En åben snak med dj, producer & Sanger Chief 1 om hans passion for musik .
En åben snak med dj, producer & Sanger Chief 1 om hans passion for musik .
Music. Welcome to the Museo Local Podcast. My name is Peter Visti and I love music all my life and I have lived my entire life of music in one or the other way. I am a musician and I have been very young. Since I was a child, I have been listening to music during my entire night sleep, something I still practice. Music is my passion, my drive, my mood and daily forms change 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 affects their lives. Every week, I invite new guests 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 Museo Local Podcast Music my drive. And welcome to Lars T Frun Pedersen. Thank you, peter Visti.
Speaker 2:Thank you for that.
Speaker 1:How nice to see you.
Speaker 2:Thank you, and I just want to talk about a music-intro. We live in a society where music is more and more underprivileged. It's nice to meet people who take music seriously.
Speaker 1:I take it seriously and seriously, it's just our DNA.
Speaker 2:One thing to say about being smart is that if you took music out of me, you would just put it in a different DNA-clump. You would just put it in a different way. How does it start? I think it starts from me being born. My father is a trumpet teacher. He was the one who played the piano. They were great teenage idols in 1958-1959.
Speaker 1:They were great in electronic instruments.
Speaker 2:All jazz musicians had them and called it their music for picktrud music.
Speaker 1:They were great teenagers.
Speaker 2:Later on he played a band called Scarlett, who was also great. He was the first country musician in Denmark. He was a band called Tettishiano and Janna John. I have seen them before. I started to feel music in my life. I was also a young kid. I was playing with my father's friends. That's when my love for music started. You should think about it. A 7-year-old is sitting with his jolly cola in Bodega Oxen. There must be a hundred people. They are shaking.
Speaker 2:My father and some of his friends are playing in a music room. They are dragging themselves back and playing more hyggudges. When he invades his friends to the Jam Sessions, he invades Jens Rosted, Knuth Hendricksson, Fleming Ostermann, Anders Gorman, People who have played with the Civilian and the Great Sturlock. They love to play Johnny Begut and Rock'n'Roll. I can feel that there is something going on. I can see them disappear. I remember that I was there. I was there too. I could feel them. They disappeared. It was a world they were in.
Speaker 2:I have to learn to play the guitar. I have to learn to be a bit more delicate. I have never had the chance to be good, but I have learned to make something. I can get the others to be good at what I have done when I was playing the guitar. I have always been there. I have not been a second in the world. I have been in the 8th grade of school with the kids on the table and a half of the students and a friccadilla. I have been very happy. I could just wait for the kids to come out of this box. I could be free and creative. When they come out with their samphons, they ask me what?
Speaker 1:should I be?
Speaker 2:I should be a musician. It was not in their book. I could not find a way to be a musician, a musician or a musician. There were not many who chose music. It was a 11-minute slot.
Speaker 1:I think it was a possibility. I have talked to some others. I have been in the band for 43 years. It is my job. It was not like a career. I started playing the guitar in 1984. I was very happy with the music and the records.
Speaker 2:I have seen all of them Kim Larsen and Helmi. You did not contact them on Facebook. You started remixing. Some started to play with Tomas Helmi's remix. It is very exciting.
Speaker 1:Tomas, you are very proud.
Speaker 2:There is another interesting thing. We never really got into that as musicians. At that time we were standing up on the monitor and playing for 20 minutes.
Speaker 2:We were sitting in our room with boxes and samples and suddenly we were accepted. We were recognized Suddenly. I was in a studio with Dotto and the Dotto's and Radio. They just wanted to have a remix of the world and the love called with Santa, because they knew we had finished a new thing and there are a lot of things that come up, but let's go back a little bit.
Speaker 1:It started at home. You say it would be music. You start listening to music and you start playing the guitar. Is it? Is it? Is it the sound of music or is it the way you play it's?
Speaker 2:the sound of music. That's the biggest, because I've never had the courage to sit on a loft or play a guitar or a guitar. I would just be a mediathe, understand it, but it's the same. All my youth have been sitting with headphones on and listening to the Madness and Earth Wonder of Fire and in a huge blending of Stray Cats and other Manny Annes and all that.
Speaker 2:And when I was sitting with headphones on, I was sitting on Tomb of Tor, which might not be the most swaggy place in the world, but every time I thought about this stereo and the board, something was happening in my head and I was suddenly somewhere else. Then it was me. You know, there was where you were now reading on the board. Right, I know that we also sound fast like some old people. We're old but we're not better, because the new thing, everything that's happening right now, is so exciting. But it's just to tell those who might not have had the feeling of how it was to go home with a board cover, because there was just one other thing, and I know maybe you just we got a little of it Today. You get so much.
Speaker 1:So you're testing the middle with the same of everything. Yes, and it's much more accessible, Because when we were talking about boards, you could borrow them from the Bible. Of course, but buying a board in the beginning, the one from the Middle Ages was, and when you fell in love with the board and took it in and you wrote money you were standing all day to find out what kind of money you had in order to buy it, and you got permission to hear it.
Speaker 2:It was really a different time, because you actually got permission to stand there before hearing it. You weren't thrown out, you weren't bought. Yeah, if you came to Street Dance, it was a pity that it was late.
Speaker 1:Yeah, that's what.
Speaker 2:I'm saying I have it with Kasper.
Speaker 1:Lauders, so we can talk about what it was.
