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.
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.
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?
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?
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.
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
1 comment:
We took Christoffer Lundquist's words from a marvelous interview in roxetteblog.com (December, 2009). Thank you, Judith and Kirsten.
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