produced, and almost completely written by Doriand and Bertrand Burgalat-collaborator Peter von Poehl (friend of Florian Horwath and Christoffer Lundquist).

24 Dec 2005

Sandy Mouche's Junk singles (III): Spiderweb Suit

Sandy Mouche is member of Myspace since 25 November 2005. We can listen to some songs there.

Sandy Mouche at myspace.com

Here you can listen to our music and, just as in our guestbook, talk about it with other sandy-people and so on and so on...

Third new single for an upcoming album

“Our latest single available for download. Helena bursting out of her own shell. Moohhoohhoohhhahahhaha.....”

01. Spiderweb Suit (Helena)
02. Une Histoire (Martinique)

According to Anders, from Junk Musik: "
We are PROUD to be able to give you this christmas gift: a new, totally brilliant single from SANDY MOUCHE! It’s a great song, a great vocal performance – and a p-e-r-f-e-c-t single for christmas! It’s also the best way we here at Junk could ever say MERRY CHRISTMAS! Cheers to all of you, and big cheers to Sandy Mouche!

Singles sleeve-design for free in www.sandymouche.com

Merry Christmas to all of you out there! See you in 2006!

For all the hardcore fans out there our single sleeve-designs are available for download. Simply download the sleeve you want and but it in a plastic sleeve togheter with the matching single that you have downloaded and burnt on a cd. Now you have a single with a great sleeve-design that you actually can hold and look at. The sleeve-designs are made by Ola and are free of charge.
Download a sleeve-design:

22 Dec 2005

P, C & C rockin' the plumber's crack (VII): children and iPods

In the same marvelous personal interview by Jan Gradvall translated by Thomas Evensson for TDR's readers, Per Gessle speaks about iPods and children. You have to read it.

By the way, the Son of a Plumber website reveals that the European release of the album is planned for March 6, 2006. Per writes on Son of a Plumber.com that the next Swedish single will be “Hey Mr DJ (Won’t You Play Another Love Song)” with an anticipated radio date of mid-January. The b-side is a “rehearsal medley” so to speak, called “Plumber in Progress #1.”

SOAP - Album Pictures 01

My first iPod was the all-black U2 iPod, but I filled that in a minute. During 2004 I started uploading my entire CD collection onto iTunes. More often than not I was so absorbed in it that when I checked the time it was 5 a.m. I get to hear a lot that I’m so meticulous. That my albums are sorted alphabetically and things like that. Sure, they are. But in the middle of that I also have a totally different side to me. I can’t handle when my time is expected to be in order. The worst thing I know is schedules. I don’t like deadlines. I don’t like when I know in advance what will happen. I don’t understand people who write songs 9-5. To sit there for six hours, sometimes you write something, sometimes you don’t. I refuse to work like that. Instead I sit in front of the TV with my guitar in my lap. If it’s a semi-crap movie I turn down the volume and strum the guitar. I read the subtitles, don’t concentrate on what I do and then suddenly a melody can appear. Damn, what was that?

When I uploaded his record collection into iTunes I rediscovered a lot of old music. Things I had listened to on my headphones in my old bedroom. In the old days on the radio you could hear Chicory Tip followed by Harry Belafonte and then Deep Purple. It’s so damn boring with this format-thinking these days. Who likes just one thing? Who wants to eat the same thing the rest of his life? The old monopoly radio! At the same time I believe that the Internet and digital music can turn things around. On the web you can find, like radio in the olden days, random new songs and music. It’s too bad that iTunes Music Store still has so little older music. I don’t understand why companies like EMI or Warner don’t open their own versions of iTunes Music Store. They should upload exactly everything. Imagine if everyone got a possibility to click around there, go through the entire catalogue, discover all the music that’s hidden in the archives.

Son cake

I have an eight-year-old son, Gabriel. It’s very fun to see what music he finds and why he likes it. On Cartoon Network they apparently have some music. He can come to me and ask about for instance The Rembrandts. A while ago I played “Smoke On the Water” for him. He had never heard it before. The live version from Japan. Duh-duh-duh… It was amazing to witness someone hearing that riff for the very first time in his life. I saw his eyes light up. Because what is it really that makes you stick to different songs? What was it I liked in different songs when I was eight. That feedback loop in “I Feel Fine.” What’s cool with that?

The b-side of next single, Hey Mr. DJ, is a “rehearsal medley” so to speak, called “Plumber in Progress #1.” This will feature Gabriel and me jamming on ’Substitute,’ lousy guide lyrics beyond belief to several songs, etc etc.
Per Gessle

P, C & C rockin' the plumber's crack (VI): Kurt, the fastest plumber

Per Gessle, the son of a plumber, remembers his father Kurt and his mother Elisabeth, his childhood and adolescence, in a personal interview by Jan Gradvall translated by Thomas Evensson for TDR's readers. Just read it. It is the most personal interview with Per we have ever read.

I found the drawings made with watercolors and pencil at my mom’s house. I was looking in an old photo album and when I opened it a stack of old drawings fell out. I drew a lot when I was little. This, for instance, is a hockey game. Brynäs scoring against Teg. Kjell Rune Milton played with them. He went to MoDo later, but started in Teg. I was around 7 years. I collected hockey cards aswell. I made lists of everything. I even wrote down who scored in “TV-pucken”. Brynäs was my favorite team. I remember when they lost the Swedish Championship gold in a game against Leksand. I was devastated, I couldn’t go to school. I’ve always been a sore loser.