Speaker 2:But I remember we had a board meeting at Tornebetor and it's actually a great meaning for my musical development. Also, my big brother, who I am in Rockers because there was one who worked there he was a big man, a Swedish. All the time he was always like yeah, yeah, yeah, yeah, yeah, and all the children from Tornebetor. When we went down to the board meeting and asked for something, then the board was like it's going home, it's going home. And I would just say to those who, when you were going to create a board at home, he was going to write to England or the US and one country, and that time it was not necessarily Post-Norwegian, but it never came. But then suddenly we went down, you know, once a week when the work had come, the new one, you know, was it D-Train or was it?
Speaker 1:It could be anything.
Speaker 2:And suddenly it came and you were just like it was a joyous day. That's what you have to see. And then, as I said, the work. He was very, he just sounded like it because he thought it was really nice because it was a half-board-like and half-high-five and the high-five part was really sick. It was a look at the color, the far-sighted eye, and there's a box you can control with. A 9 remote, but the other half was where the board management was. There were those that were loud. There were those that were loud.
Speaker 1:You were standing with such a two-man set on that.
Speaker 2:it was completely fantastic, and I stood after school for several hours and, as I said, sometimes I didn't have the courage to buy anything. But I was just getting out and I can also do the same thing with them, even if I've been with them for a year, a year, a year a year, all the time that's our time.
Speaker 1:We have much more trouble now and things are going fast and we have to. I don't know if that's wrong or not. No, I can't find that it's not right. No, and it's not that bad.
Speaker 2:But it's just that I miss that depth, because what it just did was that we were trusted customers and as soon as we had the money, we used them down there.
Speaker 2:Yes, yes, but there's no doubt that can go today and that's also what I understand with the internet, but it was just to say that it was nice to go down with the friends and hang out in the flat. It was fantastic. And then there was also in Street Dance Records, which I think was fantastic because you always met colleagues down there and see that was really cool. I can say that it's the place where we met and listened to something, where we were together and listened to, because today we have all the music we want. We just hear it together only when we're at a club or something.
Speaker 2:Yes, exactly, and there's the fair, where you play completely new music.
Speaker 1:Yes, they're very commercial to the state.
Speaker 2:And again and that's it. But if you're going to answer my question, I've always used it. I loved my headphones. My father also played at the time of music on the American basses up in Tule and Sønder Strömfjord. He was there, he collected the music and they took it up and it was there for three weeks, maybe two or three times a year. It was up on the American bass. There was the Al Green vinyl, the Barry White and they had a big set of things like sling, hoopa, boopa, type all sorts of things All the big things you can remember.
Speaker 2:So when my father came home he had made a lot of noise. There was vodka in his big box and there was smorgasbord. You know, stinger with smorgasbord there was a little drum and then he just loved it. And then he opened it and all the American slicks were there which they didn't have on the head down on the drum. And then there were some albums with some artists we didn't know Billy Joel and all those things. And then sometimes I can never forget, anna bought a stereo set with her. It was so wild when there was a plate. I mean, I'm so proud of myself as a swan now, for me so much. But there was a place where you could put more singles over each other. You could put a 10-point on it and when one was done you could go the other way.
Speaker 2:Yeah, it was crazy Fuck you're just sitting there thinking I'm in the future. Man, fuck man. That's insane.
Speaker 1:Hey, come on down, Lars. All this music and your father plays and stuff, how did you get to start playing? Because you made a band with your brother. Well, at the same time. Is that the first thing?
Speaker 2:No, I can say that I have a lot of, because I think it's important to be broad in music. It's like when you have to be so mad, you have to be strong. You can't sit and eat the same thing all the time. You have to go out and enjoy the world, right. So I think that's also music. So I'm always very interested in many things. You're being hit by police and then you're like boom, I'm going to the bottle rock sand and all that stuff. The first two albums with the police I was like fuck, was that cool?
Speaker 2:Yeah unique and at the same time that phenomenon happened in my life because I had searched a lot and I was starting to play a rock band where I sang a little and it was something like the Cold the Cure Police-like thing. But at the same time I had found out that there were some people in the street who were sitting there Friday before inside the red square with a big bonobo and heard some strange music. Of course I had heard about hip-hop, but I didn't know that it was hip-hop. At that time we heard the Rappers Delight and we heard it's Nasty and Eight Runters and the Circle Gang and all that stuff Exactly. We thought it was fun. And then someone talked Kirtys Blow the Breaks and they thought it was fun.
Speaker 1:Kirtys Blow the Breaks. I don't think I'm hip-hop, no, no, no, I heard it the first time, but that was one of the first rappers.
Speaker 2:We didn't know that because today we could just google it. But the Breaks is a part of a youth culture, a connection that started ten years ago. We didn't know that but suddenly there was this thing, but I thought it was a bit strange. That was when I got a open-mindedness, when I came in and got to know the red square and met DJ Duke, who was the famous VMI and Face Five, a great legend and Finn Snore and two or three others, and then I was like hey, what's up with you? We were good friends. And then there were 30 kids and then we met to be free and then we got more and more and it was about going down the street still on the street to the most popular at that time where we had a Slikedab with Ron DMC and it was Rocket with Hübby Hancock, buffalo Gare and the kind of music and really hardcore songs that I wasn't over-going today.
Speaker 1:Planet Rock with African Bata and so on and so forth, and fucking FEDTRA.
Speaker 2:And then I loved that provocation and I went up and saw here and Mrs Hakebøy went by and said what is that? And we were in under-training suits with ski glasses and pelt jackets and we liked some too much right, and I just loved going up and down the HT bus, going down and just going up for a completely lame wild-style track and that's where I found my musical identity and my life and the revolution, because the Youngdoms revolution was a little different.
