En åben snak med sangerinde Lina Rafn om hendes passion for musik .
En åben snak med sangerinde Lina Rafn om hendes 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 I have been a very young person who has been on the phone with my head and listened to music during my entire life, something I still practice. Music is my passion, my drive, my humor 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 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 Meet Drug. Welcome to Lina Raffen.
Speaker 2:Many thanks. Can you have, peter Visti?
Speaker 1:Is that just a joke? That I see Exactly, we know each other, is it? We know each other so well? No, but we have just made some funny things together.
Speaker 2:My goal is to meet you for the first time at a party at Klaus Risske here.
Speaker 1:Yes, I think so.
Speaker 2:Maybe ten years later. Maybe, even more, do you think? The end of the zeroes? I think, so I think it's about ten years, I think. So I just remembered that he is really cool and he can enjoy any good music. I didn't know which institution in Danish music and electronic music is serious. I was a bit embarrassed that I was standing there and talking to you. I said you were super cool, that's okay.
Speaker 1:The funny thing is that we met. I think you're right and I think I've got a point. Every time we are together at a party, it was so much fun and the music and electronic music and everything we play and listen, so you and I end up together all the time. I know what you're saying. We're also doing it at risk today.
Speaker 2:I think it's the beginning of a good friendship. It's Shubidua.
Speaker 1:It's absolutely absurd.
Speaker 2:Yes, it is. But it ends all the time and it's the closest thing we're getting over. I'm getting a lot of energy.
Speaker 1:I'm a very strong.
Speaker 2:Shubidua fan.
Speaker 1:Where does it come from?
Speaker 2:When I was a child I lived in Herrelev and Herrelev Bibliothek also had a music department where you could play music and I only had a cassette tape recorder and a recorder on my birthday. So I went to the Lohenbond and it was, among other things, shubidua, really a lot, and I could play AHA, and I don't think they had a great choice, or I could just really enjoy it and then I just got to listen to it. I remember hearing the same kids and playing them again and again, and again, and again and again, and I knew that if I listened to them again I wouldn't be able to listen to them again. So I always remember to come to the time and listen to them so I could listen to them again. I can remember that the Staggelsbibliothek was like should I?
Speaker 1:listen to them again.
Speaker 2:Should I listen to them again?
Speaker 1:And it was good. So there was no one there. No, no, it wasn't that bad and it was great.
Speaker 2:Yes, it was fantastic. And because it's the good plays, it's probably in the mid-1980s or something. It's where Harding is still with us. I think it's the best Shubidua.
Speaker 1:For me it's not about Shubidua, but the first seven plays are the best for me. Where it's the original version, but everything else is good.
Speaker 2:And I think I could just say that there was some humor. It's there in all the other music that I'm always involved in, but in the new and new there's something about it that's both exciting and formative and at the same time it's been implemented in my music experience. If something is really cool, I'm a fan of the music, and my data on the 13 can be a little too dark. If something is really good, I'm a fan and I think she's a fan of the music she plays for me. No, no, no, it's a good thing. Everything is good. Exactly A really good 1M drop. I can also just be a fan of the music because it's cool, and then I don't know, I don't know where to leave it.
Speaker 1:It's fantastic. It doesn't go anywhere. So it's yourself that's collecting the interest in music, or is the music at home?
Speaker 2:Yes, but there's a lot of music. Partly. My mother and I are in a gym, a gym in Rythm and at that point I had to start using music with one instrument, so it was either flute, drums or piano. Later it was only instrumental music. My father was also one of the most important factors here. My high-five father was a member of the Denmark's High-Five Club and since I was little I've been a member of the High-Five Club and learned it through being set up, the listening time and the depth. I know they listened to music, but just as much as they did this one is too strong and the best and the high-fives and they were there and it was really a real music and music.
Speaker 2:So there was a lot of music with Tuforte and Dave Gruzine and I grew up with something like that really elite music. But he also had a power plant and I could really enjoy it when we heard the car sound in all the minutes it was. So I sat on a podium beside my father. Our whole house, our whole room was set up after the optimal sound perspective and we had a whole wall filled with both high-fives and high-fives.
Speaker 2:There's a lot of music and for me, what's the point when you listen to music is that you keep up with it. So that's what we do. Then we can scroll down and then we can talk, and I also knew about the high-fives in the room when it was playing music, sitting still, standing still. When they talk, you get a chance to get a chance because it's so loud, and that gave me a lot of meaning and I still have that today. If someone wants to play something for me or I want to play something for them and there are others who also start talking I scroll down. Should we talk or listen to music? It's either the end or I can't.
Speaker 1:No, that's not fun. So you're quite excited about music, or at least in your mind, but it's not the one that means anything. At the start there's dance, right?
Speaker 2:Yes it's just me who has to go through it, but music is something that's just and it's all over, and I also play the blockflare at the beginning and end, so music is just an integrated part of being human. As I grew up, it's not like you're A reward, for example. No, it was that you could become a musician or DJ. It was all about music. You bought it and then you heard it and then you got it.
Speaker 1:And that's also for me. I don't have any of that, but I have to be a DJ for the rest of my life. I'm just completely fascinated by it. Exactly, but I didn't know any other. No, I had that as an impact.
Speaker 2:And my way into it was, of course, that you could dance to music and that could then, on the long road, maybe become a kind of career, and that was a shift that was happening to me. That's what I can also notice. Now I'm dancing both as a standard Latin, a pair of dance, a dance with a dance, and I could feel that my performance was rejected by the music that was put on. I danced better if there was some music I had it up to and over, and in those periods when I didn't have partners, I danced professionally around and I tried to be a dancer in a circus. I could feel that I as a dancer, had never had any power over, for example, the music. That irritated me a lot.
Speaker 2:Yes, when I was a dancer for an artist, but then it was those who chose which numbers to play and which versions, and that was the violence you were in, because I always thought they played some pop-hat and I wanted some techno. That was a good idea, yes, so that's when I got the opportunity to make music with some friends who were so scared to play, so I was just like a fly on a plane and I would be in the middle of playing music Because I just didn't want to be set up as a dance dose when everything was finished. I would like to have the influence on it. I had a relationship to their opinion about it, so it gave me a good feeling that I crossed that path and soon I got the opportunity to do it. And how did it come to that?
Speaker 1:How did it come to that?
Speaker 2:Well, I should thank a really scary summer fair with my father and my sister-in-law and mother-in-law, because they were so loved and I have been 15 years old. I was shooting on maybe 16th summer fair where I was 3rd in July, and I was totally ready to go out on my own, but too big to think it was really cool to be there. So I called my good friend you know him for sure Ian Bang yes, that's right, exactly who also plays a lot of house that day.
