En åben snak med musiker, tv vært & komiker Jan Elhøj om hans passion for musik .
En åben snak med musiker, tv vært & komiker Jan Elhøj om hans passion for musik .
Music. Welcome to the Museo Locale Podcast. My name is Peter Visti and I have been a musician for my entire life and I have lived my entire life of music in one or the other way. I am a musician and have been a very young person who has been on the phone with my head and listened to music during my entire night sleep, which I still practice. Music is my passion, my drive, my mood and daily forms of music. And what changes music? Music has a unique ability to express feelings and connect people in different cultures. My goal is to find out how different people experience love for music and how it varies from their lives. What is the purpose of the new guest? To talk about their relationship to music and how they live and influence music, insect inspiration and, hopefully, some fun and exciting surprises. Welcome to the Museo Locale Podcast. Music, my drive. And welcome to Jan Elhøy. Thank you, my friend. How nice to see you. I am just like that. We don't know each other very well, but we have met each other in the middle.
Speaker 2:And we have also noticed the same passion. We have noticed it For ladies, for music.
Speaker 1:For music when it was like that. It is another podcast. Yes, that is right, it is another one we uploaded yesterday. We have the same and I think it is quite fun. When I talk to someone, they try to fool me and try to find out that most things should be something I am not really involved in, and you have made everything possible, from radio to TV to broadcast, to broadcast to broadcast but it is rare that something is written about your music.
Speaker 1:Yes, that is right and it is a question of me, because you have actually made three albums in three years. Yes, I have made four, and you have made an album in 2006 as well.
Speaker 2:Yes, together with Truso Sten, I made music with Politisborg. Before that, we had a band called Mindtrap or Hed. It is not because we have been in the solution.
Speaker 1:There was not much time.
Speaker 2:No, we have not really had time, because then the children went into it and the job and the work and everything else and we have had in some way the. I think we should take it chronologically.
Speaker 1:We can only talk about the cross and the cross, but what I am interested in is more the fact that why don't we hear about you and the music because it is deep when I read about you and I think we should go back to chronologically why don't we just hear how you start your interest in music?
Speaker 2:That should be a good question, because I do not think it is unbearable that I come from a musical home. I can remember that we had vinyl records at home and we had a record player and I remember that and I remember that it was something like this, like some kind of music yes, not something like what should I call it? A special, unique catalogue, but what you are now listening to at the time is something that some people did, like Elvis and some kind of style in the day, but it was something that was there. Yes, and that is there must have been some 89 years. Yes, and it was a lot of fun when you play the piano and then there is some sound out and you sit there and relax with it and then I think maybe it was not the style of music that caught me in that way, but it was what was there where I myself I was in control over it.
Speaker 1:It was what you could hear yourself, or whatever the song, but I think it was good.
Speaker 2:But I think actually first there is maybe, there is maybe ten or something where I start to get into electronic music.
Speaker 1:Wow, it's clear.
Speaker 2:Yes, and I do not know where it came from. I can say that in like 3440, when it started to come hip hop. But before that was the Jean-Michel Siar and Kraftwerk which, in about ten years, where it was like it, did something for me. And the good thing was that I changed my way, the green way, in Sovfrid, the law library, and then you would come up and play the piano after the election. Yes, exactly, and that was Jean-Michel Siar and Kraftwerk. The first album I bought. It was Kraftwerk's, the one with the model on it, yes, so I think it was an open bar.
Speaker 1:It was also the first piece I know of Kraftwerk, I would say and I bought it myself.
Speaker 2:Because they had a library, I thought I should have it. Yes, it covers everything, just it's been passed on in a different way. And then hip hop came to Denmark and that was probably, from my knowledge in the first three or four albums, the first step to getting to know it.
Speaker 1:Yes.
Speaker 2:And I mean in the four-fourth album. There is also the Afrika-Bambatta on the Soul, sonic Force, which is what should I say? Strongly inspired by Kraftwerk.
Speaker 1:Yes, they have been back in the 20s, so I don't have that.
Speaker 2:Yes, it has Plus the solution Because, as far as I could read, they made some of the Trump-programs they copied. Okay, and the way they did it was that this Roland 8.0.8 was a very, very expensive Trump-machine when it came out. But they found a way, found someone who made himself look like him with his Trump-machine and they did it and it was something like $15 per hour or something like that, and he was never criticized for it because it was like it would be hard to make yourself look like a Trump-machine, just to show you which one should I?
