Good Karma

There were quite some shorter and longer Good Karma interviews with Per during the past few weeks and he even provided all of us, Roxers with a fantastic opportunity, a Facebook live Q&A some days ago, answering 84 questions in 1 hour. After all this, we still had thousands of questions, so we put them together and shot all of them at him.

Even if Mr. G is always very busy with all of his parallel projects, he found the time to answer all our Qs. It’s really m.u.c.h. a.p.p.r.e.c.i.a.t.e.d. and we love all his detailed replies! And also the less detailed ones. Haha. Enjoy!

 

RXB: – First of all, thank you very much in advance for taking your time and answering our questions. Much appreciated! We know you are always very curious about the reception of your releases. Seeing the reaction of fans, your new album, ”Good Karma” is loved. How does it feel?
PG: – It feels fab. Since our fans are extremely varied and therefore very hard to please we didn’t expect anything like this. People, including the media, seem surprised by the direction we’ve taken and we find that interesting. You never know what people might think.
”Good Karma” has been created with a natural flow, we knew right from the beginning what we were looking for. However it’s been quite a difficult album to make. Not only couldn’t Marie join us in the studio except for her vocal takes and the technical challenges we went through took a lot of time and energy, especially from Christoffer. You need a low pulse and lots of patience to make an album like G.K.

RXB: – ”Good Karma” is the shortest Roxette album with its 38 minutes. Quality over quantity, but do you consider an album having a certain length when you start recording?
PG: – No. We record songs we like and use the ones we like the most. In the ”Good Karma”-case there are a few leftovers but we didn’t think they matched the quality of the other tracks so we left them out. Personally I think forty minutes is perfect for an album. You know you’ve succeeded if your natural instinct is to play it again.

RXB: – Your album titles are always short and simple. After the 10th studio album was released, which of your records do you think has the best title, taking into consideration the whole concept around that certain album?
PG: – I think they’re all pretty good. No, I don’t. I don’t really like ”Pearls Of Passion”. I don’t like titles with an ”OF” in the middle. It sounds pretentious. My original song was called ”Pearls AND Passion” but it was misspelled by EMI on an early draft and we kept it like that for some reason. And I changed the title and the lyrics of my song. True story. Have I told that one before?
”Look Sharp!” is a very cool title. ”Crash! Boom! Bang!” as well. And ”Charm School” and ”Joyride”. And ”Have A Nice Day”. And ”Room Service”. Hey, we’re brilliant at titles!

RXB: – You smiled in the Sat1 interview that the album leaked and so you could read on Facebook which songs people liked already before the official release date. Does it piss you off when such things happen?
PG: – No, it was expected. It’s almost impossible to keep things secret these days. There’s always someone who spills the beans. It goes hand in hand with our open-minded and ultra connected universe.

RXB: – Regarding radio, the last time a Roxette lead single went on air worldwide was ”She’s Got Nothing On (But The Radio)” in 2011. Unfortunately, in many countries ”It Just Happens” is still not played. Why do you think radios don’t pick it up even if there are news in the media about it?
PG: – Radio doesn’t work like it used to. In the old days you had music people who were in charge over playlists etc. Today most stations around the world play music selected by algorithms based on social media etc. It’s pretty tough to crack that system especially if you’re a ”vintage” band like us. It’s the same problem for most artists of our generation (and older). That’s one of the reasons most songs in the Top 40 chart sound pretty much the same and are targeted towards a very young audience who are on the internet all the time.

RXB: – You mentioned in several interviews that ”Good Karma” songs were not meant to be performed live. The previous two albums’ lead singles had you on lead vocals, which was obvious from promotional point of view as Marie wouldn’t have been able to handle new lyrics. How was ”It Just Happens” chosen now? Three singles in a row with you on lead vocals make us wonder.
PG: – No strategy. Warner wanted a ”classic” powerful Roxette-song as the lead single and off we went with ”IJH”. It’s a quite sophisticated song, coming from us. Maybe not the most obvious choice for a first single but I understand how they were thinking. Personally I consider ”IJH” to be a ”Marie-song”. Her vocals are the driving force behind it, not mine.

RXB: – ”Some Other Summer” might have a bigger potential. Do you expect it or any another song to be a bigger hit worldwide and that radios realize these tracks are worth to be on air?
PG: – No, I don’t expect anything. ”SOS” is a great pop song in my book, so are ”Good Karma” and ”Why Dontcha?” and a few others. But that doesn’t mean that I expect it to become a worldwide hit. It doesn’t work like that anymore. New balls, dear you.