Speaker 1:That's what you have to say.
Speaker 2:We had been to dance school together and when good friends came he liked to mix tapes for me. We talked a lot of music. That time he was playing Axel Music, so he put all kinds of music on me and said listen to this, listen to this, listen to this. He called me and said I have something to come out of this house and be together with some cool people. He said I have to go home to one of my classmates and he works in a super house as a bottle drink with something with some old sugar or something, and there was only one drink and I was like, can't I not have one of the drinks?
Speaker 1:You always have a drink, I mean.
Speaker 2:I definitely have one, but he just called me and asked me to come with him and then I got to come with him and then there was just a flock of drinks that of course wasn't the cool drinks, but all some drinks that built their own tall rooms and their mobile phones they were supposed to put in. And there was a basement downstairs called Bo and there were just huge tall rooms and they were all people who used all their savings on good records and that was the music I heard. So that means that for the first time I met someone on my own or who hears?
Speaker 2:techno and that was great. I had been with some people and older than me to techno festivals down on Radio Falcon and I could feel that I love all this. I'm absolutely in love with it. To actually feel me press and go home. I don't really hear it. I knew I was a little lazy because I was 15 years old and played smart.
Speaker 1:We all have a voice in everything we come to play with, and that works.
Speaker 2:Showbiz. But these boys, some of them, were tired of playing so they started making music on their gaming computer and then it grew more and more. Many of them went to St Anthony and had some skills with them and then I just got to meet myself in there and it was a part of that and I liked it and they thought it was just mega-siders who came to Pippo's sign or they didn't want to hear Rockset but actually wanted to hear something with four in the corner.
Speaker 2:So we were just a friend of a flock who switched music on the crossroads with each other and had a lot of projects that never got to a skid and then a Colonel came up to us and we thought it was not going to be a skid. I live in Jylland at that point and Danza stands up and thinks I should be the world's master in that.
Speaker 1:You don't sing at a certain point, do you?
Speaker 2:No, no no, I think I was sung. She didn't say it to me, she said it to the choreographer, she said it to the bandit and you should have said it to her that she could have done something better.
Speaker 1:Well, that's a lot of fun. It's a lot of cool stuff.
Speaker 2:Yes, you were great and I was like no okay.
Speaker 1:I'll do it and you did it. Well, I could have liked instrumental music, because I was so grown up I heard the cast where in the back two, no one ever says anything about it. I have no one to sing about it. It's too much.
Speaker 2:My marker in the funnel is not that great because we were talking about it in interviews, because he's mixing lyrics. He says it's just that word and it sounds strange. Can you find something?
Speaker 1:else I was like that's it.
Speaker 2:You spread my point but fuck you. I'm not the kind of person who gets pulled towards vocal music, but now I'm a vocalist enough to be able to perform a good performance If there's a person who's smart and humble feelings and formulates so well, because, on the other hand, I've always been happy for hip-hop and that's a lot of words.
Speaker 2:That's what I have to say, but it's never the first thing I hear. The first thing I hear is the energy, the mood, the tonality, whether it's the noise or the irritation. There are, of course, the scale and tones that irritate me. It's a lot of noise. And then there's other things that can be done completely higher or lower, that I can start to grade on a lot of four seconds if the tones are direct, well, that's possible.
Speaker 1:It doesn't require much violin for me to grade. No, it's not, or chill or something.
Speaker 2:Then it's over. So it's not necessarily that Film music, I think, is understood by all people. Sometimes one can feel a little flat because there's no soundtrack which supports what changes every year.
Speaker 1:Exactly, I think that's what I'm doing. I'm talking with Jan Ellhøyck if we would make, what was it? What were we talking about? It was music for funials. What were the best songs to be graded to? So there's a little opening there. Yes that's right, but is it after this, when you Liss Pedele?
Speaker 2:she's been a little closer to you and said she could sing a little more. No, no, no. It's been many years. I find out that, more than dancing on stage, I don't want that. It's simply for one reason. I'm not going to challenge you because there will be a certain unexpected influence, I think that there's a little more courage in you than there is. Exactly, and that's why you're down there. I'm not super good at it, patrick, so it's not good for my temperament, no it's, and then you can just be a little bit more.
Speaker 1:Liss Pedele, just between the two of you, no.
Speaker 2:Then we start making music it's in like 3, 4, 5, and 90s at home with a couple of kids and stuff. And then there's a band called Bordeaux where we actually come out and play together. I think that's what I'm signing in 95s out of 96s and so on. And then there's a funnel in 97s, but first we're not in a funnel. I think that's a little bit pragmatic that I'm now. It's a problem that some vocalists don't have.
Speaker 2:And then I looked at Søren Hård, and then I looked at Pao and I thought it's not them, it's me.
Speaker 1:And then I which one are you more excited?
Speaker 2:for Søren has a fantastic vocal. He makes all those European vocals in our case, and then you can say, is it a beautiful song? No, it's not. But there's a power and he's actually a good composer.
Speaker 1:And it's an energy that's in the thing.
Speaker 2:Exactly.
Speaker 1:It's an instrument like any other but Sanger.
Speaker 2:I knew he wouldn't want to have such a way to stay and Pao wasn't interested in vocal over his head. So I thought I'd better get into some music school and then I just have to get started with it. And then I started and when I had a close friend teaching me to say one sound, we got into it. But then I started to put some song on our next single and we just went through the visit because we're preparing our summer tour 24-25. And then we made a remake of it and then we looked at each other and we were just like, shouldn't we be into it? We're singing some new dobs because I'm fucking mad.
Speaker 1:It's a ring but that's how it is to hear your old thing, right? I don't know, if it's a ring, but you've been a DJ and of course it's been 20 years or maybe even 20 years. Yeah, it's been 26 years now 25 years and of course you've been better at DJing when you've been too deep into things.
Speaker 2:Exactly.
Speaker 1:So you always want to. I love hearing some of my old things in between and then I think, how is it the big dream? It just lies completely in the wrong. It's just a random thing.
Speaker 2:Could you just hold it. It's just a random thing.
Speaker 1:But it's also very beautiful with music, I think I love how the red thing sounds.
Speaker 2:In the past there was Bedroom Producing and it's just like a thing that's just crumbling from 40 in the 90s. It's hard to keep up with the sound and you can't play it on a club if there's no one who has reproduced it. It's just a small thing because it's so red, exactly. It wasn't just a studio with a DJ and what you could do with the equipment. It was fucking limited.
Speaker 1:That's what it was.