Speaker 2:do, and then they made it and it became an epic album for.
Speaker 2:Electro, as it was called, electro-hip Hop, and then it became the next step for me, because then all this hip hop came and it was electronic music, but in a different way, and I think that Jean-Michel Sierra and Kraftwerk were a bit in the background, because here there were also several layers, because now it was hip hop and it was graffiti and breakdancing music. And it was in the fours that it exploded for me, and in the fives I get my first two chords and take the S2 every Friday to Thomas Beheile to make it. But it's also a primair. At least the graffiti that sets its mark on me because there is a different side to it. It makes for me in the form that it is unbelievable. There is something creativity in it which is also in the music, but it's a strange part, whether you play a song or not.
Speaker 2:I was already used to a criminal band that was 12 years old or something, so it was very good that it became so graffiti and not everything else you can do.
Speaker 1:But it was well known for USA which thought it was upstair in a criminal environment. But it is in the final quarter hip hop, graffiti and music.
Speaker 2:Back to African Bombardier and Soltzonic 4, there was African Bombardier who had this ideology that maybe, instead of these different band groups in the Bronx, they would dance to each other. So yeah, in a different way.
Speaker 1:It all depends on the way it is.
Speaker 2:There is also something rebel in the score, but in that age 12 is a bit early. But then you take a stand for everything.
Speaker 1:And then there is the revolution in our age. We are almost here, not much, but it is our revolution, musically and artically.
Speaker 2:There was also the punk genre, but it didn't become so much for me. But if you focus on music, then I think I started to be interested in music and different genres. But it's also because I'm hip-hopming. I go from being a drum machine synthesizer to keeping samples. It's really fascinating, and I think I'm in the 8th or 8th grade, so I get the fingers in a sample that I've never had before. I've stolen it somewhere, so I'm going to buy it for a lot of money I think it was 5,000 or something, but it cost me a lot of money.
Speaker 1:It's a very expensive one.
Speaker 2:One of my other friends, peter Morgensen, has an Amiga computer that he doesn't really use anymore and I get that done. I started making music and samples at that time. I can't remember what it was.
Speaker 1:It was only 5 seconds.
Speaker 2:You could take some drums and a different sample and then it was really fascinating. And then I opened my musical curiosity, which I started to go up in. Every American artist has sampled. And then I get a look into jazz and I'm rockin' and all kinds of genres, and that's what it takes over from me with the music.
Speaker 1:Are you out to find a record for it?
Speaker 2:I'm a loaner, I'm not on the library. I take two rounds. I'm one of my friends who has car racing around with me to Loppe and Krammedmark and buy vinyl records and get a pretty big collection of vinyl records and I also find records around in other ways, is there?
Speaker 1:anyone with my name on it? No, I don't think so.
Speaker 2:I'm the oldest person who knows it better than me. I spend a lot of time on that and then you start to find out who makes the most of L's music in the local area. I can't remember the name, but I found out there was a good, cheap guy who had earned some money and he had used it to buy music equipment. And then you could hook up with him and his music interest was a bit different, but you were different. We could make some beats together and at the same time, when I started making music, I also bought two turntables in a caroso In the west-west corner of Lodh on Jørna, where there's a 7-11 today, and it was actually there. Apple Apple Storlo.
Speaker 2:That's another story and what I wanted was to have two technical 12-10s and a mixer. I knew you could buy it, but I didn't have the money At that point. I worked at a company called Piccolo, a company in the DB. It was a whole old school company where there was a director. He was also an IA company. He had such a young director. She was called Esther, and the thing about the company was that you could go to Esther's office and say to Esther try here, I could think about buying two turntables and a mixer. Is it something I can't afford to have money for? How fantastic. And you could see how much we had to pay for your rent every month and that could be done. So I simply borrowed it. I think it was 12-14.
Speaker 1:It was a huge amount. It cost 5,000 kroner in 80 years.
Speaker 2:It must have been 16,000. It was a lot of money for me, but that was what we wanted. So I was allowed to be rented in 60 months. It was to be able to buy the turntables and the mixer which I was so proud of.