RXB: – Talking about it, you gave ”Some Other Summer” to Sebastien Drums long before your original version was out. What was the idea behind someone else releasing your song before you do?
PG: – We had a mutual friend in the German music biz who asked us if we had a Rox-song Sebastien could use. And we had just finished ”SOS” so he got that one. I like the idea of doing unexpected things. Sometimes strange and wonderful things happen that way. But I never really understood Seb’s official version. There are a couple of other SOS-remixes he did that I prefer. But that’s me.

RXB: – The video to ”It Just Happens” turned out to be wonderful. We loved seeing you both enjoyed the shooting and Marie still loves acting. How was it working together with a new team?
PG: – It was cool. They all did a great job. We spent a day in an old building in the centre of Stockholm trying out the take away sushi and fooling around in front of the cameras. The rest of the shooting didn’t involve us at all but we certainly liked the result. It’s a beautiful little story that director Tobias Nordquist captured very well visually.

RXB: – We got used to the fact that MTV is mostly not about music and videos anymore and the clips are rather watched on YouTube, Vimeo, etc. What do you think is the purpose of a video clip nowadays?
PG: – I think most things you do promowise are made to remind the media and your fans that you’re still alive! If you release new music and don’t do anything, no interviews, no videos or no TV-appearances it’s really hard to cut through that enormous amount of information that surrounds us all. A video might pop up at an airport, department store or getting shared on smartphones. It’s all part of that big puzzle called the entertainment industry.

RXB: – We got very excited when in an earlier interview you mentioned you wrote some songs together with MP now for the first time since long. ”You Can’t Do This to Me Anymore” is now on the album and it’s certainly very different to what we are used to when you 2 put your talents together. Are there any other songs from this set of latest MP cooperations that might see the light of day?
PG: – I don’t know. We’ve written more songs together over the last couple of years but there are no plans of using them for the moment. Time will tell what’s gonna happen to them. MP sometimes got some wonderful and weird musical ideas and I try to glue them together with my humble ambitions. It’s fun. He’s very special. He still drives a very fast Suzuki-bike.

RXB: – You wrote 3 songs together with Addeboy vs. Cliff and they are co-producers on 3 other songs. How did it feel to work with others? You were never really into bringing new people in.
PG: – Well, I’ve changed. I had bumped into AvsC through other projects so I knew their style and what they were capable of. I basically asked them to send me some musical ideas, like sounds and grooves, bass lines and chord progressions, to see if I could make something out of it. And I could. I kept a lot of stuff they made, edited a few things out, added some new parts and wrote melody lines and lyrics. However, none of the songs we wrote together were specifically made for Roxette. They were just collaborations trying things out.
AvsC and me never worked together in the studio. It was all done via the internet. I loved the final result but actually never expected Marie to like it since it was pretty far out. Not quite ”classic” Roxette if you know what I mean. But she really loved some of the songs and so did Chris and Clarence. Off we went and put them on a rocket to Planet Roxette!
The ”Good Karma” track was co-written with AvsC but Chris wanted us to produce it ourselves so he could play some serious power chords in the intro. His guilty pleasure, I guess…. And Clarence added that ”Fading Like A Flower”-inspired keyboard intro. Very nice. Very catchy. Cheers.

RXB: – What’s the difference in the cooperation with Addeboy vs. Cliff between ”The Look” remake in 2015 when they got the basics and had to do something with it and when it was vice versa for ”Good Karma” songs and you asked them to give you baselines?
PG: – Well, the main difference is of course that the songs we wrote together started with them, not me. ”The Look” is my song which they ”interpreted” their own way. We did the same thing with ”You Can’t Do This To Me Anymore”, which was written by MP and me, but the backing track was created by AvsC. And they’ve just finished a fab uptempo version of ”Why Don’t You Bring Me Flowers?”. Same thing. A song of mine done in Addeboy vs Cliff-style. It will hopefully be released later this year.