Speaker 2:And that's probably why people say the best music I've made in the 80s. It's just because it sounds better.
Speaker 1:It's also the most expensive music.
Speaker 2:I think I'm really sorry.
Speaker 1:I'm talking about one thing that the music I've produced. I've had some huge hits on the world's record, but my music wasn't produced in the 80s. If I had to go through all the possible layers, there's not a single salt in this.
Speaker 2:But at the same time, there's something that irritates me, and that's the beginning of the process. I remember having a discussion with a master student in the Danish record industry. He's doing publishing, which means that there's a song coming in, and then there's something called the media. He told me that the as of Bass demo went around the stores and you were crying at it because you just thought it sounded completely ridiculous. Now I was just the core goalkeeper for as of Bass.
Speaker 2:I loved everything about it and it wasn't exactly because it sounded like something else that I was growing up with. It felt like something that was mine and it was because it sounded different. And the way it was written it was a matter of my own. It was the people who were thinking of making it sound bad with will and it provoked me so much and I have to understand it. I have to be more loud and I have to be more mature and be more mature, but I have to be more aware of it. I never have to be the one who's sitting there and screaming because there's something new.
Speaker 1:I can tell you that as of Bass, when it comes to, I'm at a nightclub in Herning where I play fast, and it's a crazy story, but what's it called? They're called as of Bass for 5000 kroner. Yes, of course. Then Wheeler Fortune just came out. You know it for sure.
Speaker 2:From the start, when you were discussing things.
Speaker 1:And then they came to me because I was standing in front of the music and I said should we take this? I said I don't know, it's just too bad, it's just not going to hold on. So you always have to ask me if you have a hit. If I say no, then it's a certainty, so it's just to sit with it.
Speaker 1:So we were talking about, as of Bass, when you got involved in the contract because he was quite strong, but it came back later, so it can be difficult to get up with new music.
Speaker 2:I'm going to be one of those who is playing live. I heard the first time why rave people like that and it sounds completely different from the other players about the club called Gorgeous, with a very high grade of forelives from what is called today the Kempestegian Tomorrowland, and I loved it, but I couldn't hear that it was going to be something serious. I could see when I got the story and the two conservators and the nerds who suddenly play all these things and they do it live I understood more because they don't play.
Speaker 1:You get so scared when there's something new.
Speaker 2:No, it wasn't because they were on the streets, but I think sometimes I think they were in a mess, exactly. And with a story that was completely different. It wasn't a pitongue or whatever it was called. He was the one who played on the Iden and all those boys. It wasn't a DJ who had hooked up with it. It was something completely different.
Speaker 1:And it was so little. Yeah, parsberg, it was called Parsberg, wasn't it?
Speaker 2:100% man. So as far as I understand, it was in the high grade Morten who could use it to decode the tone. So Parsberg plays a lot of train stuff Before you know it's something like that and then he sits down and composes the game. Of course, they never had the power to play Parsberg, so it was like that. It's a bit like the same thing that Kaffer has met a lot of rock musicians in my life and I think, don't go, don't go, don't go. I could have done that with Vinstelholm in Lomben.
Speaker 1:I was like, yeah, but it's not the rhythm, it's the choice to play. Yeah, exactly, it's so fun, but how the hell is that infernal? It must have been so nice to start up things, because the net-up is a little older than you, but to go on a discotheque tour to break your music.
Speaker 2:It was like that, wasn't it? If I have to be completely honest, no, it wasn't, because the first thing we came out of something POW had been with a project before that, and then we were all together with Bordeaux and then infernal came. At that point I have already been on the road with some four jobs, with Sound Seduction in 93, fast backing singers and dancers for a singer named Mira in 94, 95. So I have been on a lot of discotheques and I think that's what's crazy. Give me a chance to stand in front of a audience and sing and dance. Then it just can't get better. And that's why I was completely attached to that and set the ambition at the highest level.
Speaker 2:And we started with wanting to have money from start. We also met the power hold on to introduce you to a little local discotheque, for example, where you were in Herning. There we were two sick people, a dude who played Moon Harp, and then we had Søren Hård who played some synthetic drums. We started with having fun. They were going to be crazy Until we got our own and then there was POW and me. There were quite a lot of people to roll up and we had at least two discotheques at the show. So we invaded the DJ pool because we were going to shift and then something was just being hung and we had never bought any Molotone. It was just a random tape. From what do I know? I just sing, so I was doing something.
Speaker 2:And then there was Fanme Show, but we were lucky that it was the first sick people and they came at the end of 97. It was now the first half of the year and then we all came on at least Vrøys Radio with the next single, and then it went well, and then Superstjärna was there. So in that way it wasn't something we were going to roll up. I think we started with quite a lot of records.
Speaker 1:The first album, the second album, there were like 4,000 records.
Speaker 2:The first album, they had budgeted with it to sell it for 15. We were treated as techno. Of all the others who made techno they said, damn, danes, fuck, don't do that. And we knew that well Because we came out of it to come on X-ray and Inno-Linger to know the arrangement and we could enjoy it. But we were young and needed money and we made these shows to discuss when there were sick people and then there were space-afts. We were really more a performance group than we were a band and then we could just get up with it. I love it in a way Because the dancers and the showpin, I can enjoy it well, but at the same time I was deeply into real, real club music. So I wasn't a pop-tose in that way and it was a pretty fun constellation that such an insider in the core of the band had that show-game and it gave a dynamic in their lives that only had something else. But we were afraid of the music.
Speaker 2:We thought it was funny. We knew well that we were a pastise-pon-genre in a way, but at the same time it was also very effective. I don't think anyone else would have chosen it if someone had said if you do this, you'll be on it for the next 25 years. So we said thanks, I'm going to force you to not want it, so I'm just waiting for something better, and then it all became a mess. But we thought from hand to mouth from day to day.
Speaker 1:It worked, it worked.
Speaker 2:And then suddenly you hang on it.
Speaker 1:It's because people don't get to do these things. They don't think it's good enough. I know many. There are many of them. I'm more addicted to what I did than I was, but they just didn't do it. Where I was a skier, I had to do it, and that also depends on if I just did it.
Speaker 2:It's 100 percent. And then you can say we had the powerlessness called Sørenhård. And if I'm short on them, who doesn't know who I'm talking about? I'm going to describe Søren. Søren, 2 meters and 5, 10 pieces, and already the time I was shooting he weighed 120, 30 kilos. And just as much as he feels in the landscape, just as much as he feels in his voice, in his personality, in his humor, in his style, and he has a drive which is so wild and terrifying, and then he can do something that he can like, that he can breathe. Søren is the biggest feminist I've ever met and it's really fun the biggest crook or fencer head.
