En åben snak med Sangskriver , producer & Sanger Remee om hans passion for musik .
En åben snak med Sangskriver , producer & Sanger Remee om hans passion for musik .
Music. Welcome to Museo Locale Podcast. My name is Peter Visti and I love music. All my life and my whole life has been made of music in one way or another. I'm a musician and I've been a young man who used to sleep with headphones on and listen to music all my life, something I still practice. Music is my passion, my drive, my mood and daily life forms and changes music. Music has a unique ability to express feelings and connect people in different cultures. My goal is to find out how different people experience love for music and how it varies from their lives. What is the purpose of the new guest? To talk about their relationship to music and how they live and influence music, insect inspiration and, hopefully, some fun and exciting surprises. Welcome to Museo Locale Podcast. Music my drive. Welcome to Remi. Thank you, peter. I'm glad you wanted to be here. It's so nice. I'm glad You're not. Even though we work so closely together, it's hard to get rid of it.
Speaker 3:You're just getting the right day and it's all right, but it's happening now. It's going well and it's going well, I'm also glad that it's now been so nice to see how many people you've met. Thank you, it's fun to see you with headphones in the entrance. I've done that before, but I just rolled my head at the same time.
Speaker 2:What does that mean?
Speaker 3:I rolled my head in thanks to the music and when I was aware of it, I was able to see that I always did it. It was painting pictures in my head of what I wanted to be with music, and it's more or less all the time, and it's a time in the childhood yes, it was 5 years old. I rolled my head with headphones on and I was able to see that music.
Speaker 2:Can you remember your first? Is there music at home from your parents? Only from me.
Speaker 3:I was so happy with the chaos and everything was over. My parents started giving me Every time I had Christmas or Christmas, I got a new drum and a new guitar, and I had a new drum.
Speaker 2:And.
Speaker 3:I got a new instrument every Christmas Because I was born to be one country. I think I was more than 5 years old. I was able to become a big-time musician, really yes, I was at home in the Solåd beach, I think. My big brother had a record player and 10 records and I was not at home anymore. And that was the first time I met my biological family for the first time and to find out that they all involved in music in one way or another. My parents were musicians.
Speaker 2:Your father was a musician before he died. Did he live his life without music?
Speaker 3:Yes, he was a salt-sugar man with my brother and my brother was called Balsam and my brother, when I met him for the first time he was a lead in a movie I had seen which is very fascinating. It's called Neokøyser-Laborlau.
Speaker 2:And you didn't know that it was your brother? No, I didn't, and he played Prince.
Speaker 3:There was that movie, Boxing Alone, where the children played the role of a grown-up. There was a trend at that point. They also made a movie with children playing a Danish child playing grown-up pop stars and playing music. And it turned out to be my brother. He was the character of Prince in that movie, so they are all together.
Speaker 2:So you're a real family, not an adoptive family. There's music, there was music in the movie, so it's very sensitive. It's all from the start.
Speaker 3:It's very fun to see how it's a genetic thing, because I was so obsessed with music as a child and my head didn't have a head around me, so it's very fun.
Speaker 2:It's fantastic and now you're only presenting like Remy, but you have a long and global career from a very, very young age when you get updated or you get done. So you update yourself, maybe right away, and you play. It's not too long until we talk about a record that has. What's the third anniversary of it? Or was it the third anniversary of one of the first tracks you released, capital Mart Track, where you rapped about where we came to, where you never got up because you were not in number one with that track, which also shows how much you have been involved in the last 35 years or something?
Speaker 3:I've always been a mix of where I am, instead of an extreme introvert or an extreme extrovert, but instead of the middle. So I was quite a genius as a child and I had met a. I had been up and rapped in the local mobile discotheque and there I met a guy called Sake who was DJ in his mobile discotheque and he had a sample at home IMAX samples which was completely wild and was quite expensive to get into.
Speaker 3:Yes, that was really cool and he was sitting at home making beats and tracks and so on and he was, he wanted something with that. He was ambitious and he also had a car and he played on a real circuit and then I also came down and rapped down there. At that point he had a meeting on Koma Records with Innos Kanad Bär, who was a really mythical figure for us, who came up in Street Dance Records and came up in that, which at that point was a completely new genre of music with dance.
Speaker 2:Yes, it's a whole revolution of new music that comes at that point.
Speaker 3:It was a subculture that we were two that was particularly involved in the Solar Ocean.
Speaker 2:It was the same in English, where there were not many at that time. It was a subculture at that time.