Speaker 2:That was my Youngdoms revolution and maybe one of the last. Maybe there was Grunge, but maybe one of those last times where there was a really big Youngdoms. Of course there was also club music and all those things, but that was where something that was scrapped by the Youngdoms and not a smart market management stunt or someone who was doing analyzes. The most beautiful thing I think we're here for is that it's deep in the heart of a culture that has been discovered because people couldn't get into the club, because they didn't have the right to play or they didn't have the right to play. So I thought, no, we also want to make a disco. What was it called? What was it called?
Speaker 1:A disco called the Lincoln Deis the 50's, the Stude, 54, paradise Garage and all that stuff. So you couldn't get into that you were finished and you weren't tired.
Speaker 2:So what do you do? You get out on the street and then there's one guy who's fishing for electronics. He's found out, and if you want to dig up the hole we can get a stream and then we dig up there and we pull a ladder down with a extension ladder and then we put two. I mean we have record players and a huge number of them. Then we just move the studio and then we get out on the street to have all those guys.
Speaker 1:So instead of the sound system and then it just happens.
Speaker 2:and what I think is really magical is that there are two, three DJs in Bronx who have the sound system and then there's one DJ who thinks we're going to play on Friday too, because we've said this crowd now that we're going to play on Friday. Hey, mal and Mad, can you not take the microphone and say yes, yes, sure, next Friday is going to be dope, it's going to be one or the other. And then Mad starts thinking maybe I can clean up this, maybe I can be the one presenting my DJ's next time I'm going to play. And then the other guys do it and they just wrap them up.
Speaker 2:And the dancers, when they find out that they're just sitting there one way or the other, starting with the Honky Tonk Woman with Rolling Stones where they're sitting, the coolest breakbeat, or one way or the other, they're going to breakbeat. And then they notice that there are some of the guys who are starting to dance to these Trump breaks. And then there's one DJ who says why can't we do this Trump break? So I'm going to buy two, for example, and get more and more attention to this Trump break and then stop breakdance to break. And they just do it now I'm going to stop.
Speaker 2:No, it's completely okay, but it's not completely incredible that such a big culture that has overtaken all the day in the world, which is blue. It's been hit by rock, rock and all kinds of things. All other cultures have become subcultures. It starts because of Fadidom, because there's one who's crawling up in a closed pile because he doesn't want to find out that they can come in to Studio 54.
Speaker 1:Do you know what I think all subcultures do? Because they start at the bottom as a rehearsal. So I think that's pretty normal.
Speaker 2:And from the youth movement, where I've been to a lot, where I've been to youth movement and youth movement. It's not about music anymore, it's something.
Speaker 1:I'm getting used to.
Speaker 2:When I look at my son, he's so happy. He thinks it's cool that Jimi Hendrix didn't take part in the guitar. But he has Youngdom's Roppereaux and Mr Beast on YouTube.
Speaker 1:Yeah, but it's completely new. So that's Youngdom's Roppereaux and we have to accept that.
Speaker 2:Youngdom's Roppereaux is on the internet and it's influencers and it's it's TikTok and it's YouTube and it's They've made Prime. What are they? Yeah?
Speaker 1:they've made YouTube Prime.
Speaker 2:That's Youngdom's Roppereaux today. Some of you might say it's not the same, but it's just.
Speaker 1:It's just that we've got our parents' position now. And God has to promise and God has to promise.
Speaker 2:It's very small. It's not about the generation. You don't have to understand what the new generation is like. Like punk, like Grunge, like club music and rap.
Speaker 1:I don't think it's good enough if you can get your parents to think it's good.
Speaker 2:So it's completely fine.
Speaker 1:But I'm very fascinated by it because we have a big group of people and I can see that Gaming is going up in your and they're getting really good at everything possible because of that. So I don't have so many. No, I'd rather go with it.
Speaker 2:And then I hear about it and tell about it and that can be at some point when my son starts making some music. But if he's like that he can say, okay, you have it, but right now it's not going to be a hit. I hope it's going to be a hit because this music industry is really it's going to be really hard to fuck up.
Speaker 1:But they're going to do what they want. I'm pretty stupid to think that.
Speaker 2:It was also my parents, and I always love my parents, because my father has always stood, even though he was standing on the wall because I was going to shift my rhythm.
Speaker 1:And that was too loud.
Speaker 2:It was a good start. I had got Trump set up in my world, so if someone came and opened my father's door and said I could move on the floor, they've always felt, when you're in a relationship and Per is in a relationship you have to feel free when you're in a relationship. So I could never find a way to say to the videos now you have to sit down and then you have to. No, fuck it, it has to come.
Speaker 1:You have to find it yourself. It's beautiful. I've always had something that was one that said to me that the originality is the most important thing for your children. Then you have to be proud of yourself, but the originality is to say that there should be a Trump set. If it's the way they're interested, they have to find out and go back to it, but with the effect it's there.
Speaker 2:And that's when they suddenly get upset about something and suddenly find that passion. And then we just don't panic because I can feel my son and maybe also just me in the beds, because I can. He doesn't go to football and he says what can I do in school? So I can only talk to Manchester City and Manchester United. I don't want to get hurt. Because he starts painting graffiti. And then there's one part of me and he says oh no, he's not playing football. So the other one says what the fuck did you do?
Speaker 1:You did it yourself.