Speaker 1:No, you can't say that there's the crook. I love Søren. I know that it's so cool.
Speaker 2:But he's a great person in all the parameters and he was just a two when he had been out of the golden peacocks. They can do everything I can and he just had a drive, so we just run like two little dogs. After the people just shuddered out of the ring to the record makers and went down and banged on the floor, on the floor they said when will it be out? What's going on? Where are we in the garden? And Pao and I were like what's going on, søren?
Speaker 2:It's supposed to be a coulis. I don't think they coulis overhead. I think they were pissed, but he got things to do. He also used the money Then it's like it's going to happen.
Speaker 1:It's going to happen.
Speaker 2:But then again, when we're going to make the second album, søren has already bought tour buses and started a production company Because he thinks that we ourselves are working on it's too bad, we're going to have something better. There are no people who have it, so I buy it myself, lay it out on the floor, Great for the direction we're going. But then there's going to be a new album. Then Søren was like, well, I'm not going to do it now, I'm going to run Peter Belly in the weekend. And we lay out the dig and we were like, oh okay.
Speaker 2:And then Pao and I went back to some more cool things. The first album that is our biggest success in Denmark it was Søren's record. It was him who just lived with it and then we got dressed up and had it cool, and then we were going to find something that was more true for me, and that is it gave a very, very clunky, red, strange other sound, which today is a little fun, because now it sounds like something zero-key-train-like. It's a bit hip again. So in a way it's much more fun to hear, but it's never in itself or in the end, because we can't keep that out, because it's so strange and we can feel all these feelings. We didn't know what we were going to do ourselves.
Speaker 2:And then, on the third album, I've been to some underground electro-festers that's what it was called and it was a pretty punk. Actually. The sound was pretty loud, but I thought it was incredibly inspiring. I was just a little energy and then I felt that there was something. It was a little bit of a buzz and I say that in the best way. And then I was just like Pao, try, here we're going to have more K-Clockers, it's going to go a little faster. And then we were better at writing songs and I was better at singing them. So I was like we're going to do something more of that. And out of that, the whole Paris-Touboulin and some party disco with a really forgotten voice. There's a lot of irony in that.
Speaker 1:There's humor in it too. I think Exactly.
Speaker 2:But it's been there all the time. In the final I just had to humor. We can't be sure. If we want to have it fun, we like to scream.
Speaker 1:But that's not good what you're saying, it's just humor. And now the first record is good. The second one you're saying is the same thing, but from Paris-Touboulin it's a huge hit and the water is really good. That's just it.
Speaker 2:We can't get it out of there, but it's also fun.
Speaker 1:It's also fun. I have such a good thing when I think about a feeling, because now you're sitting and sending a new sheet to me and there is something I really like about it.
Speaker 2:Just as much as the latest album that came in 2022, I think it was. It's a very popular album.
Speaker 1:But it's like you have something that I think can you remember Talk Talk. They make great hits at the start, but their music gets more and more interesting.
Speaker 2:You'll think we can go up.
Speaker 1:And then I have it with that new sheet from 2022, where I think this is very, very interesting. It's a very, very interesting sheet. I think I don't know how well it has gone? It has not any elements.
Speaker 2:It's also fucking against the law. For the first time we have received great hits and fans are just like. It's disgusting.
Speaker 1:It's not a typical Fönlal sheet, I think.
Speaker 2:No, no, it was a sheet we had the desire to come with. It's a sheet where we send musical strings, super subtle of course, to all the people who made us fall in love with music, and that's in small, in small, in small roles or small plays or melodies or things, things in the arrangements which, for us, are some callbacks to everything from Carelif to Underworld, to Jammin's Boone, to, as you know, all the possible of those who we were before we came in, which was something we heard every time, and just had it so sensual over.
Speaker 1:Are you inspired? By Carelif too? Are you, I think so, or were you just? Are you too young for it?
Speaker 2:No, no, no, no, be careful, there are two. No, it's a lie. There are three very important points in my young, young music life. The first is Balty Mora Tarzanboy. I'm out of it or something. It's mid-1945, and I'm just the first single I get to overtake my father to buy for me. I won't be able to take it from the radio because I was what he did.
Speaker 2:And I couldn't find it on the Bible. The next one I'll put up is Mars Pump Up the Volume. I'm at the festival in Svømmeklub and there's probably just some local guys with their mobile phones and playing over in the yard. But I can remember my world stopped and I didn't have. I didn't have the thought of going up and asking the people who stood up there because I didn't understand that it was them who had the music on. So I was just like that. But I can remember the feeling in my body that energy exploded, as if there was a feeling I felt I had never felt before, and the desperation that no one can understand today and I don't know where. I can feel them again, because what was that music and where can someone describe what it was so they could find?
Speaker 1:me in the direction they were Find out exactly what it was.
Speaker 2:And the next point is in the KB hall to a dance ball. There's Hip Hop as a dance style right on the dance school and Niklas Bendixen has just started Hip Hop and there were a lot of them. And then he uses KLF, which opens with the machine gun salve 3AM Eternal. And I sat up all the time and screamed and all the dance schools were looking at me and I was like that's it. I think there's something in here.
Speaker 1:And that's it too.
Speaker 2:Absolutely, and for Pao and me this is really a bit. Pao's first single was also Baltimore Tarzan Boy. No, it was sick. We both took the tour of the limited edition, the old things, which was the religion and KLF is still set. It's absolutely ultimate we can imagine. And what's really funny is that they're also a performance group.
Speaker 1:They're not musicians In no way, not by a long shot. Have you seen the documentary?
Speaker 2:I have.
Speaker 1:It's like a full-time water video.
Speaker 2:And it's fantastic and it's so sad because it's like they didn't understand themselves. They didn't understand. Well, they weren't musicians. There were just no others who did. There was just a small stream of genuine musicians who were instructed what they were supposed to do and what was really cool about the music, but they just pulled themselves apart and did some other things, absolutely.
Speaker 1:And understandable.
Speaker 2:But I just got super-super inspired by. It's like a underground spy-sacrifice experience with all those gospel songs, those huge productions they made. For me it's super-super inspiring. But the music is the primary drive Because it's either feeling bigger or still has it.
Speaker 1:I have that with me. I'm pretty fascinated, not because we're going to talk about them so much, but I'm fascinated by everything they did and the way they did it, because I didn't know what to do at the time. It was the first time I went back after it was gone, because it was so scary.
Speaker 2:You drive into a huge point. You drive into a huge point.