Speaker 3:So it was a completely incredible decision that he had made through the dance and he wanted to bring me in and I didn't think I would ever come in, to come out Until then. He didn't tell me. And then I think I was 15 years old at that point, and then we went in, of course, and said you could just sit down in the car. So I drove in, sat down in the car and waited, and then he said you could just sit in the reception. Then I went up to the reception, so you would have been locked in longer and longer, yes.
Speaker 3:and then he said come in with me at the office. Because he was very nervous about it. So I ended up sitting behind him, just like we sat in two. So I knew him sitting on one side of the desk and then the desk was sitting in a sack and then I was sitting behind him. Funny formation actually. And he was playing his tracks and Kenneth was sitting with his. He really has a resting bitch face.
Speaker 2:That's what he has to say.
Speaker 3:He's not happy. When he has a violent look on him he looks very violent and when he hears those tracks he doesn't say much. And then I said do you want to hear how it sounds with vocals? He's the one who can rap. And then I went with the song Freestyle or something. And after 30 seconds Kenneth stops the band. You can see the band and he says he's the one who's the star?
Speaker 3:And then he calls Martin Dot, who's sitting with his side of the desk, who's a great figure in the record label today. And then he comes in and I do it again and I say, kenneth, he's going to be a member of Dr Baker and you have to sign up. And you have to sign up on Lötter, on the middle of the club, and all my life I'm in the right direction and you've always dreamed of being in another place right Always and as a kid I had a tour of opening doors.
Speaker 3:I knew it would come at a time, but I thought so, but I wasn't ready to open the door myself. So I remember taking the train home because I thought I'd go inside the city and then I found 100 kroner for the train in Mönter. It's a lucky day.
Speaker 3:It's the healthiest day in the world. And then I came down to the Youngdoms club and called Martin, and now I'm getting famous and I took it a little longer, but that's where it started and Cafe Del Mar was. The first thing we did was a mental generation, with our Sven Wett rapped on one side, I think. Here comes the slant. It was 10PM one, and then there was one other, sven Wett.
Speaker 2:I can't remember how it was, whether he remakes it or not.
Speaker 3:He was in the north too, and we were touring around on some techno tours on the Omen in Frankfurt and Amsterdam.
Speaker 2:I was so happy to be there. I didn't get it.
Speaker 3:But then I got so much to rap, I got to know them and make a song about something called Instead of Ibiza, Cafe Del Mar. I got 10 lyrics. It was something with some boats that came in from something called Calabas and you were sitting in the sun at the beginning.
Speaker 2:So you didn't know what you were doing, texting them Something called Ibiza.
Speaker 3:And that was I was playing and I didn't hear about it anymore. And then I found out 10 years later. I was writing a letter to a fan and I said how cool is this song? It's number one on their album, cafe Del Mar. Was it fantastic? You made it in the end?
Speaker 2:No, For me. It's a funny trick. It started in the 50s.
Speaker 3:Then I called Stefan again and said what's going on. I got to know. A chill out classic Underworld made it. And then we met on Cafe Catube and made a new contract on song rights.
Speaker 2:No, you got it.
Speaker 3:I didn't want to criticize it.
Speaker 2:You've been here so many times and said yes, yes, but Exactly, you should also take care of your things, but you never get informed or informed. You never get informed because for me it's a great classic and you know Stefan well, who made some things that I didn't know well, because you're good if you don't know that you've rapped on it and it's based on a lot of compilations and actually it's on the jubilary, the record right.
Speaker 3:I found that out ten years later.
Speaker 2:Yes, but then the music industry is also a bit, or maybe there are what should I say some hard ways to learn things in music industry. Thank you, I think you've had some of them.
Speaker 3:It opened up a bit, yes.
Speaker 2:But how did you get on with this? Because you're not really rapping on a single song or anything, but you're starting to get the inspiration, because I remember there was a story about we're talking about a day that you actually had to be with Dr Baker for the album tour. Also, on the new songs that were supposed to come along.
Speaker 3:Yes, what was it called? A short one? So it was the idea when we recorded a lot of things, yes, and so you can't really dig that deep into it. I was too late to get it. And what was it called? It was a story about a day that you actually had to be with Dr Baker for the album tour and I'm officially a member of them and 얼gangia actually Nice Interview nurses With Black Mei and Sae, and to all the performances we perform in Zaga, the Disco Mixing Club when I've come into aegaen with Kemilla Setlota Kukov's valence before Daniel just started.
Speaker 2:It's just a whole story.