Speaker 1:My mother is a caussioner in the bank for me. I have the same reason for two turntables and a mixer in 80 years. That was fantastic. It was absolutely fantastic. And those 12-10 were unique because you could pitch and scratch them. They could both be in the right direction.
Speaker 2:They were not allowed to hit the yellow, so he won Sony. He was supposed to play at a job where he put one of them on the car and then he drove. And then at first he saw it in the back of the car and thought what?
Speaker 1:the hell is that.
Speaker 2:And then he forgot to put it in the car, but it worked after.
Speaker 1:And I have mine for that time now. I bought the two in mid-1980s when it was worth it, or it's been around the year of 1987. I still have the two and of course it has changed the pitch in the new ones, but that's not bad. Yes, that's good enough.
Speaker 2:So I start making music and do a rap group with two of my friends, just for fun. We can say that the equipment was expensive and we didn't have the opportunity to play, no, but we also liked.
Speaker 1:It isn't that what you say? Yes, yes, yes. And there we all started.
Speaker 2:Yes, yes, yes, yes, yes, and I was not allowed to play at the pump house. I remember that a little differently, but I would say my private focus was enough. In the painting, the music was there and that was something I, for me, the music can. It makes music. It's that you forget time, place and identity, but you are so focused on it and it's really healthy for the scene to have something where you forget the three things, because the brain runs all the time and I think that can be mega annoying sometimes, because sometimes it's something completely just as unconstructive as the brain uses energy on.
Speaker 1:It's just a thought. That's only one thing, isn't it? Yes, exactly.
Speaker 2:But music is, you can say a little later on, music is. I go from moving from sleep-free to bed, using a brother and teaching others to make music, and know I make music with Didier Knud, didier Knott, and we make some hip-hop together, instrumental hip-hop. I teach prune strings to know, which I also quite often use at the time to make music. And then there's Dope Solutions, which they're called, which have Niski and Rasmus. They also have a very good fat in what should I say essentially producing hip-hop. And it gets very dirty around these boards. Finding these boards where there has been sampled from, or finding something that is completely unknown, I can remember At that time there was also a lot of.
Speaker 2:If you found a board that had a land, you would well learn how to have this sample or potential sample, but there's no one to know what it was. So he put the middle label, that was, but then a little mark over so no one could see what it was. To the point where we were at some point had a guy who was bushy before so he could get those little marks on the side of the bus so you could sit and climb out as you had, and that's something quite effective, I would say so I would have put those around the boards.
Speaker 2:so I could put them on. So if I went down to Roskilde to visit Sonny or something, I could take some new boards with me and I could be really irritated because he couldn't see what the weapon was.
Speaker 1:I had found a land A commercial for a network instead of a. Yes.
Speaker 2:I can remember I think it was 7 meters long or something like that a commercial for some French apples. So it was a lot of green labels I had put on. Today, you can well there's a house sampled and you can put everything up.
Speaker 1:Yes, yes, it's difficult to steal things today. Yes, it is.
Speaker 2:What do you mean?
Speaker 1:there's something you've just learned. You know I'm a bit upset because, as I said earlier, you're really familiar with the diosatire. Of course the travel programs are big, but the diosatire you're always playing with.
Speaker 2:Yes, that's what I've done. I've played with several horses or as long as it was creative, it fits into my game. But you can't say that I've chosen something for or from. There was probably just something that was successful at the right time for me or before the band was playing. I was playing satire, among other things, on DR, on Demonstrate, on Petré. I was playing some things and then we were also playing some rap and some song satire, rap and song.
Speaker 1:Is that what you call angry ass?
Speaker 2:Yes, that's what it was called. Or come to, and call it.
Speaker 2:I don't think we were so good at, or self-confident, what we did or how we should brand it. We just made it because here we know someone who works on concrete, or here now KCFM has opened an department at the Red Square, and then we know someone who had a program there, and then we could come in and do something. And do something cool. Music was actually the first thing that I started with was to do bandit's course, and then we made music for all the programs. We made a new music number each For each program.
Speaker 2:At that point I moved out to the Red Square in the studio where Kenneth Bär had been standing on his legs and had my studio. So my passion has moved out there for someone to live with and make music. But it was a lovely mix of TV and music and everything else.