Speaker 1:You have to talk to the workers, you have to cry and say something. It's just crazy and they just wanted to be the whole music industry.
Speaker 2:They didn't get me in the 90's or the start of the 90's we just thought it was a pop act. And then you find out first and later, how fucked up and punked it was, and I love it even more because Me too.
Speaker 1:It's actually a gift of even more credit for my career, exactly.
Speaker 2:And also when it's so crazy and they make things. There's a lord, Because there's also a lord in between, where they just waste themselves. But it's explained if you look at the documentary. There's a very clear barman order who killed the KLF.
Speaker 1:It's just so amazing. Is that why you're using it to make a new record In 2022?, which isn't a 400 record?
Speaker 2:It is a 400 record.
Speaker 1:I know it's good, but I think there are so many that the fans say it's not a 400 record Because, if I just have to keep it a little tight that at a time point it's still a huge, huge stage and now maybe the top 3 most successful female artists in Denmark.
Speaker 1:And singers so they're demanding something in return and saying now we're here where we'd like to be, which is actually a wild start and with international help, to say we actually want to make a record that we think is right. I don't know if you want to do that, but I don't feel that. The last record is no, but it's okay, is a prize for public opinion. No, it's not for me.
Speaker 2:But the path you're taking has been long, because what happens when you get a huge success which isn't based on 100% authentic expression for your own taste, is that you lose your own taste, more and more of your senses. That doesn't mean that we haven't had a lot of things over the last few years. That's what's been done. There are a lot of numbers throughout the journey which I'm super proud of, especially maybe my journey as a vocalist or as a singer. So the producer part has come very late because there was never time to really dive into it. And for me, there's something that I get my data in 2010, and, of course, I've under-voted. What the fuck that means in real life? Suddenly you find out how little time you have left, because it's just it takes up suddenly.
Speaker 2:we just started meeting in studio at 9 o'clock and then at 7 o'clock, when we're done, there were dance rehearsals or preparations for something else, and then I came home at 23 o'clock and then it was the time I was out playing the whole weekend. So there wasn't much room for the kids there was no time for the whole thing?
Speaker 2:No, no. Then I got the kids and I could see them, but I didn't have kids in the world because I never wanted to see them. So now we have to put the style down. And then I could feel that now we have to follow what we've always had before us. But at that point in time, when we were so wet so wet not to listen to ourselves and our own soul that it took us I don't know how many numbers and how many bars and to go around and try a little and then completely get away from it, we had to sign in 2016, where the A&R had signed us and then stopped the production before we had done anything else. So we stood there with an A&R. He didn't understand us and we didn't understand him. And there's a lot of love and support.
Speaker 2:But he was just like could you do something like Justin Bieber? How nice can we be? It's not a big deal. And then it was again something we listened to others' opinions and there were some numbers out there and it looked fine enough, but we couldn't actually see ourselves. And then we were like, good, now, away from that surprise. So there's no money in streaming, now we just play. And then we see if we can get to the point where we can make some music that makes ourselves 100% happy and that's a success we're so lucky to have. So when Hormesis is on Infernal's 25th birthday, that is the first single out just 25 years later. There's a record that has been around for four or five years, if that's one thing it can do it.
Speaker 2:And our things have just slowly been formed, formed, done, written new and written about, and there's been a lot. There's been a little love baby that we've noticed we shouldn't be paying for, but at the same time this is going to be a lot of technical. It's very unsexy, but we also know it's a brand building exercise. The thing to tell the residents is that we've actually been addicted.
Speaker 2:And you can say there's also been an evolution, right, that's what you have to say and you can't fuck with your hands in it if you think you're getting higher or if you're getting up too, but you can't fuck with your hands in it. No, that's not what I'm saying, and we needed that to manifest in reality and give out something where we say, hey, we can do it. We can also make Botwren's Day and have it wild. It's bad and we still have it and we love it. And I miss Moscow a little. I think I'll come to visit again, at least in the drama-böses they were going to air at one or the other time.
Speaker 2:But the whole Paris du Blinéra was just my plate and where maybe a couple of people first came in the foot circle with Hormesis and felt that there was something here. Then they told who he is and it's not because it's his plate, it's not mine, it's that kind of ours. But that's what I can feel Also now on the back side, that he's proud of it and also, if you look at it now, he can get up to it. He has never got it before.
Speaker 1:It also demands something against. When you say it demands a lot against Lina, as we just said, you are suddenly one of the best singers and singers at home and such things, and the biggest known. You are suddenly in X-Factor, which is probably Brandt, who has even more, has even more more than that in debt. And then they say now we would actually like to make the plate with all the dreams we have made. Instead of it.
Speaker 2:Yes, Okay, the plate that will come in 2008 in the slipstream of the first season of X-Factor. I am also quite happy for it On many points.
Speaker 1:I'm just saying that. There are no other words.
Speaker 2:No, no, no, it's just that it's often and it also makes a couple of talks about it and I'm like it's not completely fair because we had to have a tour over it. But we just need something else and to know that and to know we will not be able to raise an ear on it, but we will be happy and we will be fucking happy, and at least it does not mean that we will not be able to build something and so on. So in that sense, I think there will be something a little less high-pitched soon. I don't think we will turn back to Säke Pippa and Dacke Dagwell, but at least something that is a little more equal to man. I think we are energetic, a little finished with and hunting a dance hit. Yes, I can feel that that power, that I should. I think I hear a lot of people who are all the same as the others out there and it's also in genres I love, because everyone can just give out yes.
Speaker 2:There is no filter, there is no label, there is nothing there is no one who is actually, but they actually have a good view, it can be said, but I think if there is not so much of it, then the whole Future Rave stage, which is an update of old trains I am an old, I have trains P2,. Bone you should not take the fault. I do not take the fault, no.
Speaker 1:Overhead.
Speaker 2:I was really happy for Dutch production at that time. Of course, germany is also a great thing and the UK always cool and so on, but there is something with the Dutch. The way it is, it gets a little clean and it can be done well. Yes, and I think I want to be happy for it if it did not go so strong.
Speaker 1:Yes.
Speaker 2:It's like then it's the number of the week, then there is the next week.
Speaker 1:But that's our whole time, exactly, our whole time goes so strong. But when you say it like that, how? Now we have talked a lot about the feeling, but how does the music use the line? On yourself and on your children. For that reason.