Speaker 3:Then I went down to the after-party at Jumatic. There were over 10 people there and asked if we were working together, and that's when the start of Sound of Stoction was started, and I also made a video about the Lass Ellington project, which is now a Blackman project. So from there I started to be in Sound of Stoction, which was a pop-act.
Speaker 3:It's a really big pop-act, as you can see, and it was the whole teenage history, and, on the other hand, blackman, where it was more intellectual, what was it called indie jazz? And also quite a bit of time to get all the.
Speaker 2:To get good prices and stuff like that?
Speaker 3:Yes, to get good prices and to tour around with it and play Roskilde. The first time I was in Sten I think it was in the 17th century, and then with Blackman afterwards, and then my career started. How did you?
Speaker 2:find it in the youth. Is it not up there, or is it just thrown in?
Speaker 3:I think I was the mainstay of it all. I had a great ambition to do it.
Speaker 2:I still haven't had it, but I'll tell you. I've always had a great ambition, but I don't have much respect for Scasalitis.
Speaker 3:I've always felt that I was at the right place.
Speaker 2:We're not really in the right place.
Speaker 3:So that's also a great reason for the future, because I've never felt that it was a part of the quarantine.
Speaker 2:It was just a step, a new step on the way.
Speaker 3:Yes, and you have to find out where we're going, when it gets better and better. And Sound of the Docks was the only part of it when I learned to play the song and melody and that people talked about playing the song and melody. I thought that can make a lot of sense. I only went up in rap before. That was the only thing I thought was right. You could write six or four songs, as you remember. I thought it was a lot more impressive to write a song.
Speaker 2:And you had to write.
Speaker 3:more street credibility, yes, but then I was out of the sport where I had made techno, chill out music and pop music and so on Hip hop culture, people I've woken up with.
Speaker 2:I was a little shy. You were shy to get away from it.
Speaker 3:I was a pop rapper so I started writing songs and melodies. I really liked Sound of the Docks. I think it was special. Welcome to my world. It was the first time I knew it. I only knew one thing I wasn't just trying to do something. But it actually became a song.
Speaker 2:It's still pop music, but it's still in the avant-garde. It's a new sound.
Speaker 3:We didn't know it, we just made it like it wasn't something we wanted Exactly.
Speaker 2:It was also there that you started to realize that you could do more than just Some of the self-feeling things you had that you could realize that it was actually good. You could really do that, yes.
Speaker 3:That there is a deeper layer to do with pop music. You can experiment with it. It's the way it's when you're trying to do something that sounds like something else.
Speaker 2:You never succeed.
Speaker 3:It's only when you go out of an analysis that you think it needs to be connected to yourself. It's your own code and it needs to connect to yourself.
Speaker 2:And with your heart.
Speaker 3:Absolutely, but where you're trying to copy yourself or others or try to make sounds like something else, that's possible and just possible.
Speaker 2:That's the most important thing. But you're also one that could take tasks, because right now I'm standing right outside when I get into your office today. I don't know how many gold plates and platinum plates, how many are there 13 times in a plate, I think, which is very surprising. But you told me that you could actually think of something to listen to when you write and have dinner. To make this tsunami song. How small are you? Is it a task you get almost overnight that needs to be done?
Speaker 3:Yes, it was the first time that Jens Oortwo called me. Jens Oortwo was the director for Universal. He called me a little bit. We made a support song the first time, so the song with Blisse Dürr and Sonia Universal went together. But the recording of the song with Blisse and the plate that heard the song was so expensive that they didn't want to make it a charity project.
Speaker 2:Then there was a chance to get some money instead.
Speaker 3:Yes, and that was a bit of a lie. We were in love. And he called again. Sonia was there, I myself had been out of Italy with my girlfriend. It was now and it was turned off. She was in a bad mood. We were quite affected by that. He called on Sunday and then he said a song that needs to be collected, the music project and make a big song for the offers for Sonia. It needs to be released on Friday. Yes, so it just needs to be ready tomorrow. Then I said I'll wait until tomorrow with a song or not, because you know it needs to be released. The machine needs to come. One of the songs that you can't have over here. It's not something you can get back, it's something that needs to happen. Then I started thinking about the track. We went out together with Rasmus Seabark and Nikolaj he was Rasmus Seabark and then I went home and then I sat with the melody there and then I went home with Sklubor and my girlfriend was trying to mix things up In the lyrics.
Speaker 3:She was like I'm not in the mood.
Speaker 2:I have to work.
Speaker 3:Yes, and the song is called Olypsus Seabark. It's just how small we are. It's a whole box. It's just how small we are, how small we are in relation to nature and in relation to the big picture.