Speaker 1:And I could just keep the small piece there, because it's because the other takes over the economy here too, because so much passion and music is not a thing. It's also your time and your picture and your graffiti. But at the time you get a place where you have to pay for your house rent and the studio you're sitting in.
Speaker 2:Yes, but I was quite consequent. I always thought I have something to do, I have something to do, I have something to say that I can find out, I have something to play on some other heads. I haven't had any school time. I have never looked for a job. I have never made a TV. No, because I think there's not much to come after that.
Speaker 1:I don't think so. No, but if you want to, make a classic hit.
Speaker 2:I have gone to Olympia Hall School and here are my characters, so I don't have any, and then people will think, okay, he's.
Speaker 1:He's? Is he only going in the?
Speaker 2:8th? No, but I think I can't remember what it was.
Speaker 1:It's just that if it's a comic it's over, Because it's the one. They come through with the band More than it's music.
Speaker 2:There are more aspects of it. Before we made the band, you were on the radio, I made music, I was out of my studio, made music and Kenneth Berger and I and my grandfather Joe, we made Kenneth and I made ideas for Los Ambrales, and my grandfather Joe produced the whole thing Out of an idea, a story that I had made. And you just need to ask one thing about that?
Speaker 1:I don't know, I'm sorry.
Speaker 2:I'm sorry I'm asking you again, but that's just because I read that it was a number in the opthold of the band In Danish Chartern known as Bayer First, which was called Kribinetta and Most of the stars are Kribinetta, which was about we made something called Danish Danish Charter on ZTV, which is a Danish punk band on MTV, and then Anders, who I played with, was playing with and I we played Kenneth Berger's parents.
Speaker 2:And we had a little bit of a play that was Joe then In Colise where Kenneth had his Danish Charter, and then we sat down and were a little bit embarrassed to both Kenneth and his French guests, as some kind of A little bit of a misunderstood parents. And then the song. With this song which we had played, which is one of the samples, right, well, we sang over an instrumental that we made and it's from an American film called Neverna Sunday. Yes, and it's originally made by a Greek called Hakidikis or something.
Speaker 2:So, it's a Greek song that has been used in the American film, which I also find on the vinyl record. And then Anders writes a song which is a tribute to the Danish cuisine from Rikadella, where we sing as an old, no-nice couple who have just done something different than a Danish food, yes, which then becomes a hit, which becomes a big international hit.
Speaker 1:A big international hit.
Speaker 2:And it's actually a number like we say, okay, that's going to get big. It's actually what I choose to do to do my job and move from my apartment, even my second apartment, and move out of the studio. I think now I'm going to go over there and make music, yes, and then there's some things. We move a lot of trust as we say we move to LA to sit there and make music, but it's pretty fast that it shouldn't be us. We are not music, but we are not pop music and it's the collective production universe over there and it's completely exaggerated. But it's actually more about using a lot of time to socialize, to have a chance to talk to people who have never touched anything called a Yandelov and it's all the same with world masters.
Speaker 2:Yes, exactly In the bottom circle nothing can help them, most of them. We just don't know what to do. And then we went home and then the TV show was on fire and then we made music for fun and it culminated with this album we made in 2006. We released it ourselves called Northern Rooms, and we had Mindtrap, which was what can you say at that point? Was it possible to release it yourself? Well, that's always been the case. It's expensive to release it yourself.
Speaker 2:So we got to press I can't remember exactly if it was 4,000 CDs from Germany, and then we could send some boxes to CD-Baby, which distributed it to iTunes, among other things, which was big at that time, and in that way it came out and we also sold physical CDs. And now we have to go back to your first question. You haven't heard much about my music. When that album was released, there was also a Danish music sheet that was signed, where there was one country that was in peace with electronic music and he hadn't read the story properly. Maybe in my musical background. He said now he should be there having fun on TV just to be smart with some electronic music.
Speaker 1:I've read the article. It says in parentheses Jan Elhøy, it's him. Or something like that. I don't know what the hell is going on. It wasn't music that was in it. It was almost done before, exactly.
Speaker 2:Before the middle, and that's something, let's say, where I'm just thinking about it. I've been stuck in a box.
Speaker 1:And now it's that or what.