We were three siblings but we were seven years apart. When I was born my sister (Gunilla) was 14 years old. She disappeared from home rather early of course. It was mostly me and my brother (Bengt). But I remember that my sister had her room at the top of the stairs and that she always played “Lipstick On My Collar” by Connie Francis. A fantastic era. Many of those songs sound exactly the same, but you can’t help liking them. And Joe Mick, the guy who did “Telstar” with The Tornadoes. All his productions are amazing. Almost everything on this collection is great. Screaming Lord Sutch & The Savages, “I Ain’t Mad At You.” Unparalleled. Damned great. My brother had this single. My brother is born 1951. I started out borrowing records from him before I built my own collection. My first favorites were the Hep Stars. My parents drove me to see the Hep Stars on stage. They said the exact same things between the songs as on the live album “On Stage.” I asked my mom about this recently, but she couldn’t remember anything about it. She’s 81. I liked the Hep Stars so much I forced my friends to pretend we were a band. We stood there with couronne cues as guitars and lip synced “Sunny Girl” and “It’s My Life” by The Animals. But my friends were totally uninterested in music. They thought I was weird.

We lived by the Folkpark in Halmstad, but moved 20 km up country. We lived there maybe five years, when I was about 9 to 13. Then we moved again, to Vilshärad, where we built a house. That was when my dad got sick. He got prostate cancer. He couldn’t work and laid at home for a year.

I played soccer too, but it wasn’t my thing. I was pretty technical, I could kick the ball in the air 100 times. But I was kind of fat back then and a bad runner. The thing that settled it was when I turned 15. I got to choose between a used moped and a used stereo. I picked the stereo. I’ve always been a loner and became even more so when I decided against the moped. Maybe it’s my personality, but it’s also due to us moving so frequently. You never rooted, didn’t get any close friends. I stayed at home instead, with my headphones. I listened to records, listened a lot to the radio and wrote down statistics.

At the same age, when I was 14-15, I started writing my own songs. We had a piano at home that I never used. I took a few lessons, but I could never connect the thing about musical notes. I never understood how the notes became music. So when I wrote songs it was just lyrics. I had the melodies in my head. I had hundreds of songs in my head. Not the way Mozart did (laughs), they weren’t symphonies where I could hear every single instrument. But I had pop songs all finished in my head; beat, verse, bridge and chorus. It was there, inside my head, where I lived my life. We moved and moved. Junior high school was a damned painful time for me. I felt totally out of place. I was kind of bullied and felt worthless. Plus I was rather fat. To get away from school I decided to take a sabbatical and start working at Bingo-Livs, an ICA [grocery] store. I’m born in January 1959. When I took the school maturity test at the age of six I got to choose if I wanted to start school a year early. We chose that alternative and I started school as early as six. I was therefore always the youngest in the class during my youth. Taking a sabbatical was a way to start over in a new class, with persons of my own age. Mom and all were unanimous that a sabbatical was a good idea. I worked at Bingo-Livs unpacking milk and things like that. I got to drive a moped after all, one with a platform even, picking up groceries. When I stood there packing milk one day one of my teachers at the disgusting school came by and said “Oh, so this is where you would end up after all.” Goddam what an ass. But to me it was a chance to start over. During the sabbatical I managed to lose some weight. I lived on chicken and crisp bread for a year. Everything was at the end of the line. I was determined to start over from scratch. New house, new school, new friends. I was looking for a year zero.

Parallel with this punk rock arrives. I bought Patti Smith’s “Horses” and the Ramomes first. I got a kind of abstract self confidence from this. Punk rock said it was OK to not be especially great. In the spirit of the times that had been before, marked by “Brain Salad Surgery” and “Dark Side of the Moon,” everybody were so damned good. When I came back to school, where I finally ended up in a new class, I found a friend. A great friend named Peter, Peter Nilsson. It was 1977 and he played the bass in a band called Audiovisuellt Angrepp. The band rehearsed in Harplinge, 15 km away. We went there as soon as we could and stayed all day long there. Among the other members of Audiovisuellt Angrepp were MP (Mats Persson, Gyllene Tider) who played the drums. That’s how I got to know him. In the band was also Martin Sternhufvud who later started MaMas Barn together with Marie (Fredriksson). After a while MP and I started a band on the side, but in the beginning I sat there, with my back to the wall, and listened to them play. The room they used to rehearse was small, a lot smaller than this room. And it was so damned loud. I sat there thinking, wow, this is exactly what I want to do with my life.

At the end of my father’s illness period we couldn’t afford keeping the house so we moved again. It was in that house I wrote “När alla vännerna gått hem”. It was at Hamilton’s Väg 1978. I remember it vividly. My dad died in 1978. He only heard us once. It was when Grape Rock was on the radio show “Bandet går” (“The Tape’s Running”). We were supposed to be a punk band, but the song, “En av dom där,” was over six minutes long. It was built on an eternal riff that probably had more in common with Led Zeppelin. But my dad didn’t like it at all. Above all he thought my singing was terrible.
Per Gessle

9 Dec 2005

P, C & C rockin' the plumber's crack (V): SOAP success in Sweden and TV time

P, C & C go straight to #1 on the Swedish album chart with his Son of a Plumber project beating Madonna! The new album already sold platinum (60,000 copies) in Sweden the first day.

On November 27th, 2005, Per Gessle was interviewed at TV Huset. The band also play (not live) the song Jo-Anna says, with Clarence Öfwerman, Helena Josefsson, Jens Jansson and Magnus Börjeson. We missed Christoffer Lundquist, but he was working at AGM studio.

Per Gessle and Marie Fredriksson (Roxette) were on a stage at the Dorchester Hotel in London last 29th November 2005 to receive two BMI awards for “Listen to Your Heart” which has been played 2 million times (and is also the “Dance Song of the Year”) and “It Must Have Been Love” which has been played over 4 million times on US radio.

Per Gessle and his Son of a Plumber project were guests at TV4’s Nyhetsmorgon this morning. Son of a Plumber performed “Hey Mr DJ” live in an acoustic version and “I Have a Party in My Head” lipsynced.