Speaker 2:Yes, all the small problems that we have sometimes done too big, they are not really anything, exactly when you find a pressure, a setting, a statement. A statement or something.
Speaker 3:A capsule of the whole and explain why it doesn't exist. And then we went to the studio the next day and then the whole music industry and entertainment industry, a political bullshit, manager, everything was a bit done.
Speaker 2:Because of what?
Speaker 3:Because there are managers. People are under the roof, it's you, and it's you, and they don't want to support the song and the other thing that went out. One thing was to save the world, another thing was to make the world a worse place, but it didn't make it better, he was the most popular singer.
Speaker 3:It was the most violent fight in 6 days To make it successful. But it all started in the middle. It was the very central thing Anna Linnett, because her voice was just the core of it, and then they started to come, and then Ulrich Möllerjärnsen, all the actors and Mads Mikkelsen and Kat Pocressensen, and then it all started.
Speaker 2:It's always a bit like getting some of the big ones. You have to have some of them to blow them up.
Speaker 3:Like the others. And then it's all about freedom. I remember Peter Bigger and we were in the studio and it was almost empty Because we had been in the studio for 6 days and then the politicians were running and then we came out of UNICEF and the downloads were made together.
Speaker 2:Because it was so powerful.
Speaker 3:And it was so beautiful, and it has invested 5-6 million, I think, to different organizations. It's so sweet, it can be successful.
Speaker 2:Of course it can be successful, but it's very impressive. Now you're saying a bit of love and stuff, because we have a period before this when you, after the sound production, are you a solo artist and you actually have to write a solo sheet Is it before or after this it's before this.
Speaker 3:Because, it's back in, it's back in 6th, in the middle of the 5th.
Speaker 2:But where I actually read about it, where you said it was up Now, you had the same thing. Now I can hear you making an iconic song, but you were doing it with your solo sheet. Is there something that you want to be alone about?
Speaker 3:I was a bit. I was hanging out with someone who was A solo artist or someone you could be a bit behind.
Speaker 2:How many of you sat in front of a sack? A sack or a chief or a?
Speaker 3:Maria and Christina in San Osteroxen, even though I was in the center of it.
Speaker 3:I was in front of the figure I was in front of the other people and suddenly you had to stand out for something and I felt like a good singer or a good rapper and at the same time, my ambitions were extremely high and I had four of them all around me and I was just in the studio with a technician and I was in the studio with a technician and I was making my solo sheet and I was collapsing my own ambitions and I was. I was in a position to be good enough.
Speaker 2:But it's clear if you're already a young singer, five years I'll be the biggest rapper in the world, and then I'll be. You get a huge success. You're still very young. And then you suddenly realize that you have to show something that you've already said. It's good that you didn't say it often, but you've already built up your head. I'll do it to the fullest, and it must be a violent pressure Because you're still a young man in the 90s.
Speaker 3:I was. I was 20, 20 years old. That's what I mean, so I couldn't do concerts, I couldn't do live shows, I couldn't finish some things, so it was just a mass of open mixes and stuff and it never got finished and there was just some violinists who didn't get it.
Speaker 3:And in the middle of all that, I decided that we were going to do Black Mains second album At that point, I think, which is so complicated and so over-ambitious. But there were four musicians and he was a civilian Out in the big brotherhood and the whole thing was just the red light, and then I just wanted to do something that was completely English. And where I wasn't supposed to be central and I just wanted to sit in the studio and find it. And then I had some other sons and it was.
Speaker 2:It was actually free.
Speaker 3:It was made of soap. And then we actually took my studio time, which I was supposed to have used on my plate, and it was transferred to be soap, and the two guys here had made an interview with me at the school board which was called Spierne Down, or they were called Spierne, and they made a form of EXO's in the next one when the sound-structuring had a concert.
Speaker 3:And then we sat in the booth there and then I interviewed and they sat right on my head and they had sent me a demo-bond when they sang with Pierre to the Christmas year's congress On the garden.
Speaker 2:I remember that they sang as a whole group of kids.
Speaker 3:And then they were all in the group and actually all of them were in the police group. And Salina said hi to me. Because I contacted them and then we started soap and they spent the next few months of my studio time doing A Not Like Other Girls Plan which was signed to A Rykeris Plastic Scape Crave In the USA and Simon Fuller as a management which had led Spice Girls, the Backhams and then, managed over Euridmix, and then they started the big international thing. I was called by the makers.
Speaker 2:And how did Simon Fuller go with his management? Did you want that?
Speaker 3:We were called up. You were pretty sick. I remember that the record was totally in the air.