Speaker 2:Yes, but I have. She has lost, but to a better place than me. I think she has been with all the fine-tune. We call her super good taste. Yes, and at the same time she is one of those who is in the mood to think completely what I do, as I know you do, yes. Suddenly she hears something Eugen Goh Boyngo, and then she updated Danny Elfman and now she just scams everything what Eugen Goh Boyngo has said and it is actually pretty cool, but it never became the biggest story in Denmark that I have understood it. But the quality is just unobtrusive. It is super cool melody and it is exciting lyrics. It is all possible. She dives between Nymartinas. I was with her for a concert and it is almost a cult.
Speaker 1:Yes.
Speaker 2:Girl in red. I mean, she is dressed in Lesbish, so you know, she goes up in these queer artists and she is, of course, that generation where if it sounds too good, then it is for everyone and therefore she is a dreamer. Not for a while, wow that's a time.
Speaker 1:How old are you? 13, 14 years old I'm sure you'll get me a lot. No, but she said here how cool she is, but you also wanted to be yourself. You also wanted to be yourself, ben, did you? It's not possible.
Speaker 2:She is not as impossible as I was. No, she actually said to me for a few months ago mom, it's just that I need to tell you that I am not a fan of your music. I mean not at all, but I have great, great respect for it.
Speaker 1:That's very nice. Is it fine? Yes, it's very nice. It's very, very nice. It's amazing, and you said that yourself.
Speaker 2:Yes, totally nice. It would also be strange if my child just went around and raved to my child Shit, totally nice and how good is it, mom. But sometimes I've played things for her because she thinks that then there's one country she's trying to write a text about blah blah blah and I think on one of our zero album I've written about the concept about very young girls who call to zero and nine and five, because I've also done that myself.
Speaker 1:I've never done that.
Speaker 2:Of course you haven't. Well, I just want to point out that the whole thing with that that a little too old-fashioned want something with a little too young girls, if the answer is yes, is the girl who explains herself a little too boring, where I've written a whole song about, and then she takes so much time to sit down and hear what mom has said? And then she just saw like I'm good, one cute mom, and then I got a high five and then we also knew that the character was something else than me.
Speaker 1:Yes, that works.
Speaker 2:Yes, yes, but it's still a fucking uptour to follow.
Speaker 1:Yes, it's absolutely fantastic. But what about yourself? How inspired are you and how is music and where do you put yourself in what you hear today?
Speaker 2:Well, on the one hand, I'm so happy for quite heavy electronic music that becomes something like there's a building where it goes fucking fast. Yes, there's a I think it's a German project called Cloud KLOUd and that was actually the game that introduced me to it, because it was more commercial a number called Human, and then I was put down in it myself, and now it's just something like, something like beside the music, right, yes, but there's something that's good for you Beside the, a club, a club here in Copenhagen, yes, and as a little institution, but it's very, very hard.
Speaker 2:I can only keep up with it for hours. Yes, then I would like to have a change. But for example, if I just go and sit, if I have to drive two to Jylland, for example, cut in three, two, then I hear something like it's cool rollbass, it's nice, but I can also come a lot to the show. Yes, there is a French DJ producer called Habstrakt who hasn't been so far since he crossed from more dubstep things into the house. But fuck, how cool is that? Because he's just out in some caves where right away there's a break that gets completely symphonic, and then there's a kind of scary house vocal and there's all kinds of things and then there's a little trans in the synth and it's so fucking cool I'm getting fluttered around. It's like some people take me in their ankles and then they just throw me around in my room. All my feelings for a year. Something like that, I think, is fucking crazy. I often train to, I mean house or at home. Yes, um Sonderling is super happy because it's something like a high-five techno.
Speaker 2:Yes, it sounds good, the latest medusa out of Givul. I'm just like it sounds fucking good, fantastic. But then I also sometimes just hear jazz or French natures or something like that, my standard Latin times. I don't think I've ever heard of it, no. And then I have a love for an old soul we're talking about Sam and Dave and it comes from when I started at a dance school. As a little child I could hear myself. Well, it was some bad, bad piano afterlashes or some bad plastic keyboard. Afterlashes is really good music, so it was like I don't remember what it was called.
Speaker 2:But, it sounds like a Flöythe Hans' song. But then I got my mother's name and said that song I love it, that it's not original. And I remember I heard the original with the scrawled sunlit vocal, so I was just waiting for it because it wasn't so polished. But I heard it once, or at least I had heard it to understand it, and then I can always choose it. That's very funny. And when I understood it I was like, okay, I love it now. And then I started to see these collections with good soul and I just it was the number that was as short as they are today 1, 53, then it was a long number.
Speaker 1:Yes, it's completely different. Now again, it's completely different. Now the last sheet I made since the long number, it's not that good.
Speaker 2:I think we're telling ourselves, if it feels right, if we have it like this, it doesn't need to be longer. But we are over 1,35, then we're like, no, fuck it. Then it was what it was and then we had to make the second number. I don't think we're so dramatic anymore, but we're not even going to regret it. We're paying our money and we're playing the game. We're paying our money on what I'm doing maybe Instagram, heis or some TV show. It's all possible. In other places. That means the music. It's been a lie place for the first time in 25 years. We can just do it for fun.
Speaker 1:That was the beginning, maybe. Yes, exactly, and that's also why the music now I see it getting better. It's been better and it's not what I'm doing, but I think it's gotten more interesting.
Speaker 2:Yes, but there's no doubt that you take some chances when you don't have to.
Speaker 1:You don't have to pay for it in the same way.
Speaker 2:And we don't risk doing something that we don't think is cool.
Speaker 1:No, I think you have your audience, your jobs, your gigs and all that.
Speaker 2:And then we've never been the ones who stood for a concert after having released a new album and then we only played a new album. It was always a huge effort to do it. It's crazy, I think. So I never want to do that to my audience.
Speaker 1:No, you'll do it. You'll do it as a party that people are waiting to do, absolutely, and then maybe you'll do it again. Well, hopefully.
Speaker 2:But we always make sure to play the biggest so that no one is forgiven. If it was the only time they've experienced a funeral in their lives, they should have the low points that we know are the most important and they should get it we promise them. Then it's good to be the ones who garnish it with new things or new inventions, and then the old ones and stuff, but the overpass. It's a goal for me that I never have the feeling that I have when I think why do you have to scampool your biggest hit and do it around to one other wonderful performance with the candles? That's going to be something. It's me, christina Aguilera, and I'm glad to hear dirty, so you think it's fucking crazy in like 2,000 to 3,400?.
Speaker 2:And then it was like, and I was like and you got all the way here I was so dirty, I stood there and played all the ballads, but I would have been so mad, I would have been so sick.
Speaker 1:Yeah, oh, that was fun. So I don't do that with audience, if I can somehow do it, but I don't think so. It's not my opinion.
Speaker 2:No no.