Son of a Plumber has been nominated for a Grammis - Best Male Pop Artist. The Grammis gala will be held February 7. In our opinion, the great work of all the band (C&C, Helena, Jens, Magnus) is worth more than a solo momination.

SOAP forum

We have read many comments about Son of a Plumber. For those who think that "Son of a Plumber" is not just another sideproject to keep Per Gessle busy, there is a new forum nicely moderated by ""The nice Kai", from Berlin" and others. Please, visit the SOAP forum.

By the way, we have read many comments about the role of Helena Josefsson, a big role that some fans of Roxette do not like at all. Three German girls created some time ago a good web dedicated tot he singer, http://www.helena-josefsson.com (Updated 2008: This web is deleted).

Yesterday, New David vistited Malmö and met up with Metro Jets/Brainpool David (David Birde), nowadays often referred to as “Old David”. The two of them went to the gay club Tomboy, where Jens played with Monkeystrikes. Some hours later, Brainpool-Christoffer, Metro-Magnus and Helena from Sandy Mouche flew to Stockholm to play with Son of a Plumber on morning tv. Old & New David probably slept at that time. I sure did & missed all of it. But you can watch it on the web. Go here to watch.
Anders Mildner (Junk Musik)
Anders Mildner - Junk Musik

23 Nov 2005

P, C & C rockin' the plumber's crack (IV): Son of a Plumber released today

LJdM wants to review the new album of Per Gessle with Clarence Öfwerman and Christoffer Lundquist. P, C & C team rocks again. "Son of a Plumber" is made with the same musicians as Per Gessle’s Swedish album “Mazarin,” but now in English and as a double-CD. Per Gessle wanted this album to feel like an old-time LP where you had to switch the side in the middle. With 2 CDs, it brings the vinyl experience back a bit. And we really enjoy it!

LP 1:
1. Drowning In Wonderful Thoughts About Her

LJdM: Hurry yea! This wonderful album starter begins the travel to the late '60s and early '70s. And it's alright! Very positive lyrics although "to kick the cryin’ has taken forever".

2. Jo-Anna Says

Per Gessle: "It’s a sort of a McCartney-song. We’ve had long discussions about what to really think about him. I’m more of a Lennon man myself, but like his early solo stuff."
LJdM: Catchy single. Very McCartney and the Beatles. Yes, Gessle is not "like the other guys". And the lyrics are sad and funny at the same time.

3. I Have A Party In My Head (I Hope It Never Ends)

Per Gessle: “My favorite from the album. It turned out just the way I imagined it. It feels very special.”
LJdM: Pleasantly surprised. Someone called this song "neo-folk music". Is it Gessle? Wow! Maybe too much time listening to Simon and Garfunkel then! This is our favourite as well. We wanna come by and hope the party never ends.

4. C’mon

Per Gessle: "You can’t tell it’s me. So people can get a feel for it, regardless of their relationship to me. I sing in falsetto for the first time. It happened that way when I wrote it… and it was fun to sing it that way."
LJdM: We are looking for the 'lite'. No, we can't tell it's Per Gessle singing. Not one of our favourite, although we love the rythmic melody.

5. Week With Four Thursdays

LJdM: The first instrumental, ambient music with nice '70s keyboards. It seems the soundtrack of a film.

6. Hey Mr DJ (Won’t You Play Another Love Song)

Per Gessle: “A country pastiche. Sounds like Chicago, no? These songs very easily turn into parodies and we were in bad shape for a while there, but I think we got through it. It sounds very lovely. Well, I just wanted to write an old-fashioned country song for Helena and me. I never expected Clare & Chris to like it but they really did… I was so surprised. And, of course, it turned out to be one my fave songs on the album.”
LJdM: No DJ here. We love the beginning with only Helena singing. An absolutely brilliant country ballad or a wonderful Burt Bacharach duet? Helena Josefsson an Per Gessle's voices go together and complete each other so perfectly. Some TDR editors call this "one of the best duets Per has written ever". At least, we believe in every word Gessle and Josefsson laid on us.

7. Late, Later On

LJdM: We got lucky to meet this song. Acoustic instuments and beautiful lyrics. Another young love story.

8. Ronnie Lane

LJdM: The second instrumental on the album, with Helena's voice as one of the instruments. It could suit a film very well.

The Junior Suite (9-13):
9. Are You An Old Hippie, Sir?

LJdM: Happy, stupid lyrics. Just the way we love it. Yes, we think Gessle is the old hippie he sings about. We can listen to the nice ba-da-ba-ba-ba theme that runs through the entire album.

10. Double-headed Elvis

LJdM: A strange falsetto blues. Don't ask us about the meaning of the lyrics. Who knows!

11. Something In The System

PG: "“Something in the system” was a slight mistake so I didn’t want to use it at all. I recorded it at Tit&Ass in Januray 2002 for Roxette. I never really liked it, dunno why. But when the medley-idea came up (I guess it was Clarence’ brilliant brain at work!!) I thought it would fit quite well. Shorter, more in-your-face, like a nice little bridge between “Double-headed Elvis” and “Speed boat to Cuba”. This is how it sounded when it was born."
LJdM: It was written for Roxette but P, C & C got to give the sound of the 60's to it. And now it's inside our mind too.

12. Speed Boat To Cuba

LJdM: Jo-Anna is back and tells him that he's still not the one. Speed kills in this rocker song. The main theme is back at the end, a very nice touch like all the production.

13. Come Back Tomorrow (And We Do It Again)

LJdM: It's a remake of Gyllene Tider’s old bonus track from “Puls” - “Bara vara nära" ... 23 years ago! Modern arragement for closing the first half of an album.