Speaker 2:Everybody else was making music. It was a huge deal, it was just a piece of cake.
Speaker 3:You just used money and then you got a loan from the mother.
Speaker 2:All the people I talked to had music to do, and you were also a DJ.
Speaker 3:I was on the roller coaster every day. I remember I had a glass of mint in my studio. If it didn't work out, I would have a taxa day.
Speaker 2:So you didn't have to pay for it.
Speaker 3:So I pressed it and then suddenly the party was over. We made a video. It was quite new that time. We made an EPK where you had a party A little bit of Not Like Other Girls Wishing. We made a small video. There was a whole video but it got so much traction, there was so much electricity around, especially in the party.
Speaker 3:Suddenly, the crowd called. We didn't know who was there. He wanted to meet us in Amsterdam. We flew down there. He walked down to a castle in Marseille, france. We flew down there. We lived together with Sam and Carl. Sam and Fuller and Steve Lipsen.
Speaker 2:It was a very violent setup.
Speaker 3:Sam and Fuller and Carl started working on Tb concepts. They flew Jamie King in as a choreographer, michael Jackson and Madonna and others. We also choreographed the song we called them a week ago.
Speaker 3:We wanted to meet them. We flew to a castle in Marseille. There were some big changes. I was in the same team with Max Martin and with Alten. They were signed by Sam and Fuller. We met with the overpowering. We were in a Danish setup. When you have a problem, you are in the same way you call the world at once. At that point, there were no systems. We didn't have a Sony-based setup. There were no attempts. You don't know what to do. How do you navigate this? It looks real. Fuller can run a show.
Speaker 2:You are completely in control. If I sit down and call all these people, you get impressed. You have to be right.
Speaker 3:He calls Sting. One day I ask him if he can write a song for a big football club the day after, sting sings with his historians. It's also full. Sam and Carl are all people they signed a new song. She was crazy but very talented. Amy Winehouse, it was in the middle of everything. You wanted to get back to that yes, and to know how it felt to be there and how impressive it was To drive him to Lufthavn, send him to London to write to S Club 7. I got a cover with 2000 points when I was sent to Lufthavn. It was completely wild and it was 22-23 years.
Speaker 2:It was so crazy. It was so crazy to navigate. You don't have a chance to do that.
Speaker 3:You can just go and see what's going on.
Speaker 2:And did you do it?
Speaker 3:Yes, I did. I wanted to be more mature. I wanted to be more fat. I wanted to have more of a person. I wanted to be a direct person. I lived in New York. I was the most popular person. I never met him. He worked at Crave. He was the director of the film. He worked at Crave in New York. He was there so up for signage. He invited me to his studio. He was a member of Fuji's. He was the youngest singer in the studio. I never met him. I was so excited.
Speaker 2:It was so nice to meet him.
Speaker 3:We were going to raise our voices.
Speaker 2:It was just a step on the wall.
Speaker 3:It was one of those things. It was about the mass education and the way I was doing it. It was about meeting up. It was a thing you learn that as an elder. Meet up and do something about it. And learn to be more mature or more mature, show up.
Speaker 2:Have you done management? If you have made a song that can download it, have you done management? Have you done it yourself?
Speaker 3:I was thrown out by the adults. I was thrown out. I was thrown out. I was not really someone I could. I was too high up. I was important to them. They had other things. I was too short. I was too short.
Speaker 2:It's always a hard thing.
Speaker 3:It's a hard balance. I was too short to find out who they were. I had to find the right person. You can see who was better Identifying when you were there. It's one of the most important things as a self-sacrifice, as a talent Identifying the right people you meet a lot of differences. You can be set when you are there.
Speaker 2:That's the guiding. You're still a young man, you're also 23 years old. You need a guide. You know who?
Speaker 3:it is, it's self-sacrifice. There's good people to manipulate, there's good people to sell and some of them are in the upper class and some of them are not. And because I think it was a relatively unbridled thing in Denmark with international things, there were not many who had thought of something like this Sledig as a singer.
Speaker 3:I mean, I didn't know who to talk to as a poplisher, who should talk to as a singer, but you knew that the poplisher was the least. I found that out. But there were no conditions that I knew at that level, that I was on the way and there was a lot that I had learned since then.
Speaker 2:And you saw a big warm-up tour with Backstreet Boys.
Speaker 3:Yes, with Backstreet Boys InSync, savvets Garden and everything. They had a huge tour around us. I went back to the studio and started to talk to my co-father, Joe, who had a very long and working time. I started a day at a event where I came out for a test session and the first season we did was we Fet Together, which actually reminds me of the Bams I played with, but it was number one on the TV show, the longest number one on MTV in New York where there was that chart show. Yes, exactly.