Speaker 2:Well, now he has to make some smart lounge music, but it's like everyone else has signed. There are different reasons why people are signed. Some do it because they do it because they never did it themselves. Because, they didn't sign, and that's fine. I've never been stuck in a box, but it was very insane for me that you misunderstood something and that's enough.
Speaker 1:He hasn't done much research. If you know what you've done before this, it's very fast in the box that you listen to it and you don't have to mix it in In what you're doing yourself. Or what you actually did longer.
Speaker 2:Yes, but that's how it is and we didn't get a big attention in Denmark and we didn't have any dreams of going to the World Tour. But it was fun. Usa was our album. We were nominated for a country I don't remember what it was, I think it was just fun. We were nominated for a country music that had some new best or a new coming artist in electronic music. Which one was it? So he can be there on the chart or what the fuck was it.
Speaker 2:He can be there on the chart, because it's good that there are people who are listening to music.
Speaker 1:And it's a good album. I heard it on the way to the city.
Speaker 2:I don't think so. We have mixed it and all that. It's not because it's crazy out of the park, but it can be something and it's a good album. There's one of the numbers that's been trained from Paris. It's on a playlist on Spotify called Music for Coding.
Speaker 2:You don't have to code it. It's not something you have to do, care or anything but when you have to code at home and have I don't remember if it's 2.5 million views on this number, which I don't think is the best on the album, but it just says that the output, that the playlists on Spotify can have is the best. Today, so it's not really about paying for it.
Speaker 2:There's a lot of singing for it to be spread. There's singing for it to be spread and I think that's the fun part about my new music. That's why I don't have to pay for it. But I do it primarily for my own sake. But I think it's cool that you can see that there are people who listen to it and how the fans have supported it, where it's played and what kind of atmosphere or direction it's played. I think that's fun to think about.
Speaker 1:And the net-up is that music in that genre is not commercial music in that way that you have to play. In a certain way it could be a subject of both film and advertising, but that's mostly because of the output. I've made music myself in 20 years. It's only been for myself. It's my output. I'm happy for things that have been bigger than I hoped for, but it's in the bottom of the bottom to come with it.
Speaker 2:And I think that's the best For me at least, that's also for you. The best output is when you do it, for example, free will, exactly, and I think that was the sign of the MI, and I got a contract with Pop. I felt a bit free. I felt that I was being taken as a beggar. There was no one who did something. But if you did something, there were rules for what it was supposed to be and it became very collectible and it found it uninteresting Because it's with the script. We have to hook the start without the drummer and then we run in, then we do the verse and then we go back to the last one. 23 is the magic number for a hit Today it's half a hit 21.
Speaker 1:It's not a lie.
Speaker 2:All those things and that there's someone who needs a job, it's fair enough. But all those things that I think I did too when I was getting pulled from TV-branch it was when something was collectible, then I could have been cold on it.
Speaker 1:It's a creative process that's being run over right? Yes, Because you can't just run everywhere, or it's being forced, it's getting into some boxes that it needs to fit in.
Speaker 2:And that's fine enough. I'm a trainer who's working on fitness world and there's also some torture. On pop music, I was simply something to chassis it Because I thought is it something like a joint-bond, a Kota-free music? Because it's so unique and the text universe is so simple. It's like it's being drawn on Because it's always For a while smile. You know, I think that's just I just listen to my phone and listen, but it's actually.
Speaker 1:There's a lot of people back there.
Speaker 2:When you look at it, there's someone.
Speaker 1:It's a text from Chad Robot who came out. It can be.
Speaker 2:But, and I don't know. So it's a handwork. In a way, it's about creativity. For me it's it's worse or something. I just found out that it wasn't what I was supposed to be. For me, it's about the creative process. It's not about making the biggest output.
Speaker 1:Because it's the whole process of traveling and getting rid of some feelings. You've been involved in a country where you've been put down in a form of music, and then you get rid of it.
Speaker 2:And then you get rid of it. I've also thought that it's a lot about the mood for me. Now I'm just sitting at home in the studio and making music. I've been to a studio too. I make music when I have time for it and when I have the capacity to do it. But I've actually done a lot.