LP 2:
1. Kurt - The Fastest Plumber In The West

Per Gessle: “An instrumental, with film score touches. It’s a little spaghetti western-ish. And Kurt, the plumber, that’s of course my dad. Thought he needed a tune.”
LJdM: Wow! We remember Sergio Leone's spaghetti western films. Kurt was Gessle's father.

2. I Never Quite Got Over The Fact That The Beatles Broke Up

LJdM: We didn't get it either. Per and Helena sing in circles around each other. No real chorus in this one, but it’s got a beautiful airy sound to it.

3. Substitute (For The Real Deal)

LJdM: It should be a substitute for "C'mon" as real single. Great music. It is Gyllene-Tider-and-Tom Petty-Per.

4. Waltz For Woody

Per Gessle: “Another instrumental, dedicated to Åsa. She’s called Woody. I really don’t know why. It’s just the way it is.”
LJdM: One of the few pieces Per plays the keyboards. Lovely!

5. Carousel

LJdM: History repeat itself at the beginning with Per and Helena voices. According to Visa from TDR, "you can hear the touch of Christoffer Lundquist on this one as well. I could swear the sound of the seagulls on the background is the same sample as in “High” by Brainpool". After a song like this, you can go home and listen to it again.

6. I Like It Like That

Per Gessle: “The strongest chorus on the album. Maybe it is the one that sounds the most like ’classical’ Gessle. I started working on “I like it like that” with some, quite annoying, drum-loop in mind. It all put me in a somewhat bad mood. Drum-grooves usually do! However I really adored the song and did an acoustic version the very same day at the Tits&Ass studio in January 2002 (it was made for Roxette). Here it is! I think I’ve changed the lyrics a bit along the way."
LJdM: The song makes you feel in love. This is Roxette-Per in a mid-tempo power pop ballad. A happy lovesong with one of the most beautiful phrases: "To be with you is all I have, all I am".

7. Something Happened Today

LJdM: Very personal, straight-to-the-heart song, almost entirely acoustic with an organ in the backgound. It's a big song because it's small at the same time. As Visa from TDR says, we can imagine "Per and Helena sitting by the fire, Per playing his guitar and Helena singing like an angel, far away from any worries." After SOAP, Gessle will never sound the same again.

8. Brilliant Career

LJdM: More tea anyone? Yes, please, with lots of sugar. Sweet song. Very simple lyrics that keep repeating over and over in an airy beatiful melody.

9. Burned Out Heart

LJdM: I deal with it the best I can. Gessle could be thinking about Pink Floyd.

10. Drowning In Wonderful Thoughts About Her (Reprise)

LJdM: Back to the beginning! Just like The Beatles’ Sgt. Pepper the album starts and ends with a reprise of the same song. More wonderful thoughts abut her in a traffic jam.

11. Making Love Or Expecting Rain

LJdM: Finally, a Bob Dylan quote and Per en Français. Childhood memories to tell to your lover. It's time for candles and wine.

(12-hidden track) Jo-Anna Says Farewell

LJdM: Just a pun of an old Gessle song “Jo-Anna farväl” which was released by Gyllene Tider under the name Pers Garage back in 1989. It scares you a bit after almost ten minutes of silence on the last track.

(13-LP bonus trak) Keep The Radio On (This Is The Perfect Song)
Per Gessle: “The song itself was written for Gyllene Tider back in 1980 (called ’Gå hem innan du lägger dej’ which means something like ’Go Home Before You Go to Bed’…) but GT never used it. Mainly because of the terrible Swedish lyrics if I remember the history right. However, it was recorded by the Lonely Boys for the LB album but I’m sure y’all heard that! And just recently it became rejected once more when we mixed the SOAP album. That version didn’t really make me tick!”
LJdM: Very Buddy Holly. It is taken from “The Lonely Boys”’ album from 1995, and it’s been re-recorded with slightly, insignificant, changes to the lyrics. It is a nice song but it doesn’t fit the album.

Yes, Son of a Plumber is much more and better than just Per Gessle. The die-hard Roxette fan probably will not love the concept of this album, this is not for sure what they expected. Gessle and C & C are back to their roots with the vocals of a "childish girl", Helena. Helena Josefsson sings here better than ever.

22 Nov 2005

P, C & C rockin' the plumber's crack (III): Brainpool's anthology of failure

We started to record the world’s longest krautsong & kept working on it for an eternity. We tried a lot of different things, but ended up with just a few instruments. Usually, we don’t edit our music, but this time we let the computer play a part. It is rather dull to sit and look at a screen though…. At first we had the idea that this would be an instrumental. But I think we have abandoned that idea. When it was time to record the vocals, we got stuck and started to talk and listen to other people’s music instead. We will continue to record this week and will probably be able to finish it in the next couple of days. Its fun to work this way: not knowing exactly what you want to do, even if it takes somewhat longer time. If we are lucky, this record will be fantastic. If we’re not lucky, it will just be great. One thing is for sure: it will not sound anything like the rock opera.
Jens Jansson (Junk Musik)
Jens Jansson - Junk Musik

After having spent four days in the studio, we are forced to admit that we have failed this time. This is what happened. We started to work with the Kraut-ballet (which we by the way called “The Anthology of Failure” – now isn’t that ironic?). The process was enormously creative. We worked like animals & played instruments we didn’t even know the names of (we couldn’t play them either). The song ended up being nearly ten minutes long. We edited it down to five. When we listened to the result, it stood clear that this was THE WORST SONG EVER RECORDED. After a while, we realised that this actually is the way we get things done. Both “You Are Here” and “Junk” were preceded by a number of grave errors before we found our way into the material. And since we persist in constantly reinventing ourselves, we will just have to accept that this is going to happen now and then. We have saved some clips from the recordings. We will post one of them tomorrow, so you can listen to the rubbish!
David Birde (Junk Musik)
David Birde - Junk Musik

Picture by Emelia Olofsson, sydsvenskan.se - November 2005

What happens when a band decides to do a ten minute long kraut-ballet-song? Listen to a clip of Brainpool’s “The Anthology of Failure” and you will know. No, it will not be released. We will add this music to our loops section. Use it – make a kraut ballet of your own! Anyone who decides to make a ten minute kraut ballet has A LOT of guts to start with. It actually sounds like a theme song to a childrens show on tv. And a fun one too! Maybe we could try to pitch it?