Speaker 3:And the first season was in the second season and without a set, which was pretty rare for him.
Speaker 2:He's happy to have one of these.
Speaker 3:You get a lot of stuff like that in the show where they're understated, they're in line and they're not.
Speaker 3:So it was pretty big to get something accepted from him and the problem was that the audience had a huge moment. And then 9-11 came and they removed all the positive, happy-go-lucky vibes from Radio USA and that was the most powerful moment of the day. But the day 9-11, he had a session with his co-father, joe, with Robin Swedish Robin and we had to do a girl war and one of the lines was that we were in the focus pause and the plane was flying in the World Trade Center and everyone can remember that day.
Speaker 2:It's completely normal that you can't remember that day.
Speaker 3:And it's actually true in the verses, but it also started with our collaboration and since then it's been like I'm flying up to and living on his home in Stockholm and writing a new song. Every time I was up there I'd stop the music, and the last song I wrote was Keep this Fire Burning, which came out, which also had a gold plate on it so we could see it when we got in, which happens the most I was on the way to Lufthavn and we actually felt that every time I was up there and something happened, especially when every song was on the stage and so on.
Speaker 3:But the last day we got a real break that weekend and then I was on the way to Lufthavn and asked what the hell is this track, and so on. And I was on the way to some tracks and I was like what is this song? It's a thing that reminds me of Brandy Food, moon and stuff like that. It's not the one she's been to.
Speaker 3:So she gave me her headphones in the box and I sang the whole Keep this Fire Burning. The whole melody, the whole text in one hook, in four minutes. It just came out. It came out and my mother died on that point and it's the whole thing that sings to me. So it's a free channelization and it's like a sound and we there's the wildest mood in the studio afterwards. It's just like fuck.
Speaker 2:Yeah, then it's good.
Speaker 3:And then I move back to Copenhagen and then one of them plays in the middle of the night the whole Keep this Fire Burning. And I get to go with the Swedes and they do fucking things and stuff.
Speaker 2:They do that. They have to work too.
Speaker 3:And they get wet in the air and it just sounds like a billion days after. And then I just hold it through there and then she's up the day after the bath and then she stands outside the bath and has a hip-hop track running in the chair and then it comes. People always talk about A-O, a-o, a-o, a-o outside the bath. And Flip is just like oh shit. What You're out there again.
Speaker 3:She calls Robyn, sings it. She says she's super cool. Call Martin Dot. Call him and say, ah, that could be right. So I let it finish. And then the same day, simon Young comes home to me and then he plays it for him and he says he has a new artist, kristine Mielton. He would like to have it.
Speaker 2:Yeah, was it Popstarz.
Speaker 3:Yeah, it was Popstarz I think, and maybe it was supposed to be Popstarz and then it's like a few weeks after we played it, it turned out that there was Joe because there was another thing that couldn't be done. We played there, and then Kristine comes home and then Mue calls Jamie Nadsen and wants to have it for Jamilia and Jamie. He has Kyle Minogue and one of the best NRs ever when it comes to singing for English Radio, so he wants everything our things to the film and it's a really great song.
Speaker 3:Yeah, you can hear it, because you also need it.
Speaker 2:It's a really great song.
Speaker 3:But if you're going to choose one you can't tell me when it's going to be, because you can trust yourself enough but you're going to choose one. So, nrs role, all of those roles are in the world class, for example, around the world, but where it's located in the local market, and it's a bit more random that some could call themselves NRs, but it doesn't mean that they had a good time. Yeah, they had a good time, no. And then you can meet some of the UK and US that are exceptional, and Clive Davis is the best example.
Speaker 3:Yeah, you have to say that it's completely random, exceptional, to hear and identify when a song is there, and that's not cool, jamie, and that's why he was so busy with choosing something, because, if you, this one is going to be, there's something really cool here yeah yeah, yeah, and Christina is going to be the first to go out and also goes to instant number one I have home and go to Sweden and Norway, and then I go to BMG that's the name of the place then to last single, last single, and Timilea doesn't want to actually play the song until he starts with it. And then the other one. It's a little AAO, aao, aao, nectar. She's playing. Okay, so it's a silly place that today. It's a little bit of a mess that we're keeping.
Speaker 2:That was fun. I have a remix of it. Yeah, I know, same with Meiland. Yeah, exactly.
