This article contains the translation of the text that was sent out by TT Swedish news agency and was published in most Swedish newspapers yesterday and today. Metro’s article contained the most details and the most photos (fabulous pics by Jonas Ekströmer), so that’s why I chose to include that one here.
Per Gessle is back with new music in Swedish. The album “En vacker natt” is his most personal so far.
I wanted to do something where the lyrics and my voice were in focus, he says.
An announcement was made last year in spring that Roxette would say goodbye to big stages after the doctors advised Marie Fredriksson to stop touring. Suddenly, the pop group’s other half, Per Gessle, had much time left. He decided to record new music in Swedish, for the first time in ten years. Then it went fast.
It’s just the way I love to work. “Now we make a record on Tuesday, write five songs until then”, then I do it. But if you say “it’s going to be finished next spring”, then I’ll do something else until the last week, says Per Gessle.
Ended up in Nashville
“En vacker natt” and its sister album “En vacker dag”, coming in September, were recorded in Nashville. But there was really no deeper thought about it – apart from getting away from his partner in crime, Christoffer Lundquist’s diligently used studio, Aerosol Gray Machine in Skåne.
I saw a documentary about Nick Cave in which he was down in France in a damn cool studio, but I thought that place was a bit big. So we checked some smaller places in England, but then Nashville popped up and I thought, “that’s not that bad”. Even though I’m not a country nerd, there is automatically pretty much country stuff in my music.
The studio we booked in the Blackbird complex still seemed to be too big and offered too many facilities. Gessle and his gang switched to a smaller studio and in the evenings they walked home to a house they rented via Airbnb and shared their bathroom with a bunch of beetles.
Small and intimate, just like the music they recorded. Per Gessle sees “En vacker natt” as a cousin of his “Mazarin” album from 2003 – firmly spiced with fiddle and pedal steel.
I tried to make this record as a unit, and of course I had to pay a price for it – there is no radio bomb here. But I didn’t even want it, this will be something else. I’m conceited like everyone else and want everyone to think this is the best there is. But I also know that very many will find it too slow, too brittle or too fussy with the violin.
Per Gessle admits that his feelings before the album release are a little different from how it used to be.
It’s special everytime. But there has been many things happening now. There was an end with Roxette and there were a lot of family things happening around me while the whole Nashville project was a bit of a “happy accident”. It was such a boost, but it could as well have fallen flat.
With “family things” he means that he has suffered from several deaths in recent years. Last autumn Per Gessle’s sister, Gunilla passed away and when her son found a box of diapositives from the 1960s, he decided to dismiss the album cover photos already taken by Anton Corbijn.
“En vacker natt” has a picture of Gunilla and “En vacker dag” has a picture of mother Elisabeth, who passed away in 2013. These are Per Gessle’s first solo records where he is not visible on the cover.
Paradoxically, I think these are my most private and personal records. But after these pictures appeared, there was no reason to have me on the cover. These pictures set a feeling.
TT: Why do you think the music became personal and private?
I don’t know. As I said, I want to work fast and then just pour out what comes naturally. Sometimes it feels like the songs come by themselves. And many of these texts have just emerged, it’s nothing I’ve been looking for and thought out, it just fell down. Sometimes it feels like it has taken 58 years for them to arrive.
Per Gessle releases two new albums this year. The first, “En vacker natt” will be released on April 28th. “It’s an acoustically affected album, recorded in Nashville”, he says.
After this year’s two albums and a tour, Per Gessle has no plans. “We’ll see, I have a partly new band and I feel it’s much fun to play with them, so maybe we have to do something more”, he says.
For Per Gessle, the order of songs and the album covers are still important. “Via the cover, you can reinforce what you want to present and it’s similarly important to present the songs in the right order so that you come right into the idea. It’s like an art exhibition or TV series or anything. If the pilot part is very good so you get curious”, he says.
The opening song on “En vacker natt” is “Min plats” – a song that sets the tone for the entire Nashville project. “There you get it all, the violin and pedal steel stuff, the ease, the summer feeling, the sentimentality and a little black in the middle of it all. If you like it, you want to go on”, says Per Gessle.
Facts: Per Gessle
Born 1959 in Halmstad. After his years in Gyllene Tider and Roxette, he is one of Sweden’s most successful artists and songwriters of all time.
Solo albums: “Per Gessle” (1983), “Scener” (1985), “The World According to Gessle” (1997), “Mazarin” (2003), “Son of a Plumber” (2005), “En händig man” (2007), “Party Crasher” (2008).
Roxette albums: “Pearls of Passion” (1986), “Look Sharp!” (1988), “Joyride” (1991), “Tourism” (1992), “Crash! Boom! Bang!” (1994), “Have a Nice Day” (1999), “Room Service” (2001), “Charm School” (2011), “Travelling” (2012), “Good Karma” (2016).
Gyllene Tider albums: “Gyllene Tider” (1980), “Moderna tider” (1981), “Puls” (1982), “The Heartland Café” (1984), “Finn 5 fel!” (2004), “Dags att tänka på refrängen” (2013).
Current: his new album, “En vacker natt” will be released on April 28th. The album contains duets with, among others, Lars Winnerbäck and Savanna Church. The sister album, “En vacker dag” is released in September and contains duets with Linnea Henriksson and John Holm. Goes on a big tour this summer.
Tour dates: 6/7 Helsingborg, 7/7 Oskarshamn, 8/7 Örebro, 13/7 Rättvik ,14/7 Töreboda, 15/7 Karlskrona, 21/7 Grebbestad, 22/7 Göteborg, 23/7 Fredrikstad, 27/7 Stockholm, 28/7 Östersund, 29/7 Piteå, 1/8 Borgholm, 2/8 Malmö, 3/8 Arvika, 11/8 Halmstad, 12/8 Linköping, 18/8 Uppsala, 19/8 Eskilstuna, 25/8 Vasa, 26/8 Borgå.
Per Gessle about…
… the album covers with his sister’s and mother’s pictures: “Anton Corbijn rang when I was in Nashville. He was in New Orleans and shooted Arcade Fire so he said ‘oh, are you there, can I get over and we’ll do a photo session? ‘. Of course, so I cancelled one day in the studio and then we did a photo session in Nashville milieu, it was perfect. His images were supposed to be on the covers, he shooted many of my other records. But then my sister died and her son found a box of diapositives from 1965-1966 or so. I was in some pictures and that was just before I got glasses. The quality of the pictures is so beautiful, those colors. So I told Anton that ‘sorry, there won’t be any covers this time’.”
… what he will play on the summer tour: “Yes, that’s a good question. I haven’t really decided yet. I have a partly new band with violin and pedal steel so there are endless possibilities to rearrange songs and maybe have some Roxette songs in this form. To arrange my solo songs in this way is not that hard, but it would be exciting to arrange for example “It Must Have Been Love” with a little violin. My ambition is to play songs from my whole song catalogue, if you say so. I’m getting old so there are quite a lot of songs.”
… making 2 short records instead of 1 long: “I had the options either to ‘kill my darlings’, remove four songs and let them become bonus tracks on Spotify, or make a double album – and that doesn’t really makes sense nowadays. Or, to do what I did, two albums with a little ‘space’ between them. If you like the first album, you will like the second. The only negative is that if I play something from the other album this summer, nobody has heard that music. But even conceptually, it’s damn exciting, because for example I can make two cool album covers. I really love that you can extend the idea of the music via the album cover and how it’s presented visually.”