Brainpool has got great musicians, great singers, great songs & words and a great producer.
So why is it so much fun to listen to something that didn’t work out, something that normally never would leave the studio? Personally, I would love to hear more failures. There is a common thought that music turns out exactly the way the musicians have in mind. This is seldom – or never – the case. Music goes its own way. Sometimes it goes wrong. Terrible wrong. Deadly wrong. One one man can save it…oh, hang on, this isn’t a movie trailer. But sometimes – or very often– it goes wrong. If people could hear the wrongs a little more often, I think they would understand the right ones better.
Anders Mildner (Junk Musik)
Anders Mildner - Junk Musik

There is something beautiful in “wrongs” for sure. The concept of the ballet “The anthology of failure” is partly about that. It’s a big hooray to those who invest their lives in something that in the end turns out to be not such a good idea after all. (Painfully autobiographical, a cynic would comment. :-)) It would be great to hear other bands’ “failures”. On Beatles Anthology, are a few examples of early versions of songs that sound quite ridiculous. Tomorrow Never Knows, for instance.
David Birde (Junk Musik)
David Birde - Junk Musik

This is one of the best posts on this blog ever! A true success!!! There are plenty of failures already. “The Anthology of Failure” showed lots of potential…the first 3 bars :-) Well actually I quite like the rythm section!
Magnus Börjeson (Junk Musik)
Magnus Börjeson - Junk Musik

12 Nov 2005

P, C & C rockin' the plumber's crack (II): Chris, Mom & Dad, Magnus & Per, Anders ...

More news about Christoffer Lundquist and friends' record company.

According to Anders from
Junk Musik and the newspaper Sydsvenskan, David Birde and Jens Jansson of Brainpool are going duo. David and Jens have a new project called Mom & Dad. The Austrian artist Florian Horwath will guest on some of the songs.

David and Jens have been backing Florian Horwath this fall on a big tour in Germany, Austria and Schwitzerland. Florian is much younger (he's "the son") and David and Jens feel they are mom and dad.

Photo Sharing and Video Hosting at Photobucket Florian Horwath Tour
  • 20.09.05 AUT – Vienna, Chelsea
  • 21.09.05 AUT – Graz, PPC
  • 22.09.05 AUT – Klagenfurt, Kamot
  • 23.09.05 AUT – Lustenau, Carini Saal
  • 24.09.05 AUT – Weyer, Bertold Saal
  • 27.09.05 GER – Karlsruhe, Die Stadtmitte
  • 28.09.05 GER – München, Zerwirk
  • 29.09.05 GER – Konstanz, Kulturladen
  • 30.09.05 GER – Würzburg, Pleierhof
  • 01.10.05 SWZ – Zürich, tba.
  • 02.10.05 GER – Neu-Ulm, Salon Hansen
  • 03.10.05 GER – Köln, Blue Shell
  • 04.10.05 GER – Darmstadt, Oettinger Villa
  • 06.10.05 GER – Jena, Kassablanca
  • 07.10.05 GER – Berlin, 103
  • 08.10.05 GER – Halle, Objekt 5
  • 09.10.05 GER – Hamburg, Schilleroper

Brainpool’s Christoffer Lundquist recently released a great solo EP. It is supposed that Jens (Mom) & David (Dad) will record new material under the name “Mom & Dad” this winter.

Jens Jansson (Mom) says:

It will be based on drums, guitar and harmonica, Florian Horwath will be Mom & Dad’s guest on some of the songs. – We have completed a couple of songs. They are called “Gutenmorgen Alexanderplatz”, “Was ist mehr pop?” and “Servus Motherfuckers". What will Mom & Dad sound like? It will be kind of minimalistic. Here are some keywords: Kraut, white blues, rock.

According to Junk Musik, it is not the end of Brainpool. Brainpool is still active and actually has plans to record new material soon, perhaps this autumn.

By the way, Anders Mildner also writes about the recordings with a "secret artist": this secret artist is no other than Per Gessle himself. Anders gives some important advices that Per could consider in his forthcoming album


Magnus Börjeson (Metro Jets) & our secret artist completed the recordings yesterday. They did an amazing amount of work in just one day. (I thought it would take three days!)

Worried that crazy suburbia gangs would rob him, Magnus took a taxi to the city & met me outside Mondo, where New David played with Bo Sundström. Later, it turned out that they were only a support act. After some Sundström songs, Sundström, New david & A LOT of other people went on stage to celebrate that Neil Young now turns 60. We got an hour of Neil Young songs, had a nice evening and celebrated a day of good work.

I was thinking about the things I hate in music.

1) Cover versions of well known songs, featuring an actor reading the lyrics.
This was, of course, an actor’s idea the first time around, but now it it is just an easy way out for lazy people with too many gigs: “Let’s make something completely different!” Yeah, right. Let’s be honest. Everyone hates this: the audience, the musicians – probably even the actor. A strange example is found HERE.Please stop it now.