Speaker 2:And then maybe we have to forget that we have been where we were and all the time the bridge limits.
Speaker 1:Yes, and because we're not a part of it. We're not a part of it. We don't understand games anymore. It's not because we're going to sound like two old men we're our absolute best or a big two, but I think maybe it's just the whole new.
Speaker 2:I think a lot now when I can see it from around the people's school and how it's been done many times in a secret school, when you're the one who's shaking and you say I'm not, I'm not, it's not me, you know, now the whole class is just in one row, but I'm not there, you know. And then you find some other friends in some other place. I also always found the most strange friends around. I always found him, the green jacket that was left behind, that was supported, or it's more about the people who had a story that wasn't just about Hakeböfing.
Speaker 1:Yes, but you also. Now we'll try to jump a little into the music again, because it's the passion we're talking about and we can talk about it. So it's not there, but I'm very interested in Because you're saying some funny things now, because you're right, what was it unpolitically correct, right there?
Speaker 2:about what?
Speaker 1:to do with children or something like that. But when I take Rockers by choice and I just heard it on the way here it's water-based politics. My rap is water-based politics. I'm pretty much on the heart about how the society works, about the stoffers, about the Dittardats in Europe. Really.
Speaker 2:Yes, and the funny thing is because that time I still have the same thing that it's not politics, it's the message, the meaning, the attitude. Ah, that's what I'm talking about.
Speaker 2:Because the problem was the same and you were absolutely right that the journalists were the first to ask questions, and they were still, because they simply couldn't understand. They were either in the right or left, yes, and they were almost irritated. I remember I did an interview, we did an interview with one of the most something called Press, which was a very what should I say brain-y, brain-y, which no music has ever been in, where they should sit for 3 hours and talk with their eyes because they want to hear us say are you red or not? Why is it so important? We just came out of the frame and we saw a lot of it, which may have been a few years before, and that's what we took with our rap texts.
Speaker 2:We are also funny things and we also don't have any other way, but in the reality, we just, I think we were just like children of the gas line and we could also do those things, and I always think it's cool that there were some messages and not others to do it. I think we just had a desire, also because we were like 5 different drinks that loved hip-hop, but we also just wanted to make some texts, and today, of course, I can hear that it seems very naive, but it's naive in a beautiful way, because there was no one who knew what we were doing. There was no A&R people, everything we did, and we just took the first cover picture that some people say is not there. But hey, we just had to meet at a different boulevard and we didn't have to take any pictures here. We had to use that up and we were allowed to use that up and we took the picture.
Speaker 2:You know, there was no one who tried it for us. I didn't even know that you could make money in music, I just got a coat. I didn't know that you could get money from radio. So one year later my father woke me up and I saw my father saying there's something for a coat and a letter, and I think there's 150,000 or something else.
Speaker 1:And I fucking died and I didn't know it was mine when it came to me, there was something to do with the money.
Speaker 2:But just to say that time there was just like, wow, can you make money with this?
Speaker 1:It's just about getting out and spreading the message of hip-hop. They're just happy and the passion you have with music is just like.
Speaker 2:this is going to be my career If I could make money with this if I spent so much time being vocal or something, I would have been stronger and I wouldn't have been as good as I was. That's the most important thing. I think I also hear, if you talk about the choice of the rhythm, what the materialism is, then it comes first when you do something you're passionate about.
Speaker 1:Yes.
Speaker 2:Because all the other things, like you said for me, I have found that every single time I haven't thought about it.
Speaker 2:All the biggest hits I've written. They've written almost like where you've gone out to the seas or to the sea and you haven't thought now you have to make a hit After I've written English I'm not really a big fan because it's written here I had written English on a bench where I would have just written a song for our break because all the songs we had played were so fast. I would have made a kind of drum solo. That did the DJ. So I made a quiet song and then we suddenly found out that the girls' back is very close to the song because it appealed to the other audience. And then it came out and suddenly it became a huge hit and my heart started to think now you have to do the next one. And then I think there were 10 years that I would learn to get away from it. It's obvious.
Speaker 1:But you get tired of the success you get.
Speaker 2:Yes.
Speaker 1:It's a joy to get such a success. It's always like that when you're standing in it.
Speaker 2:I wasn't really good at singing because I was always either pressed, stressed, anxious or something. I was really bad at singing. It was good.
Speaker 2:But it's not something you first, do later I also think there are some who are better at it. The others on the stage were better and were sitting on the Neymar Land and reading the lyrics and just thinking we rap. That's the answer. We're also doing something new tomorrow and we're doing an after-party. There are people hanging out, we're going out to play and tour, but when you try to press a natural feeling through it, it just never happens.
Speaker 1:I would say. For me, the first new is after so many years. It's 30 years since I made my first club. I've played in so many years but it's the first club where I am part of and enjoy it. The other things I haven't experienced. I've had so much work and it would be better and it would be good. I've had so much work but I've actually taken my time to enjoy the success. And I like that. It's really cool.
Speaker 2:It's a great experience to learn in a hard way, because I've also started it now. As you know, I had a way of depression at the time. It taught me to be a valetine. It was really a way of life.
Speaker 2:I was a valetine. I was a valetine. It was really to be a guess. We can't control the assumptions. We can control it right now. And then I go out and get down to eat a shawarma and then I go home and do the biggest thing I've ever done. It can't be done, and maybe just take it that we have and I'm listening to it as Karl-Marne we have it now.