Speaker 2:A small set up with when I'm out on a trip and I've been sitting in Portugal in an olive tree out in front of a small stone house and making music on one side. It gives me something completely different. Or I've made a garage down in Malaga Last November when I finished my album. I've found that it makes a country for me. So I try as much as possible when I have time for it or when I'm on vacation, just to have a small set up with. It's a great feeling. I've also made a set up for the studio. I had four shows in Olbo, so I thought that if there are some that have a show in a unique place, I don't know what it could be A loft room, or they had a factory where there was a room that wasn't used for something, so I would like to have it.
Speaker 1:So you would like to have a good time there.
Speaker 2:I would like to have a good time there, to sit there and listen to music. It's a success for me. It's not hard to find something that you know. There was a Tom Leiligh and the factory that I talked about, and they have the perfect locations, some big old industrial rooms, but there was no electricity so you know.
Speaker 1:I would have to call Silven and rent a generator.
Speaker 2:So I ended up just sitting on the counter. It was very fun and nice to run in a different way.
Speaker 1:But you use music as therapy as well.
Speaker 2:It's a good call. What can I say? As I said earlier, it's more about getting away from the thoughts. I have so much focus on the music when I'm making it, so I'm not thinking about anything. I'm just curious about what the clock is or if there are 10 discreet e-boxes or what the hell. It's just a little bit.
Speaker 1:But I also think that if you listen to music, you still listen to a lot of other music. I listen to a lot of other music. As I said in my introduction, it's about my daily life, what I'm supposed to be and what I'm supposed to be. My room can be changed If I'm not good at it. I'm down to go on a tour and listen to music, or go up in the studio and sit and listen to the piano, and then I'm back. I can play myself in good music.
Speaker 2:Yes, as the saying goes.
Speaker 1:Music shows.
Speaker 2:Right now I'm in a period where I love to do Spotify and find new music, but right now I'm in a period where I can't find something that I think is interesting. But you have a period, don't you? Yes, it's down there when I'm looking at my favorite Spotify, I go down and say I've heard it a thousand times. But right now there's a bit of a dead water. There are dead waters Even though I'm trying to find some DJ sets on YouTube and listen to them and see if it's good. But there's also the need to use time to find the artist and what they've made. Then it starts to be too time-consuming, even though you're doing it.
Speaker 1:I think that in my life I've played for 43 years as a DJ, but I have many periods where I can't find where I should go. There's music that's good, and then suddenly you get up, one of the other opens a new genre, a new way of listening, new art, new music, and then you get a whole person again. That's what I think.
Speaker 2:It's important to be a new genre, but it also depends on what you use the music for. We use it a lot in the same way. For some, it just needs to be something that's stalled and runs in the background and they can sing I have to say the same 20 songs on the same radio station that they've listened to in the past. They can sing words. Don't come easy. I can't do that.
Speaker 1:You have to be in good spirits.
Speaker 2:I can, I'm trying. Even the most trendy DJ lives under when alcohol comes in.
Speaker 1:And that's really fun. And I also have a weakness when I play. If some of them die, it doesn't work. And it's a little bit like what you said in the beginning when you get a boss. Where you get a boss, it's the music that fills you up, and then when you get a plate, it's the music that comes from the background. When I play on the local stage, I have a love for all the music and I can play those 5 hours, those 4 hours and 50 minutes have been, and there are good and bad and bad and bad and bad and bad and good music. But that's one moment, my second moment, where I mix and play the drums or something like that, because I still think it's good, and then there are 7 stories on it, if you're wondering what I mean.
Speaker 1:So people think, no, it's that 4th song that plays with the plates.
Speaker 2:But if you have mixed audience, it's also cool to put them into that world, because there is a lot of old music that still keeps. Yes, there are a lot of them, and then you can mix things.
Speaker 1:Like if I do this, you get permission to hear what's happening next. Yes, yes, Then it must be completely closed and the plates come back.
Speaker 2:Yes, I think we agree, but my point was that it's that it depends on how you use the music, and I want to make it sound better than I want to make it sound back. But I can put the album on at any time and and enjoy it and notice the number that still keeps.
Speaker 1:Yes, but it's also from a time when it's the 4 samples, yes, but they work which you yourself have been fascinated with the samples.
Speaker 2:Completely, and that's what I think is fantastic if you can get something to work with as little as possible. Yes, and that's a lot, a lot of genres. I mean triton music is also.