2) Songs that are called the same things as the genres they are trying to be.
Example: In the last Eurovision Song Contest, Sweden had a really disturbing song (it didn’t win, thank you God) called “Tango, Tango”, which, of course, was a tango. We would have guessed this anyway, but just in case somebody would miss it (despite the in-your-face tango-choreography), the words in the chorus was “TANGO TANGO”. You can name every genre – there will be a song for you. Sang in a jazzy-ish, reggae-ish (etc) way. As if we would’nt get it anyway. Everyone, please stop calling songs the same things as the genres they are trying to be. It doesn’t work, and it will not make the songs sound like they actually belonged in those genres. Even a guy like Neil Young, who – you must admit it – knows how to rock, sounds like he doesn’t have a clue when he sings “Keep on rockin´ in the free world”. Oh? You meant “rock”? I thought you meant tango!

3) People performing in long shorts and bare chests.
This is so hard to relate to. I can’t relate to it at all. No pop bands are doing this. Only tattooed “harder” rock bands. But what’s the idea here? Are these guys coming directly from the beach? And is that “hard”?

Anders Mildner (Junk Musik)
Anders Mildner

9 Nov 2005

P, C & C rockin' the plumber's crack (I): C'mon / Jo-Anna Says

2005-11-09 Jo Anna says (CDM)

Today the first double single from Son of a Plumber is released, including the songs C'mon and Jo-Anna Says. Per Gessle is in New York these days trying to find a contract to release a Roxette collection in the USA. He speaks about the SOAP album and the single to Aftonbladet.

C'mon is sung in falsetto. 60's are there. It reminds us of the Beatles and sticks to our mind inmetiately. It will be playback showed in this year’s edition of “Fotbollsgalan” on November 14.

Jo-Anna says has an extremely catchy chorus. It's not an English version of Gyllene Tider’s “Jo-Anna Farväl”.

2005 SOAP project
You can watch the official video of Jo-Anna says just clicking the image above. The video was filmed in the Aerosol Grey Machine with all the band: Per Gessle, Clarence Öfwerman, Christoffer Lundquist, Jens Jansson, Helena Josefsson and Magnus Börjeson.

Christoffer Lundquist was interviewed by the Swedish journalist Lars Thulin in an article published today in Trelleborgsallehanda.se.

Let's read Per and Chris words to the Swedish media.

SOAP - Album Pictures 06

I’ve worked with Clarence Öfwerman since 1986. We know each other very well. One of the things that Clarence always has thought was negative is that I’m always too prepared before starting a record. I make very advanced demos. Demos that sometimes sound exactly like the end results. Now we decided the ultimate change in my world. I made no demos at all for the “Son of a Plumber” album. The only thing I had before the recordings commenced were three instrumentals. The rest is stuff that were made during our work. I played ideas for Clarence and Christoffer who now got a much bigger chance to influence them. I wanted to avoid spearheads on the album. Our idea was to make an album where the whole was the principal, a double-album with a few songs too many. Music doesn’t have to be effective.

I have an older brother so I spent a lot of time on my own, listening to pop. I had 100 LPs when I was ten, all the money I earned selling newspapers and such, everything was for records, records, records. Then as a teenager I started to write songs, but couldn't play anything, I had the melodies in my head, then I started to play guitar, and started my first band.

It all started when I transfered my album collection to my iPod, it took about six months, and I found many songs I had forgotten about, songs I grew up with, it brought me back to my childhood '60s, '70s… and I decided to make a tribute to that era.

I really wanted to do an album that’s me. The lyrics are mainly about me and my life and they feel very important. At least to me. We never had a target group in mind when we did this album, and that was very liberating. If I hadn’t made this album in English I hadn’t made it at all. Because another summer in Sweden wouldn’t have worked. But now when it’s done, it’s of course nice if someone outside of Sweden wants to hear it. We’ve discussed about a tour with Son of a Plumber. If the album is received well abroad it would be nice to do a little club tour. We would play a little bit of everything. No Roxette stuff though, that wouldn’t work without Marie.

It was almost impossible to find a first single, because there isn’t really a song that represents the album. But we took this glamrock song, C'mon, as one of two A-sides because you can’t tell it’s me. So people can get a feel for it, regardless of their relationship to me. I sing in falsetto for the first time. It happened that way when I wrote it… and it was fun to sing it that way.

Jo-Anna says, the other A-side of the single, is on it because… well, if you vomit when you hear “C’mon” maybe you can like this instead. Ha ha! It’s a sort of a McCartney-song. We’ve had long discussions about what to really think about him. I’m more of a Lennon man myself, but like his early solo stuff.
Per Gessle


Pictures by Emelia Olofsson, sydsvenskan.se - November 2005

Moving to the countryside (Vollsjö, Skäne) in 1997 is the best I have ever done. I have completely changed my approach, I felt uncomfortable in the city (Lund). Here it is quiet and peaceful, a wonderful way of living. In my studio, "Aerosol Grey Machine", the quiet of the forest and the chance to work concentrated influence the music you can record. Sometimes I sit and listen to my old vinyls while smoking my pipe: Phil Spector's "Back To Mono", Abba, Led Zeppelin, Ratata, Janis Joplin, Peter Gabriel, some classic music, Beatles, The Who, Yes, Genesis, Marillion, ... Vinyl sounds much closer to how it sounds in the studio. I feel like crying every time I am forced to mix down to a recent recording from the fully analog studio into digital form. It's like baking a cream cake, and then pour it into plastic.

"Aerosol Grey Machine studio" remembers Van der Gaaf Generators' Pawn Hearts, from 1971. A time when music could be great and important without being ironic or selfish. The Beatles' fault. Beatles went in that direction and 70s symphonic rock became my musical education. We loved it not because it is difficult to play, but because of the melodies and moods. I have Toto's music in my playlist and it's strange according to Swedish musicians' standards, because the more one sells, the more it must be rejected. Commercial success is a sort of 'kiss of death'. This idea of "right" and "wrong" music is something kids do. If adults do it, it is stupid. Stop! The timeless values of pop music? Good songs and melodies, of course, but also the "presence". You have to hear that someone is at home. Otherwise it is musically just empty posturing.