Speaker 1:Showpiece. You're the one and, and, and. And. I have one thing to add, because you're getting so famous when it comes to the first thing, and so famous.
Speaker 2:You're going to be called and not a fact, right?
Speaker 1:Well, I'm going to be called and it's not going to be forgotten.
Speaker 2:Hey, that's right, Then I suddenly said the new things, believe me, have a great time you?
Speaker 1:How did you find it? It's about music, too, for people, it's about the way you're being held in, because you're very well known in the music industry For the people who watch it every Friday night.
Speaker 2:I could clearly see that it went beyond the music industry Quite quickly Because the level of the audience that was involved in the first season of X Factor it was one of the most violent things you can experience in these countries. There was one or the other representative from something colourful press, there were many calls and then she caught her day on a red carpet and said Lina, you just need to understand that, next to Crown Princess Mary, you're the one people most want to see and hear from you and what you think and what you're about to say. And it was just like what the fuck? It was a bit scary and I also broke up. I didn't think it was. I found out that there was a surprise from my own desire for attention and that's why I actually ran away from it, from all the social media and all things. I was just away in a corner Because I couldn't, I couldn't, I couldn't be in it.
Speaker 2:And music has a meaning that we had had a rising curve. It goes pretty well, with the first album coming out in 1998. All the albums that are coming out in 2001 came out in two parts and then we actually thought we were done. We started making records for Ben Fabric and we made records for San Esalemund when we made everything else. And then we made a whole lot that ended up being a funnel, and that's where I always wanted to make all those beats. At a point of time we knocked it off and thought, okay, then we're going to give out a funnel record.
Speaker 2:And then there's the first thing. Then something else comes up. Then we're free to go from the record label. Our management forgets us all. The universe is screaming in our heads Drop that. And then we're like no, we don't do that. We use all the money we have on a music video to see the number we trust in, and it was a palatable thing. And then it came out in Denmark in 2004. And it's our first single number one on the Danish Danish chart and it's played on the Voice. But then it's completely ignored. And first it starts to become something Without Denmark. Then the Danish media starts to be interested in us.
Speaker 1:And it's pretty typical Danish right. It's very typical, but you would think it was different.
Speaker 2:But until then we haven't actually been allowed to play on Crazy Daisy. Until then we haven't been in the world of good morning or good evening, denmark. We have simply been drawn from technology, from the hard, from the violent. It's too wild. And suddenly, with international success, we welcome all places. Because, uh, is there something we can like in Denmark, then it's someone who is successful without the boundaries, right To a certain limit, right?
Speaker 1:Yes, exactly.
Speaker 2:But then there starts a rising curve that continues in 2005, 2006. Uh, then my sketch came out in 2007, which gave me a little bit of a feedback. I never had seen it come. Uh, and then X-factor, i8 and I9.
Speaker 1:Wow, probably some over.
Speaker 2:Yes, but when we then rank 2010, we can also notice Now comes, uh, rasmus Seaback, now comes with Dena. Um, there's just a bunch of different things.
Speaker 1:A new era has started, exactly.
Speaker 2:And it's. People are finished with us and we can clearly see that. And hell, because we have had a rising curve in our career. We know the lines again and we won't be so pissed off. No, in a different way. So we're just going to pull ourselves back and pull ourselves back, and that's what it's also good for me. It's great to be able to sit and make more music so we can get 100% of the following of my change of ambitions and musicality that it should take us more than 10 years to get to the point where we actually felt we could do it. I had known that, but not this time.
Speaker 1:No, so I didn't think we would do it?
Speaker 2:No exactly, but we have a, a, a major a, a stop on the way, but it's a time project where we make music for advertising. We have got sold is it three or four numbers to Apple, one to Porsche, that that L-Bil Porsche Group, with that launch, we have sold to Samsung.
Speaker 1:So we have actually been able to earn money on some music that no one knows about us and that means that we have been able to give the infernal, that we have been able to do it and that we have been able to do it.
Speaker 2:But now, there is time for us to be ourselves.
Speaker 2:Yes, but it's not like that. There were many years before we, I think, this happened and it was maybe okay. Pao, who is a dynamic creator, I will be a little more and want to have something new. I will be tired of things super fast, and it's no wonder if it's a musical tendency or if it's fashion or what it is. And Pao, he grows up when he knows something really really well. The more he does it, the better he gets to it. So all the time I come and say, yes, that's great, you've been good at making a hi-hat, now we have to do it in a new way. Now we have learned it.
Speaker 2:Now it's okay, but it has been a fight and it has been a skiner and it has been hard and it has been so psychotic on us both. But when I came in 2010, I said now we have to sit down and do things in a different way. I don't know how, but I know we have to do what we play. So he's not going to be scared Now he's finally good at it.
Speaker 2:Yes, I was just saying, and I think he was so once, but it's about hunting something that others think is good. It took many years for him to lay down and first it's really guilty. It's so guilty how well we're giving out. We are now for old times. It looks like.
Speaker 1:At least you never know, but we could be well aware you should come to the scene, namely when Martin is 20, he also debuts solo in the late 30s.
Speaker 2:And my mind wants to be that if we just get to know what we've done now, at some point someone will say, okay, it's the most exciting thing ever. They have to be incredibly successful. Exactly, it will happen. But we ended up with peace. We can just as well give out something that we are 100% invested in, that we can give out something that we feel is something that could be a hit, Because it doesn't happen. We don't get that place. We have not even been enough fed up with the right people or anything. I don't know what that is, so fuck it. Now we do our own thing because we can live well. We don't depend on getting the money in there. So it was just like, okay, finally let it go. And it will be that way. If we somehow have to have a revival, then it will be because we have done it a hundred percent authentically.
Speaker 1:That's always the case, it's like when you're hunting. No, no, it's like that. It's fun, nina. We have a big talk about feelings, but it's also. So it feels great.
Speaker 2:But it's my primary job, but it's also. I get a little tired sometimes when people think what are you doing the rest of the time? Are you complaining about my work? No, it's just a job. At 9.30 we're in the studio and I sometimes get to meet up, sometimes I get to answer some emails, sometimes I get to make a list, but on the way we're sitting down and making music and we do it at 7.00 when we leave, and there's a lot of things that don't fit in the script. But we didn't make that okay, so we're going to do it here at Katy Perry. So there's not much to tell about.
Speaker 1:No, it's fun.
Speaker 2:So it's not a success to get that huge cut to a huge endo.