RXB: – The world is changing. You record parts in one studio, others in another and you don’t even have to meet physically to put things together. Isn’t it strange for you to record this way? Don’t you miss the ”personal meeting” touch in each phase?
PG: – It depends on what kind of recording it is. The more technical it gets the less you need lots of people around. It’s always, more or less, only one person who’s doing the job anyway. In Roxette’s case it’s Chris since he’s in charge of the computer and the digital funfair. My (and Clarence’s) job is to guide him through the audio jungle with our taste and our musical suggestions.
Chris has become an amazing tech wizard. Without him and his vast palette of sounds the Good Karma project wouldn’t have sounded as interesting. And he’s become a brilliant mixing engineer as well. He mixes a song, sends me his vision, I change or suggest a few things and might add or take away something, he sends me back an updated version. And we go on and on like that for a few days and nights. When we’re done we send it to Marie and Clarence for their approval. That’s how the Good Karma-album was mixed.
When you make a record like ”Travelling” or anything with Gyllene Tider it’s a different ballgame. Then it’s all about instant communication and ”playing” together. I like both ways. I would love to make a new Mazarin-style album one day but I also know that if I want a really hardcore updated production sound it can’t really be done in that ”organic” way. You have to do everything on the computer. It’s no big deal. I’m glad I enjoy both ways. And have the opportunity to choose.

RXB: – Besides the standard vinyl, there is a limited edition, beautiful, orange coloured LP as well. How many copies of the limited edition vinyls are released?
PG: – I wish I knew but I don’t. A couple of thousand is my guess. It might be less. Or more.

RXB: – There is a poster to this edition and it’s the album cover. Wouldn’t it have been a better idea to include a poster on which you and Marie appear instead of the butterfly?
PG: – No, if we thought so we would have done it. We like the butterfly.

RXB: – On the vinyl there is a ghost track after ”April Clouds”. We tried to figure out what it is. Any hints?
PG: – No. Another internal joke.

RXB: – It’s the first time you and Marie don’t appear in any form on the front cover of a studio album. Why?
PG: – We wanted this project to have a symbol that we could use on lots of things. The album sleeve, the tiny stamp-sized pic used on iTunes and Spotify and Amazon etc. On merchandise and upcoming singles. The butterfly-image is beautiful and stands out and can be used in so many varieties. And it fits the music and the title.

RXB: – Now we understand the butterfly artwork, its X shape and the evolution it symbolizes. What is still not clear is the guitar and microphone appearing at a certain body part of poor butterflies. What’s that intended to be?
PG: – It’s up to you to decide.

RXB: – Then there is no instrument on the ”Some Other Summer” cover. Is that a coincidence or maybe you rethought it after reading some comments?
PG: – No. I haven’t even noticed that. Thanks.

RXB: – Warner seem to be enthusiastic about doing promo for Roxette and we are very happy to see all their efforts. How do you see your cooperation with them vs. EMI?
PG: – It’s a totally different market today so it’s really impossible to compare. Warner worldwide is very committed to Roxette and the Good Karma-project. We’re very happy.

RXB: – You say that you would never be able to write e.g. ”Fading Like A Flower” today, simply because you moved on as a songwriter. At the same time, each song on ”Good Karma” has your stamp on them. All the lyrics are Gessleish as usual and the songs have the classic Roxette sound. So it seems your songwriting basics stay the same, but something is changing. How do you see it?
PG: – Yes, it’s like that. I change a lot but I still stay the same. It’s good and bad. I have my trademarks and style which make my songs sound like me. It’s hard to close that door and I’m not sure I want to. The older I get the more I treasure my personality and my way of thinking. My creative challenge is to find new ways to express myself via new sounds and techniques and collaborators and partners. That’s what I’m trying to do.

RXB: – What was the most challenging in improving your own sound for ”Good Karma” and update your style of writing?
PG: – I don’t know. The idea behind the album, to make a quite complex production that’s not intended to be played live, was there from the beginning. I started to write songs with that in mind. And, like I’ve mentioned earlier, working with new collaborators became part of that task.

RXB: – Which song do you think has the best title on ”Good Karma”? Which song do you think someone who doesn’t listen too much to Roxette would definitely listen to by seeing its title?
PG: –”You Make It Sound So Simple” is my favourite title. It makes me curious.

RXB: – There are 2 ”Why don’t you…?” titles on the album. Even if they are different, with one being rather slangy, isn’t it strange to include 2 similar titles on the same album?
PG: – No.

RXB: – You say you are very satisfied with ”Why Dontcha?”, because even if it seems to be so simple, it’s very hard to write such a song. How do you know that a good song was written? Can you feel it from the very beginning once it was written that everyone in the gang will like it?
PG: – Yes, I feel it as go along writing it. If it doesn’t interest me enough I don’t finish it. I throw it on the fire. But that someone else will like it is a different matter. I never know.
I might finish my song, make a simple demo out of it. Then maybe I re-write it and make another demo before I play it to anyone. Every song has gone a long way before it’s presented to the people I work with.