Speaker 1:I mean it's a trauma-based guitar, and a guitar I have just seen.
Speaker 2:And then we're good to go right, yes. And then there are a lot of genres, and I love that. James Brown, I mean, he's also got some roots, but a lot of his numbers are just trauma-based.
Speaker 1:And a bass track, yes, and then it's out there. Yes, you have to see. Yes. Well, I just want to go back to the terrapin, but the music Not, because it's supposed to be a big terrapin in the studio. But I just know You've had some down-to-earth. We're not going to talk much about it. I've been through a big power operation for a long time and, as you've had a hard time getting out of it, you've had a big depression. I've used the music completely essentially as a terrapin. Could you do that with your depression?
Speaker 2:No, no, no, not really. I just think I had the need to minimize all the inputs in a way. Okay, I mean, find some peace. I don't think I've listened to music more than I did. I don't think the music was my way out, no, but it's what John did to me.
Speaker 1:I've been on long tours, heard the music and said well, it's a dream to me. I said okay, let's go back to life.
Speaker 2:It can also be good. The music is good to set the thoughts free.
Speaker 1:I think, especially with the three albums you've made here, it's a good thing to set the thoughts free.
Speaker 2:Yes, but it's also. It's also what I'm into or what I've come back to. It's the way I use the music or have used the music. I'm not specifically, I was depressed, but it's the music that you can see the tankers in the background. That's what it is. You have to say it does something for the subconscious.
Speaker 1:It affects the whole system.
Speaker 2:And it makes me think I'm doing great art. But I understand the right thing. It's just that I'm something forward. It's music, I'm good.
Speaker 1:If there's no pride in art, you know, yes, that's it, art is art.
Speaker 2:Yes, that's it. But what is art?
Speaker 1:Yes, it's another one.
Speaker 2:Yes, that's it. What's the sport? I'm just asking if you've used the music as a therapy?
Speaker 1:I don't, because I've almost found your three albums that are released here in the future. Are there many things you use for the tanker flight when you hear that kind of music? Yes, that's for me in any case. Yes.
Speaker 2:I remember it. At least I remember it more than I actually had the need to find peace and quiet. Yes, and I still have it in my head that I get quite quickly in the information field. Yes, and it's both in social context, but also, as you know, we sit at home and work on whatever, so I can feel it at some point. Now I'm kind of in the head of all the inputs.
Speaker 2:And there's also a kind of music where I hear almost no music when driving a car. You just need to hear the silence. But it's also because I've been tired in the end of the year. I've been on two different tours and moved and all kinds of other things. So I think it's like my brain says now.
Speaker 1:Or maybe I'm just going to use it to relax.
Speaker 2:So I don't think I've used the music in the way I remember it being it's good when the brain is really good at remembering bad things.
Speaker 1:Yes, it's good at remembering bad things. Yes, hell yeah. How do you use the music today when you're listening? I use it in the daily life. You have children.
Speaker 2:I have children, I have big children. Have you affected them? I?
Speaker 1:do. I also think in the childhood, like you said, you've raised your parents and split them up.
Speaker 2:Yes, I feel a little. I feel a little bit that it's all a bit difficult to, or you can only talk to yourself. I think it's hard to preach your children, my children. I've also had a hard time preaching my children to, because they can find as much information and Because they go so fast, or what?
Speaker 2:Yes, there are so many possibilities for me today To To the other one their own references, also for music. But it's actually very fun. I'm interested in a lot of different genres of music and sometimes when we drive in the car and listen to music and play some of my playlists, well then you know, then there's a good half a year and then you say, oh, that song and the play it's been a huge hit on TikTok. They think it's a bit cool. You know that there are some songs that they that they update and say, okay, that one, you've played it for half a year or years and it's been like that.
Speaker 2:There's a guy from England who I think he's called MR.
Speaker 2:He lives in a completely, he's a free person and he lives in a completely American culture and he has a program where he makes American food and he also raps, or what do you call it now, when I want to call it rap, and he's been a huge meme here the last time Because he's made some freestyle rap in BBC Radio Program, I think.