28 Oct 2005

P, C & C lay down some harmony (VI): weird music from AGM Studio

Like The Daily Roxette reported, due to technical issues the new album "Son of a Plumber "has been delayed for one week; the new release date is November 23. There are plans for the upcoming album to also be released as a vinyl record – both double – with a bonus track not available on the CD version.

Per Gessle has videoed most of the time during the recording process of the album “Son Of A Plumber.” So far it is not decided whether the material will be included as bonus material on the album or not. Per and the band has spent two days down in southern Sweden shooting. Today Musikbyrån SVT2 will visit Per Gessle, Clarence Öfwerman and Christopher Lundquist in the Aerosol Grey Machine studio and we’ll get a first preview of the new Son of a Plumber album.

The album goes in so many directions that it has been hard to find a single but it will be released two weeks before the album: it will be - in good old Gessle-fashion - a double a-side featuring the tracks “C’mon” and “Jo-Anna Says.” The album has been fully mixed and mastered during September and October with the help of Magnus Börjeson.

Magnus Börjeson and David Birde (Metro Jets) have been lately working in the soundtrack of a movie about the Rolling Stones.

Soap in tha house

This is the most beautiful and important album I’ve ever done. It is original and weird, many people will probably think it’s weird. It’s sort of a homage to the music I grew up with 1968-1972.

It actually wasn't my intention to make a double album, but we had so much material, and then I asked EMI if I can release a double album for price of one. They said yes, so I thought, 'Shit, that's great! Let's make two albums, 30 minutes each!' It's actually 60 minutes, and you could put it on one, but it was nicer to make it like this, more of an LP feeling.

A tour? It will depend on how the album will be received. A small club tour would be great, don’t you think?
Per Gessle

How much do I contribute to Per Gessle’s songs? That’s so difficult to tell. It’s an organic process, very collaborative, it’s always the three of us in the same room working. I think people who listen to the songs can tell better. I don’t really know who does what when we work.

I really prefer recording an album without demos. I think it’s a lot better in many many ways. If you make demos, the chance is you are going to listen to them many times, and then your mind is sort of set, you cannot take off from that, then you start to like things from the demos, arrangements, little details, vocals, and then you want to recreate that, so your hands are tied. It ruins a lot of the creativity. So when I get demos I listen to them once or twice and then throw them away.

I believe in the first impression, somebody sitting on the sofa in the control room and playing you the song. And then you go from there with the inspiration. Some fans love demos, that’s fine, they can listen to them, but not me. Haha! But actually, often demos are even better than the final song. That is because that’s the first time the artist records the song, so for him that’s almost the birth of the song, and I like to save that for the record. That shouldn’t be on the demo, because demos aren’t meant to be published.

The first time Per Gessle recorded without demos was Son of a Plumber, it was the same way of working. That was really really creative. He was sitting in the kitchen writing while we were recording in the other half of the building and so on. That was like a boiling pot.

Malmö, Sweden, 1965. Some kids having a party. New found friends arrive: Mick Jagger, Keith Richards & Brian Jones. 40 years later: The movie “Like a Rolling Stone” by Magnus Gertten & Stefan Berg shows footage from the party and tells us the whole story. Coming VERY soon: A NEW JUNK RELEASE – the Soundtrack EP from this movie, written & produced by METRO JETS (Magnus Börjeson + David Birde).

I just got the new Metro Jets EP! It’s funny to listen to a soundtrack when you haven’t seen the film yet – you get all kinds of pictures in your head. I can tell you one thing for sure: this music is going straight to my iPod, it’s a p-e-r-f-e-c-t soundtrack for november.

Check your paper for “Rolling Like A Stone” if you want to see the movie. Check this page for more info about the release of Metro Jets EP. It’s really just the mastering that is left before we can release it. Christoffer Lundquist is hiding/working/going crazy/recording/etc in his studio, but as soon as he can push some buttons for us, this music will be all yours.

Anders Mildner (Junk Musik)
Anders Mildner

13 Oct 2005

Sandy Mouche's Junk singles (II): In the sand

In the sand ( 2005 · 10 · 18 )
Second new single for an upcoming album

“Available for download. Martinique came up with the photo idea (Photo: Hanna Blomgren)”

01. In the sand (Helena)

Anders Mildner from Junk Musik has interviewed Sandy Mouche today:

Q: Tell us about the recording of your new album, from which the new single, “In the Sand” is taken.

Martin: We recorded the album in ten days. We mostly worked weekends.Most of the recordings were done live, so we managed to finish it off in less than two weeks.Ola, Per, Helena and I played almost all instruments, but we got some help – with harp and strings for example – from some really good musicians that we know.

Q: Your two singles released here at Junk, “Une Historie” & “In the Sand” are really different from each other. What will the album be like?

Martin: All songs go their own way, in some sense, but the album still fits together.It feels like we have found a Sandy Mouche sound, which allows us to take each song as far as possible – in any direction. One thing that is different from our first album is that me and Helena haven’t written anything together this time.

Q: When will the album be released?

Martin: January 2. If everything works out…

Q: On some songs you sing in french…

Martin: I have a cousin in France. I spent all my summers there as a kid. I learned French and got a lot of impressions that surface now that I’m older.We tried French on some songs and liked it. Some songs f-e-e-l french and sometimes everything falls into place when you try this language in a song.

Q: Helena, you’re taking part the much talked-about Per Gessle-project “Son of a plumber”. Any news about that?