RXB: – Are you impressed by any song on ”Good Karma” to the same extent as any of your biggest hits throughout the years?
PG: – All of them. This album was made at a certain point in our lives and we’ve done the best we could under the circumstances. I’m not the one to compare our new stuff to the old stuff. Every song and recording has its own history and destiny.

RXB: – Knowing the album was planned to be released earlier than this year, have the lyrics of ”This One” ever contained 2015? (”Oh gimme a coin and I will kick off a dream / In 2016”)
PG: – Yes. There are versions with ”2015” somewhere.

RXB: – The music of ”April Clouds” and ”Wish You The Best” is different and you also mentioned that ”Why Don’t You Bring Me Flowers?” was originally an uptempo song. How does the melody to the same song change in your head?
PG: – I don’t know. I just follow what feels right. If you have a lyric like ”April Clouds”, which mostly were written a long time ago and you make new music to it, the end result will be quite different due to the fact that you’re a different person twenty years later. You interpret the words and the meaning and the vibe differently because you’re older and time has gone by.
Making ballads out of uptempo songs are quite easy. As long as the lyrics are interesting and the melodies are strong you can basically do whatever you want with a song.

RXB: – We know it’s very early since ”Good Karma” is out, but is there anything you would change on the album now?
PG: – I would love to have another go mixing ”You Can’t Do This To Me Anymore”. It’s OK but I know it can be even stronger.

RXB: – Roxette’s live career is (most likely) over for now. There are so many concerts that are lying in the vaults and waiting for a proper release. You mentioned a potential box with all these. Can you please tell us a bit more about what concerts it would include? We hope for Norrköping 88, Borgholm 89, Zurich and Sydney 91, Unplugged 93, Johannesburg 95 and Stockholm 2001 – having them in a bit better quality wouldn’t harm!
PG: – No, I can’t because I don’t know. But you’re right, the first things that should be made available are all those old live VHS-tapes and DVDs that’s not around anymore. The ones you mentioned.

RXB: – Roxette Diaries stopped in ’95. But there is 21 years more of Roxette stories to tell. Any plan to mix ”Soooo-Christoffer” clips and HAND / Room Service footage into one motion picture any time soon?
PG: – No, not for the moment. But I’m sure things will pop up down the road.

RXB: – Because of the tour cancellation, reporters of course asked you about Marie’s health and then many times overdramatized the situation with stupid headlines. It felt like history repeated itself, but you handled it quite well. How is it going with those interviews when you expect they would rather ask about the new album? Can you change the direction of the interview and skip answering questions not related to the album?
PG: – Yes I can if I want to. But most reporters are interested in Marie’s health and our future plans together. I can understand that. It’s not a problem for me. I know how media works.

RXB: – Was the tour photo book originally planned to be published this June already before the tour cancellation? Or if no cancellation, would you have waited until after the tour ending in September?
PG: – The plan was always to have it ready for the summer of 2016.

RXB: – Anders told there were several tens of thousands of photos and he had a hard time choosing only a certain amount to send you to choose from them. How did it work for you?
PG: – I went through hundreds of pics and put a little red dot in front of those I found interesting. I think Marie did the same.

RXB: – Will there be any tour book signing sessions?
PG: – No signing sessions, no.

RXB: – Roxette is celebrating the 30th anniversary this year. We got a new album, we’ll get the tour book. Any vinyl releases of previous studio albums by chance?
PG: – No plans but we might put together something for Record Store Day next year. 31 years is worth celebrating too!

RXB: – You wrote books, you did radio programs, you appeared countless times on TV. Do you fancy some new technological tricks besides Facebook and Twitter? As a part of your artistic exposure in e.g. YouTube videos?
PG: – Sometimes I do. I like new things.

RXB: – Besides music, your wine world is another part the fans are curious about. Are there any plans for some new items in The Per Gessle Selection in the near future?
PG: – Well, the new ”Kurt & Lisa” vintage will be out later this year. The new vintage of ”The Improver”-champagne from Pierre Peters will come early 2017. We’re talking about making a nice Pinot Grigio and also a new red wine from South Africa. Time will tell.

RXB: – Is there any question you would ask from your hardcore fan base now, either related to the new album or anything else?
PG: – Not really. You guys seem to cover most of my universe!

RXB: – Thank you very much for your time and good luck with all the new releases and your future projects!
PG: – Thanks very much. More to come, I promise!

 

/Patrícia, Tomasz, Kirsten, Judith, Sascha