Speaker 3:And then it ends with that that that Timmelia's first two seasons weren't going so well, and then it's out of the Superstar. Yeah, it goes really well and then it's Number Four most played songs in the UK in ten years.
Speaker 2:In the next ten years. Yeah, and the most played song in what 2000 and yeah yeah. Three yeah, is that it yeah, yeah.
Speaker 3:In.
Speaker 2:England, where you actually have to take a huge price for it.
Speaker 3:Yeah, then we get Ivern de Velo, who is who I didn't know anything about before, and he found out about it when we were so used to it. It was a big price.
Speaker 2:He was written in on the step on the railing, no, no no, no, it was that incredible gift that could come of things.
Speaker 3:But up in the years you've never had anything to dream about. But yeah, that song has been very central in everything for me.
Speaker 2:It sounds like, even though you say you haven't found the right people in the long run, there's still the chance to get some good cooperation that has made it possible to get rid of the mistakes you've made yourself. Absolutely, I mean they're really when you actually faced when you were sitting with it. You could see if you had to use it for the others as well. Absolutely.
Speaker 3:What I mean is that the right people have been people who I started with with soap. It's actually been a yes for winning, even though we have a certain broad story. But his ambition level was the first time I met an ambitious man well, well-known so you can say a lot, a lot of history to those things. But there were some visionary people around him who have also helped. And then there's been Tifron in the satire, there's Thomas Troulsen, there's been Godfather Joe.
Speaker 2:But they're also great people you've worked with. Well, they're great people.
Speaker 3:Where you suddenly get to be a magician. So I think that writing music and creating music is really a collaborative effort. It's a collective effort where it's very democratic, where it's very clear that there's use for everyone and it's used by all the geniuses, for the students, so there's use for someone who can choose to find out what is genius.
Speaker 2:Exactly.
Speaker 3:Because the thing with Joe, for example, is that when we write together primarily me who writes the melodies and the lyrics, but he re-wrote them. So he says this is the use, it's the move around. So this hook he starts with the line instead ends with this again, this one he's a machine worker, he could really sort it out. And Mick, who is not the world, he's not a composer, he's not an identity producer, but at the same time, he knows exactly who he's calling for, who uses this song live in the world. And he's called Godfather and he's the father of God.
Speaker 2:Exactly.
Speaker 3:There's no one he's worked with for Godfather. And I haven't heard it before him and I haven't heard it after him. He's absolutely amazing with it. So it's something with that and you can also see it in retrospect where, as a young man who has an energy and has his will, means that it's the turning point for the whole world and to forgive it completely. But in reality it's just the context you put it in and even sometimes the most sad people in the audience can be some of the most important ones.
Speaker 2:Yes, it's like a football team, instead of using something that you have one that's good at scoring goals. If it's that, my other one doesn't take it with him or something like that Exactly.
Speaker 3:And that's the whole thing, even though there's one who's the world and scores goals the goals should be up on the bench first. So I've found many incredible people on the way, but in terms of management, there's almost no one to build with their own, like I've done up here where we are now, where I've built a little community of different societies where there's a lot of these things that I can build management and can build a publishing company that manages me. So that's the conversation I'm in.
Speaker 2:Since then, after 35 years, you've been with the whole team.
Speaker 3:I've built a safe place where things can develop so you can hear the studio going on. Yes, I can hear it. There are artists around me who are written songs, there's social media, things like that, there's the museum people, and it can coexist. It's really exciting, and then we just have to find the right talents.
Speaker 2:Yes, when is the music now for you?
Speaker 3:It's just started again.
Speaker 2:You've been holding a break for at least 10 years.
Speaker 3:But it's not because the music hasn't been there, because for me it's also music. When we make music and create music, it's also a musical line, and that's music In so many ways, both locally, but also in Sweden and also in the main room, and there's music in the whole. X-factor made me get away from creating music because I started working with other people's music and that's where the creativity came into us. How did you build a song for that artist in that room?
Speaker 2:But that's not what you learn more about, because you can see that in the group with visuals, how you create a room that can be something else than just singing.
Speaker 3:You learn some things about X-Factor, even though I know that mainstream programs are big setups to make one song in 2.5 minutes Exactly, and that's what some people come up with, yes, but where I have a lot of uncertainty about what I'm doing. It's also a religious approach to making music? That it's not in any way. It's life or death.
Speaker 2:It's up to you. It's also been the last few years. We also have our consumers, but I'm very proud that you should know that Because it's about you. But you are very compromise in what you want to do, but you choose to do the most difficult things. You do.
Speaker 3:And I was just wondering if it would be 3 am and people were completely silent.