Speaker 2:And he's made a number now as a PT has 1.7 million views, a new number when he says some texts and then I come to say something about it because I've seen that new video and then it's two days ago and it's like and do you know that song? Yes, I do, and she only knows TikTok. She doesn't know the story behind him, this white guy who's been using Fatima for a while in Jamaica and has been a little meme, because I think it's strange that one white man can be so and you think he's a joke or he's not real, but it's just like he is and that's what he's burning for. And then people are still calm because he gives him respect and accepts him for.
Speaker 1:He's not real.
Speaker 2:It's good that he has a different skin color, but he gets it. It's credit he needs it the right places that there are some exceptions, that don't quite understand it. It was a little time-lapse.
Speaker 1:He doesn't sign for Gaffer or something. Yes, or just people on the internet, Exactly, and it's overwhelming people on the internet.
Speaker 2:It's a bit.
Speaker 1:It requires something.
Speaker 2:I don't know if I'm answering your questions.
Speaker 1:Yes, you did.
Speaker 2:I'm talking about it, but it's good that you're making a podcast. That's perfect.
Speaker 1:We just talk and it's a bit back and forth. Last can we start with a new album.
Speaker 2:I've said that before. I'm going to make an album a year, wow, yes. And that With the side of the progress TV and travel, yes, so there's nothing to be proud of that.
Speaker 1:We're filled up with it.
Speaker 2:No, no, but music gives me that peace, or you know where the thoughts are falling apart. Yes, and I'm so smart, I've been going on Now I've moved and I've been able to set up my equipment and I've been going on to do some shit. So I always do shit all the time and then I'm going down, going down, going down, and I'm playing around ten songs and I think they give me good meaning and output. Yes, and I think, maybe now, I think yesterday I made shit to number 32.
Speaker 1:Okay, undop.
Speaker 2:There's only one number, to be sad and think that's what's on the album, and then there's someone who's a little bit upset, and then there's someone who's just listening to the other things.
Speaker 1:It's never going to be anything.
Speaker 2:No, but I think it's. It's very cool and you can say I've just had some experience, so it's quite nice for me to say goodbye to a number. Or say that's a possibility. I can hear it quite quickly and that's how you have it. If you go to the new music update, there's not many seconds before you can hear if it's something for one.
Speaker 1:It's something with the voice and the sounds used, or the information that you say oh, this is very important.
Speaker 2:And it's a little bit of a job, but it's also just that you need to quickly get to the point, because the sound itself is super important to me. And it's not going to be anything for me. There's only been a few seconds, exactly.
Speaker 1:It's a right thing to have it's completely fine, but the young people are getting older. Today it's in the course of split seconds via TikTok and if you can't catch them in the course of split seconds. Then they're gone, but it's fun. We have it even though we're over 50 and we're listening to something in a different way, so it's still the same way we do it, yeah it's, it's, I should say it's a passion, so hurt. But that's enough. But it's not bad. No, it's not bad.
Speaker 2:Because it's the same way you've been exposed to so much bad music.
Speaker 1:Exactly and last but not least. I think you just heard something that you've asked everyone about. When you don't know what to do and you're not aware of it and you have to dig in or whatever it is, is it a piece of music that you have to play, or should there be a certain star-message on how the dig was made?
Speaker 2:I think it should be a piece of music, and I think it should be a piece of music that I've made myself.
Speaker 1:Yes.
Speaker 2:And in many years I actually had from the Mindtrap album where the number had been so simple and I thought that's actually good that the song was borrowed from Exactly, but I don't know if it should be the number of days it could be made at a time when I thought that this is, you might have to go with a cool song.
Speaker 1:Yes, you could have an album only with.
Speaker 2:Using for Funerals.
Speaker 1:Exactly, we'll take it up. Maybe we should go together. Yes, fantastic. Thank you so much for wanting to be here.
Speaker 2:You're welcome it was great.
Speaker 1:It was really great. Thank you for joining us at this Uus-MuseumLocal podcast, music Mit Drug. I hope you have enjoyed the music of the Trillen universe and found inspiration for your own musical journey. If you want to listen to today's guest list over the youth number, you can find the list on the MusikerLokals Spotify-list on Spotify. I look forward to exploring more aspects of the music's journey in the upcoming episodes, which can all be found on Spotify and Pottie Mode. So until next time, let the music continue to be your most trusted lead series. Do you want to hear good music, and good music in the real world? Can you find a museum local just under the Nightclub Museum in the little king's garden in the København?