Helena: The first single is released soon. I hope there will be many fun gigs after that! That’s about all I dare to say at the moment…

Autumn 2005 Göteborg Gig
in Ullevi

* Ullevi, Göteborg 2005 · 10 · 12

Ullevi or Ullevi Stadium, formerly named Nya Ullevi, meaning New Ullevi, to distinguish it from Gamla Ullevi, is a stadium in Gothenburg, Sweden, the biggest stadium in Scandinavia. It has an all-seated-capacity of 43,000 and a total capacity of 60,000 for concerts. The record for the stadium after being partially rebuilt was set by Swedish rock band Gyllene Tider on 7 August 2004, with an attendance of 58,977.

Here is the info to the 20 online questions that I did with Sandy Mouche on the www.itsatrap.com website which talks about Scandinavian music in general. Published: 23.10.2005
It's a trap

Sandy Mouche is a breath of fresh air from the Swedish music scene. They've put out a few demos, a number of singles, an ep and an album called "White lucky dragon" which was one of my favourite albums of 2004. They just released a new French single called "Une histoire" ("A story") which will only available online at www.cdon.com. The single is a pop dream delight, filled with sweet hooks and beautiful melodies. It's taken from their forthcoming album called "…and poems for the unborn" which I can't wait to hear. Sandy Mouche sing in both English and French, sometimes even in the same song. I asked them 20 questions that will hopefully explain what makes Sandy Mouche tick... we'll see if they consider themselves more "pop" than "rock", why they sing in French and what inspires them.

a little side note: vocalist Helena has also worked on Per Gessle's (Roxette) new project.
another side note: these questions were answered in December 2004, but it was published on October 23rd, 2005.

01. Where does Sandy Mouche come from? name? concept? meaning if any?

The name was born on a Greek island when Martinique, Helena and Per were there on vacation. They decided to start a band. Per played with the sand and came up with Sandy and Helena saw that all three of them had Mouches (brown Madonna dots in the face). The result was the band's name Sandy Mouche. We have realised that it's not just a name but a person as well. A person who lives in every member of Sandy Mouche and who helps them when time seems pointless and grey. We're all together on a journey to make the world a better place. (See website for fairytale version).

02. Do you prefer to be described as pop or a rock band and why?

Pop. Our music is a bit softer than standard rock and it's not all based on loud guitars.

03. What Swedish bands have most influenced you?

None. Only Fairytale music for films of the Swedeish writer Astrid Lingren.

04. What band (outside of Sweden) would you all agree is a big influence on the band?

The French singer Joe Dassin, France Gall, Cindy Lauper, The Twin Peaks music, Beatles, Michael Jackson, Type o Negative.

05. Besides music, what influenced the band to start making music? movies? books? media? sex???

Some movie music is just great. We have all grown up with fairytales and music to the fairytale movies and that is very powerful. Besides that it's the fact that we just love to create music and play together. We have always had a dream about music being our daily job.

06. What movie would best describe Sandy Mouche if you had to pick one?

Astrid Lindgren's "Bröderna Lejonhjärta"

07. Why did you choose to sing in French and English? Is it popular in Sweden to sing in your native tongue nowadays? why not sing in Swedish? Did you make a conscious decision to sing this way?

We like both the English language and the French language so we do a combination of the two. French is beautiful. Martinique has relatives in France and he went there every summer when he was a little boy. So he has great memories and inspiration from that time. We want our music to fly over the borders of Sweden and reach the whole world so therefore we don't sing in Swedish. But if you want to break in Sweden, Swedish is probably the best way.

08. How has technology influenced the band?

We can do simple demos at home very easily thanks to computers, so that is great.

09. Do you prefer analog or digital? for recording, gear and aesthetics?

"White lucky dragon" was recorded in an analog studio. We liked it. But it's not a must for us. I think you can create magic digitally as well. When were playing live it's a mix of vintage and digital stuff.

10. How does Sandy Mouche fit into the Swedish music scene? Are you considered underground or outsiders?

Hmmm... We think we fit in perfectly but we need more money (for promotion) to break through the fog of all mainstream radio hits that torture the Swedes every day. At the moment we are somewere between underground and overground we think.

11. What are the other cool bands in Sweden these days?


12. Describe an average Sandy Mouche fan. What kind of person would dig Sandy Mouche?

Maybe a person who needs a little more love in life? Maybe a really macho guy with bad self-confidence. Or maybe the average person with a 9-5 workday that enjoys life. Hmmm, I think all kinds of people actually =)

14. How does art affect your daily lives if at all?

As in paintings it doesn't affect but maybe plays at the theatre or ballets. Everything that makes us react.

15. If you would describe the band in only 3 words (no more no less) what three words would they be?

White lucky dragon (It has nothing to do with rasism I assure u =)

16. In your opinion, who is the most famous swedish person? (alive or dead, musical or non musical)

Abba or Alfred Nobel maybe?

17. What is the coolest places in Sweden that most Swedes don't know about?

An island called Valö with orange cliffs and a big bird.

18. What does the future hold for Sandy Mouche? (keep in mind these questions where answered in December 2004...)

We have just finished the video for the song "Papillon" and it will be out in Sweden in the beginning of January. In February we return to the studio to do our second album. We will try to get a deal with a major company here in Sweden so that they can help us reach other countries.

19. Since I'm from Canada... what do you think of when you think of Canada?

We think of a calm beautiful place where you can speak french and where there is snow. Calm in the sense of more calm then USA where it seems that everyone must own a gun to feel safe and so on. Maybe a place more down to earth. Icehockey! We like Canada =)

20. Since I'm French I have one last little question: What would be your favorite French word or phrase? (each member please list at least one)

Helena: Tarte au pomme

Martinique: Planche a voile

Per: Révolution

Ola: Amour

Marc Xavier Leblanc, DJ Bones

Lund Poker Tour is a friends poker club of Lund, including Martinique Josefsson (Sandy Mouche).

Video by