Speaker 1:Yes, it's a lot Because I'm lucky to get it. For me, it's always a question of whether you're lucky with what you really want to do. That it's in a constellation, that it has something to do with Instagram. It has something to do with the way it's done and it's actually done that you don't hunt so many things. You make some complete scourges. Things are also a bit of a mess and I don't know. In a sense, you're a bit of a crazy guy, not in any place. Which one?
Speaker 1:of you is most likely to be in a big prize.
Speaker 2:We can talk about it in a room if you want to.
Speaker 1:I have no idea about a room and I hate rooms. You do. Yes, I don't like rooms. You're weird, I'm very weird. What do you drink All the time? I don't drink. I drink vodka. All the time, only vodka.
Speaker 2:We actually made vodka and it tastes really good, but it's hard to make money on vodka.
Speaker 1:It's impossible to make money on a kind of because there are so many big players and I've been to the club for about ten months and they say we just made a cool beer or a room or something, and they say it's like another game because there's so much money involved in it.
Speaker 2:And we can taste the beer, which is a pretty good name for the project it makes you crazy when we suddenly came to the bars in detail, we could see, okay, that's it, it's just for the heavy weights. But a room is like an initiating and it's in Fine Smaker boutique and it's our own platform and we can just we can melt it down again and it's about if we're going to make something super commercial, we can feel, but it's not the beer, it's some kind of a dead snob.
Speaker 1:Yes, and the beer is. I don't think it's a joke, but I think it's a lot better to have a beer, to see the beer from outside, because it works. I know it's been a passion and I've been happy about it, but it just seems like their output on it is more real and more peaceful today. Yes, much more peaceful.
Speaker 2:There has been a lot of desperation over what we've done and a deep awareness about a self-declared lack of clarity, which made us compensate for all the possible underlining ways. Both in the press conference we said it took many years for us to find out. We simply can't hear at home and, together with a different colour sheet, we can grill the beer in the road and it's not because there's something wrong with it. But we're more loyal to the people than we are and we think that we both couldn't keep that loyal to the end.
Speaker 1:No, you've accepted me. I've accepted that. It's something else they want than the way it was. Maybe and we're some other people and that was clear, but you've also become older, I think.
Speaker 2:But we've always been quite violent and a little philosophical and some of them can be involved in things, and every time we said something to one another extra-black journalists it was just too flat, completely insane. And then I could feel, oh, I got it enough. For the last time, I'm glad to sit here and talk music with you, where we can dive into something that's mega-small and we can also talk the big stories. We can say that we haven't actually talked about it, that it's one of the better than the other.
Speaker 1:But I think it's more when it's real. And I'm not saying it's a pre-industrial, I'm just saying it's not real.
Speaker 2:It's just not real.
Speaker 1:If it's a challenge, it hasn't been. When I see it today, and not with the last record- I've heard. Thank you, I'm very, very happy for that.
Speaker 2:I'm also happy, and I think that's the first time I'm not, after the release, really think it was good enough. That's how I've always been. I can visit it again now and I can also feel the nostalgia you can also Do you do that.
Speaker 1:Yes, I'm very happy. I can't really feel the nostalgia. No, what? No, I'm not talking about nostalgia.
Speaker 2:I don't want to.
Speaker 1:I'm most interested in today and tomorrow. I don't think the rest is really interesting, but I'm also taking care of it.
Speaker 2:And in the new year. It's just fun because you remember things differently than they actually sound 100%, no doubt. And it's both the same and the other way around. Sometimes, when I visit again, I think what the shit in 1983,?
Speaker 1:I think, well, that's not it, and there's a reason why I'm not the police officer every night, all the time, and the TV-doubts.
Speaker 2:There's no point in that.
Speaker 1:I have a point in Sweden when it comes to the club. Yes, yes, Right to the last one. I've asked everyone when we're done with the funeral.
Speaker 2:That's why you've talked to Janelle Høy about the funeral.
Speaker 1:That's why I came in. I think I made a list for the last one, everyone's funeral list, which will be for her. Do you want to play music? You've been through music all your life.
Speaker 2:I can make a full-on and just plan my own funeral with who to talk to, who to play, what to do.
Speaker 1:That's what I think I do.
Speaker 2:I could actually find out. I know one number, which was the number I've updated on my first tour to Ibiza. We're sitting at a late night time at Café Del Mar, but before that it's going on and we're a bit lost because in 1986, I'm in 2020, pao Krill and Nico, who are the old Bordeaux, who are also with us. They're younger than me, kenneth Bader is with us and everyone who's with us and those who have a lot of money, who have made it, and they have it cool and they live in another hotel. We've got a cheaper hotel a little longer up in San Antonio and we just can't really be with us. And then it's just Kenneth Ringer. And now there's a rave, the beach, and we need our last money for that taxi, so there's no rave and we can't get into some clubs, but it's a bit up and down. So we're sitting at Café Del Mar and what we don't know is that they're making their own compilations. We're this year, in the year to volume 6, so number 3 in the row.
Speaker 1:And that's Rosy Paldilla. I think at that point.
Speaker 2:Yes, yes, yes, and that's track number 2 or 3, 3, I think, and I have it in my phone. Finally, I've found it. It's one of those who really struggle to drive up that volume 6, and I don't see it anymore.
Speaker 1:It's actually on vinyl, as I remember. I'm pretty sure I have it on vinyl. Oh, that's insane. Is it a blood cover?
Speaker 2:No, it's a sand color and there's some muslim-like vibes. We can wait for that but unfortunately that number. I can remember that it made me want to go up to the kids and say what do we hear? And then I actually won a bit more money, a couple to buy it with my. You could buy it, I think. Yes and it's. There was actually a musician who got a bit of a promotion from me from a few years ago.
Speaker 2:And he said no, it's a bit of a shame that it's a bad, noisy piano sound that I never thought of and I just heard it with a gig. But he didn't put it more than if I had got a little land in the west and heard it at a really good time, then I would have been a fan for a year.
Speaker 1:Good Well, it takes a bit of Maybe that one.
Speaker 2:That's good, that's good.
Speaker 1:Good Thanks for being here.
Speaker 2:Thanks for being here.
Speaker 1:Thanks for joining us on this week's Music Local Podcast, Music Meet Drug. I hope you have enjoyed the music of the Trillen University and found inspiration for your own musical journey. If you would like to listen to today's guest list about youth songs, you can find the list on the Music Local Spotify list on Spotify. I look forward to exploring more aspects of the music's leadership in the upcoming episodes, which can all be found on Spotify and Potimo. So until next time, let the music continue to be your most trusted leader, and we have really wanted to hear good music, and good music in the real world. You can find the Music Local right under the nightclub Museo in Little Kingsgate in the København region.