Speaker 2:We can plan it, but we don't. It's also cool to have some things out in the horizon, but I was in a bad time that time and that also gave me stress and that also made me anxious and that also ended up with depression and all these things, because it's just the way of the body to say hey you're out on the sidelines, and if you don't want to listen, then show yourself this one, this one, this one, this one, and then you start to learn to listen.
Speaker 1:I can say that it's a hard time and I'm not sure about that. A great success. It's probably going to be too much at the time.
Speaker 2:And then there's something under the moon, as I've said, and some fears and some things, and then there's actually a, B if it's true, which I can remember I visited Öst-Dulig.
Speaker 1:We actually know each other in. I think it's 4, 5, 3, 4 years since we met each other on a 3-month long tour. So fun.
Speaker 2:I'm glad for our social media. I don't exist with 4, 2, 6, or more, and Kefra were we full-time.
Speaker 1:Yes, we were. I still have a short teller, so you have to come in 5, 6, 7, 8, 9, 10. Scantig, sønderborg, scantig.
Speaker 2:Sønderborg. That's the way we can go up the 3-month long tour. No, I've got my strong experience. I don't want to open it.
Speaker 1:Kefra, we've been locked up Many young receptionists have come up. The luckiest last. We know each other for a long time. How the hell was that on the way?
Speaker 2:That was where we talked about the time you were going to do the gig.
Speaker 1:Yes, and then it came to me what you're talking about now is that you're being sat down and writing hits Plus. It's not like you should do that because you've had a big hit. How do you? Think about all this back here after you're going to do music again, because what you're doing when there's something else going on. It's like you're only going to do music for that, or it's your own person.
Speaker 2:After I got the job for Scattavesen two or three years after I got admitted to Scattavex. I think we should sit and listen to Lars you should. At the time she was 600.000, that's a lot, it's 2.5.1.5.
Speaker 2:And I was sitting still all the time. It was like she said I couldn't understand it because I didn't know it was the gig. So no one told me. I didn't Google, I didn't have friends, I didn't have anyone to ask for advice and I was like I got no money, I didn't get a quota, nothing. So then a really long ten year period started where I had constant problems and because when you're paying Scattavesen, at least that time you can't travel abroad and you can risk coming home and thinking, well, that little mixer put we're taking. I had some sweet things out on the train which I understand, and if they took all my equipment I wouldn't be able to pay them back. No, you wouldn't have to do that.
Speaker 2:I found myself in my head, in my mental brain, because I didn't want to. I was so tired of Scattavesen with life. I had heard about Peter Belly and William Jönsson and some of them, you know Frans Becker and stuff like that. So I started to do a lot. It wasn't because I didn't have the money, but I started doing some kind of children's music, some kind of RAS, mgp, shitkid, b-boys, danny Cool, some of them, I thought, because it was really good and I made some really big successes, all those things that when some young artists came up in the studio you could have done that or that was it, and that's what I'm really looking forward to, because in the studio, the first time I saw all the gold plates because they were hanging with me and where we would talk about it.
Speaker 1:that it's really of course that it's for making music, but it's also for paying your money off.
Speaker 2:It was for paying my money off. But it was also a great experience because I learned to produce and have great, great experience and I got some fun experiences with these kits and I had some really big budgets because there was also a learning experience in that. But that day when I got that I remember I said then I'll get 600,000, then I'll double it and I don't have any money.
Speaker 1:No, then I still didn't get the money.
Speaker 2:So I came there and I went down on the train to get the check. But it was also a great relief for me and that made me afraid to pay money many years later because I thought, oh, morning, morning, morning problem, and so on.
Speaker 2:But then afterwards I had to take a cold bath and there I made four plates which didn't work, but some of the best plates I've ever made one where I was in New Orleans and you know, made a blues roots plate and all of that and it was a relief because I could say that I continued the direction with these things. But then I forgot why it was.
Speaker 1:I mean, and now you noticed it, or you were a man, if you could notice it again in a good way, instead of a certain place, right?
Speaker 2:And then I simply got to turn back and find myself and I actually did that a part of the time before or after when I came out of my depression and found out that I really didn't do it much. It was to stand by myself and do something for myself. Because there I was, a producer for 30 years from God to be a man, just from Kim Larson to Atlantis, to Eunica Eunamut but suddenly I had forgotten him. There was a big rap angel out in Hervöhalden for a 15,000 screen fans and I thought, wow, that's cool. So suddenly I started making music again for myself and suddenly I fucking topped with pop in my own name and suddenly I made everything good which at that point got really hit. So now I've got a career number three right and in reality the moral in all this is that you simply have to stop at once. But you have to do it afterwards.
Speaker 1:Yes, you have to do it 100%, but you don't have to. I mean, I understand the long period where you do a lot of work to make the and the hard part is that you don't have to produce.
Speaker 2:It was that, and then I started producing after that and then I started making all these fantastic. I have fucking I can say it today, it was my fault, it wasn't Jay Fellved. So some things where I've been out to find people, to find new artists and work with them.
Speaker 1:You saw them at the studio. I've never seen them before. I saw my biggest studio.
Speaker 2:I paid the pizza and cheap red wine and all those things that I might have had time to make.
Speaker 2:They made Nexus and learned about microphone settings and all those things. They've been recorded hot and all those things In the evenings in my studio where I was so close to that and I've always All those things and I'm going to make a record with Johnny Madsen is something that's most fantastic. I've tried, I've had so many fantastic experiences, but I notice that where I am now, I don't really want to work with so many because that's what makes them 30 years old Now I just want to be my own fucking diva and my own fucking. I mean I don't do anything so good about myself, but if I do something I'll do it, and it can be a good thing.
Speaker 2:it's been a few years, but it can also be a life. It's really something that's been a little late, like I was 18 years old, but because of anxiety, because of all possible circumstances, I just haven't been able to dive myself. It's super, super great that I've come here so I can dive myself.
Speaker 1:I don't think it's something with everyone else either. You come to stand more on your own. At the start, it's weird that you're together with someone, and then there's a period where you you can say it's also quite lonely to be the one who's producing things in 10 years for yourself.
Speaker 2:Yes, because the others go out of the door and then they go on and then you have to sit and do things, and then you actually have to start, not just anywhere else. It's also a kind of soulful life where there are people who come into my life in two or three months of life Albums where I know everything about myself, and then there are new ones. There have also been times where I've gone home and thought, okay, now I don't see him or her anymore in a long time, or anything.
Speaker 1:But I'm sure they can all of a sudden get hard work, especially from that person and the joy you had, both playing and making music.
Speaker 2:I've always had a dream that was not more but in general where I was one of the most hardworking musicians because I've always been a weekend affair and all kinds of things. But it's also been the person. But that's what you have to take care of. You also have to give the person the fair way, because the person is not just a fleeting zone that is dripping from the ground. You also have to take a break from it, you understand.
Speaker 1:And the person should also have inspiration.
Speaker 2:Yes, and inspiration comes from me. I hear all the musicians at home, do you?
Speaker 2:No, because my brain works. Okay, I don't do that anymore and I only hear old things because I don't know if I've been in a meeting or not. I've made a big advertising campaign about it. I just know that when Beach Boys introduced God and we know, they put the microphone in front of them and then they all bathed together. It's a little kid and this song should go out and break people's hearts and make them happy. So when I hear this song I can feel it.
Speaker 1:Yes, I can also.
Speaker 2:It's also one of the beautiful songs that some have done so, as you can say I'm also mentally hurt in the day of the power that when I'm sitting in a place on a beach, I just play, like I do sometimes when it gets musak. Or when I'm on, for example, ibiza, when there's too much lounge, I can sit down and say, okay, that was 16 tracks, now there's the new sound, we go up to 16, 17. Now there's the breakdown. Or when I'm standing on a Swire and I look around all the piss-full, I think so now it's dropping a little, I'm going to go back to the 32 tracks and then it's dropping again.
Speaker 1:But I can't go to a restaurant and eat under the version of the music. I can't go down and handle it or something. It's annoying.
Speaker 2:Sometimes it's so loud, but sometimes I have a compressor with my head like this it's so heavy, so heavy. What is it?
Speaker 1:And when.
Speaker 2:I hear one or the other. I've been to a fair place where some people just put a little bit of a sound pitch Rekate, dopp Club. I can go to Rekate, but when it's just running and it's the same. And every time I get down it's the same. They don't turn it around, they just put it in front of you. So the same eight fucking long Dopp.
Speaker 2:Club songs that we run in the spring. Then I have to go up to the bridge and try to have a and I know well, and then look around I'm the only one, but that's me, you have one more.
Speaker 1:There's one more that you can hear after Call of Duty, lars, how it's not that loud.
Speaker 2:When people don't take sound over the waves. It's also loud when they just put it in front of you. I was once in the UK where they bought the same song. It was a fair place, but it was even more fair that it was the same four songs that you run over. People were pooling around all the time and it was a copper song. Right, it was a Celine Dion song in the 7 days. I wish there was a different tattoo place.
Speaker 1:It's funny, you don't want to listen to music in the free time now.
Speaker 2:I have some, but I don't hear much. Do you think I'm keeping myself in the dark?
Speaker 1:No, I'm asking you something about how you got inspired by your father. How did you inspire your son?
Speaker 2:Well, he still doesn't have a fucking interest in what I'm doing. Sometimes you say to someone if your father made it or if your father just played it today for a thousand people, you were really happy or won.
Speaker 1:You're not inspiring him. I'm thinking more about music I've made some tracks with him.
Speaker 2:I'm going to be angry with myself because I'm a producer and a singer and a text writer. I'm going to let him do it because everything I'm doing is going to be heard. He loves it. So he says father, it's cringe, he's 12 years old. I don't try to put a sample, but a piece that sings father. You don't do that anymore.
Speaker 1:It's really cringe.
Speaker 2:He goes over to music he really hears a lot of music, but he hears something like hardcore London rap. It's like what's it called In it? In it, in it, in it, in it when there's an 1808, where he's just so overwhelmed that, even though I started to feel a little bit old, I'm going to let him do it. Do do, döp, du do do do. It actually is cool from when I first came to see a guy and heard that bike and Exactly.
Speaker 2:It really is cool that he comes to play something that I cannot discern and then I try to make it myself. Then I try and tell him clim ec відpowered on rare stage, that this song is FREEין. He doesn't think right. That is not music.
Speaker 1:It is about time you reduced that space from the beginning to really listen to your music.
Speaker 1:I'm more of the one who's in charge of the music when we're driving in the car and there's music everywhere, music in my life all the time. My big dream is music too, and the little one is starting now, and then I can hear I hear a lot of obscure music, and then I'm in the car too, and then suddenly he's sitting with me on some of those things and then he's holding them. I've only played this song twice, or I've just bought it, but he's always trying to hold them. But I'm not trying to press him, but he comes to me every day with a song that he's found on TikTok. So it's a bit of a turning point in today's. I think. How inspired we are, isn't it?
Speaker 2:Yes, because we didn't have TikTok, we didn't have a little access to the radio.
Speaker 1:We had to go to the music market, so we never went to a sports event.
Speaker 2:My father also asked me what I thought about this and then I gave him advice. I loved the spark we had in music and it's so important. But now I'm not saying I don't listen to that much music, but right now there's music in my life all the time Because I make a lot of music. It's like when I was in the pre-school I was just like I was so sad about it. And then I can go in and then I get so blue all over again and I can go in that world and work with a song for 12 hours, the recording and finish it and just feel like I'm coming home to myself. I can hear what I've done with my hands and I can sit and hear what I love I have to make a song about. The day when I'm in the studio and I have thousands of songs that never come out and people say, isn't it better than this? No, because it's fun.
Speaker 2:It's something you also come with and suddenly I learn something. I've learned something all the songs I've written, especially the biggest fiasco, and that's what I've learned the most.
Speaker 1:But you don't do that and you learn new things in the studio, even though you've been in the studio for 30 years.
Speaker 2:Especially with the new world coming. You know where you start to think God, what is this? You can try to imagine. It's a very interesting idea. It's super interesting.
Speaker 2:You can imagine where you can't imagine, we can have some experts who can say something with their knowledge. It's not fair. Have you started to try it yourself? I try something and then I'm still not sure about it. But today more than ever, is our voice sound and our most important? We all have the same equipment. We can do it together. You can hear the sound when you hear the surveillance, or you hear Tobias Rahime, where you hear him, and then you hear the text universe, and that's what they're beginning to get into. But I still want to say when someone has sent me something else and tries to take the ring on me, I can still hear it. It's good to be in now. It's not that it's enough. It's not that it's enough to get into the scope of the people. It's enough. But right now they're always capturing the normal stereotype all the cliches in people Write a love song about it, but you can't write a love song like CB Jörgensen.
Speaker 1:No, exactly.
Speaker 2:Or Jens Jungmark, lars Huck or Alain Stor, but they haven't found anything, tom Wates. So I think we will continue to survive on our true values and our skills as people. But when they snickered I could get a little scared.
Speaker 1:It will probably be in our time. Lars, it can be difficult when you've done so many things. I know you're a big jazz fan. Great Kim Larsen. For the sake of the truth, you were both under rockers after the jazz line in the north. You also produced a few things. I made a few solo tracks called Willi Jönsson and Michael Harding.
Speaker 2:I produced two songs for Kim Larsen.
Speaker 1:And you actually bought a little thing. I saw in your studio where you recorded something. You have a few songs from Mixer.
Speaker 2:Oh yeah, I had the hard time. I had an old Mixerpult that they made the first jazz line on. That I love it was a big Mixerpult from Sweet Silence. A Swedish guy came to me, a fantastic guy who collects all the old stuff. He also had 8 channels. Fleming collected them. I thought of course he should collect them. In 1995, he was in Sweden and collected them. I think he had a fantastic quality. I used the old stuff too little.
Speaker 1:And I had to use it.
Speaker 2:I just wanted to make a little show. It was just Kim Larsen. When I was in the studio with him and we were standing in Mixer I was sitting in the big room and he was doing the track he stopped the music and looked at me and said Chief, you know well that your father was the reason for the music. Wow, he was a little boy. He was standing in front of my father's house in Rock Pop Club or in the other room. He said I should be like them. I was like wow, there was a circle that was just closed.
Speaker 1:I can completely feel that I'm a great big guy Kim Larsen himself and a great singer too. In 1997, my first concert as a teenager with Gasoline.
Speaker 2:I want to see that concert too. I heard a lot about it I can't remember.
Speaker 1:I can remember most of all, the great big disco, cool, and people were screaming and you know, because it's all, I'm ten years old, I'm ten years old, I don't know. And then I get to do the Stryphandrope, which is not for me. As Kim actually knows.
Speaker 2:And it's a piece of shit. He does it.
Speaker 1:So my ring has also a big. There's also a big ring about Kim Larsen and Gasoline for me, so we also have a fake passion. Lars, what's going on now? What's going to happen in the future?
Speaker 2:What's going to happen now is that I have, I have, I have from May to May I have full calendar on concerts. I'm going to play 60 concerts a year. It's pretty insane. In my other name, that's right. It's pretty crazy to come.
Speaker 2:I'm not, I'm not, I'm not my own, I'm not on the media label because there I make my music and it's not anymore. So I'm ready to do everything myself and I'm good at feeling all of it, all of it, all of it. I make my own video, I make my own covers, I make my own mix and I play myself and I make all of it, write songs and produce them. I make all of it and I love it. But I can feel. I can feel the lack of that energy I had from 10 years ago. But then it's about choosing your fight and then maybe also the line out and alligate with someone who can help you with something. But now I'm starting to have a little focus on writing some songs to the public. I just got a song through one of the biggest K-pop bands in the world. I've ever gotten a song on that. You've been singing for five years. So there's one more in the universe that says you have to do more of that I had a song on Ricky.
Speaker 2:Martin's comeback single from three years ago and some things. I would try to write more for something international, and then I really just strived to be the best version of myself. Yes, yes. And try to learn all the mistakes you make, all the time.
Speaker 1:We're good enough to learn, so we have to make mistakes. But I had a little thing that I thought about before we talked. That I didn't really know, but that's what I know now, Because when you start out with Rockers, or when you start out with Rockers, there's a lot of respect. There's the whole real. There's the whole. There's only one way to do it. Yes, it's self-out and you can't do that. You can't use it. You can't use the drum machine. It's gone.
Speaker 2:I think the dead one. The day Rasmus Sehbark came to the front of the stage, there was the dead hipster world. There couldn't be more. They just had to know the All the bad things and all the bad things that were sent by the other people, because there simply wasn't. People were just a little happy with the message.
Speaker 1:I also think with you personally.
Speaker 2:I have never. I personally have never existed. I just made a heart. I've made things where I can't say it was wrong, but it wasn't self-out.
Speaker 2:I've made a song where I was supposed to be in the Andersans 50-60s jubilee. It was when I saw the day that I had fought some Lord. You know it was something fun. I've never jumped on that. I was shocked by the reason why there were all these gaffes and all those. You know it was just right to play a dead man in Berlin and one another in a scene that was 8 or 8 hours before there was real music. I've always made pop.
Speaker 2:So I've always been like. But then suddenly I found out that now I was working and now I'm living in the home-builders All that pop music before and after. Then there are people who understand the power of the good music.
Speaker 1:It was good respect for all of us.
Speaker 2:Pop music is always about respect for all of us. And then I just I had all these golden and platinum records. I had them standing down in a cellar for many years. I thought, no, they've said that themselves. I might not have been good enough to stand by myself. But then I got a lot of new records in my studio and then I went into that room and said what is it? It's my hall of shame. What are you talking about? You've had success, man, and I thought that's really good. I've done something for other people. Some have heard that. All the children's music, and you said that Ketterers and Christian Brøndt and Blue Eyne, all those things. Then we played Elskal 15, and then there were 15,000 people in the room today.
Speaker 1:And Kali.
Speaker 2:Where I might have been a bit old and I was like I'm sorry, I was meant to do that, but that's what I meant.
Speaker 1:And I remember that I was in your studio where the internet boards were hanging all the time.
Speaker 2:I had taken them up there.
Speaker 1:And then you tell the stories and say it was actually up to you, that you were pretty proud of the things that you had actually gone through. And then I make a big change in it and that's why you run out as solo artists and say, hey, I'm playing the pop music and then I can play the pop music and live it.
Speaker 2:It's me if that's right. But I have a rather strange feeling Because now you're listening to your own music and you're standing by yourself, and that's not always what you can do in life. You have to put yourself in the room. There are other mavers who have spoken higher than mine, and then they say well, you're right, you've completely guessed it. That's a good way to end it. You can give me that when I get out of here. That's a therapy team. I'll think about that when I get to the metro. Wow, yeah, it's good to go out.
Speaker 1:It's important to get yourself to the party. You can't do other things. You don't have to do it yourself. I'm a TRP, but I have my own TRP. I learned that I was so tired that I had to do my family's thing. I was so far down with my mental health. I told her how do you think you make them happy, Exactly?
Speaker 1:You have to be happy and you have to do it the same way. I think it's been a hard period where you didn't feel like you were old enough, you still couldn't make the music you made, but you ended up running out.
Speaker 2:I was so tired when I saw that there was one other person who got tired, I thought what's wrong with that? In the real Robbie Williams, you've seen that completely Netflix. He's just standing there every night with 65,000 people loving him. Some people get energy or something else. They're just eating a lourdesang or whatever. You don't have to think about it. You have so many, but when you do this you get sleepy. You'd like to have them accept you, even if you're supposed to be pissed, but there's a tendency to be better and more ignorant.
Speaker 2:I could go down. If I had been given a message about what I made Once I was me, I could go down in the basement. I could still go down if it was my dad. You never get tired.
Speaker 1:It's clear that you feel like you're a critical person, you're proud and you feel like it's yourself.
Speaker 2:You just get out of it.
Speaker 1:You have to say I've always had that attitude. I've never been good at it, but I've always said that my music has been more underground and I've never been commercial in that way. But I've always said that's what I can do. That's what I can do.
Speaker 2:And you do that commercial for yourself.
Speaker 1:I don't think it's pop music, but it's good. But then it's your brand, it's your thing.
Speaker 2:When Master Fatman was out, people thought now there's jazz or a rumble from Rive, and I think it's fantastic to go in and say that's how it is.
Speaker 1:And if you can't, you can just book me.
Speaker 2:You don't have to pay yourself if you don't want to.
Speaker 1:You don't have to pay yourself.
Speaker 2:There's a big difference between the word ego and the word ego there's an unparalleled egoism, which is something the worst thing has ever been in the world. There's a sense of egoism, but then there's the healthy ego, where you really do the best thing in person for all the others you love.
Speaker 1:We could almost never end better, but I could think about it right away and end with this question Should there be music for your interpretation? Yes, yes, you're really good at music, so you should love it.
Speaker 2:And is there anything?
Speaker 1:you think about what it would be if it was.
Speaker 2:It's either Brian Wilson or Beatles, or a Swedish-led hulk in Hellström which I'm completely insane about. But it's hard to say In my life with Beatles, john Lennon's song is completely insane and it's really cinematic. I think that's enough. It could be one of those. Yes, maybe Moose-like, I don't know.
Speaker 1:I'm just thinking about stopping here. Thank you for wanting to be with us. Thank you for watching this week's Musik mit Druck. Let the music continue to be your most trusted leader. Do you want to hear good music, and good music in the real world. You can find music local, right under the Nightloop Museum, in the little king's garden in the København.