Speaker 2:It would be nice to be like that.
Speaker 3:No, exactly that's the thing, and that's something that I see. It's the whole purpose of me To go up in the right direction, that there is a different answer to it, and that can only come through when you're really fighting for the world. For me, money and everything else is a result of the right, so what it's about first and foremost is get it right, and what is the most important way we can solve the problem, or what is the most simple way, but how can it be solved most efficiently? It's a central thing, and I'm not really sure about it, because you communicated to the next 2 million people.
Speaker 3:Yes, it was the first years and it was also because of that, because it wasn't just a cover song and you can see it as a work. You have 2 minutes of work and you have to make people forget all the other artists in the world and it has to make them feel like they're an artist. They get it in one song and how you can communicate with the person in the scene, how you can make the story in a short time so that you can understand it in 2 minutes. And I think it's a really exciting work. And I also put it in because it came to the point and it's a process that's on the museum and it's also up in the studio and we make a song or a mix or something. Then I write to my work and Jonas tries to put the red on it and then we come down and test it in the evening and then it plays down on the museum and we can post it out. It's fantastic.
Speaker 3:And then to the whole circular energy, where you can test things and then in real time, it's done. And then it's done. We're sitting right now on the museum, in the offices here. The students are in the back room. We can go down and test it. We can go up and mix it again. The whole ecosystem is something I've dreamed about the whole life. Is there no idiot who can stop it?
Speaker 2:No, there are some who would like to be part of it.
Speaker 3:There are some who can't say no. There are some who can't stop a good idea. It can't make a bad idea good, but it can make a good idea too bad for the group.
Speaker 2:Are you learning from your early days, where there are some who say you don't want to be on the plane? Exactly so that's something you've been trying to get from it.
Speaker 3:You can't say I'm not that good at it.
Speaker 2:I can have some cost-per-lence we have on sms. We can do that. We'll take another one.
Speaker 3:I'm not that good at it. I can't stop it. I have things in my head.
Speaker 2:You have to get it out of life.
Speaker 3:You have to go on a tour. It's like there's something burning that's going to.
Speaker 2:You have to get over it and try it.
Speaker 3:And you have to try it. Now, when you're inspired, you've tried it. There's a radio-blogger or an ENR or one or the other person who doesn't understand it or just wants to decide, and then stops the flow of an idea Without a reason, so it doesn't make you survive. A little joke, and that's my biggest frustration on my head, that's my biggest ambition that it doesn't mean that it's a bad idea to be good, but there's no need to be that way.
Speaker 3:But a good idea should be good. You have to get a nurse and get tested and then we can get better at the next one. So it's the same with the whole, or the biggest gift in this setup. We can do that, and I think the assistant will create something unique that we've all already started with, because you can hear things in the club. You can't hear other places. There's only the Wessers.
Speaker 3:And it's made a special thing, the organism is evolving, but a lot of creative things are getting deeper and deeper Because there's no one to stop, because there's a place they can grow and grow, whether it's the dancers, the visual people, the DJs, the producers, what it is, and I think that's what we've done together.
Speaker 2:With one person. I'm very proud of that.
Speaker 3:It's a good thing, it's a deep formula to just be able to drive in a world-class environment.
Speaker 2:And maybe it's a little longer in the thing. That's right. You have three children and that's the biggest thing to go into the music industry as well. Yes, how is that? Have you spread it out as a little bit with music have you said to get away? Because I think you have some experience in the whole way as a gangster and she has been a gangster. She goes into it too, right?
Speaker 3:Yes, I mean yes, how is that. Well, the first thing I want to say I never I have always been able to see her through the eyes of a very charismatic and very mature person.
Speaker 2:It's a very artistic thing. She actually does things in a very artistic way and poetically.
Speaker 3:She has written a lot of novels, which is very detailed and has also been deep. But what a relatively introverted into her being on words, yes, and then she comes back and says actually, I'm going to play a concert on Thursday, so a concert.
Speaker 2:Do you want to play a concert? Yes, yes.
Speaker 3:Yes, but she sings, and that's the first time it happened to me. Yes, and as I have always had, I would never want to go into the music industry without thinking that you have a completely certain call with it or that you don't know what to do, because otherwise it's just too hard. It's just too hard to fight if you don't have a that it will be completely natural.
Speaker 3:It's just too hard, or you have to be super manipulative to manipulate some talents, but that I would never want to be that person. So I say no, I've never had a desire to do anything about it. But when I have experienced what her parents are like, I just have to tell them that she has a very special reason to do it. Yes, you will need it. You will need to fight with it.
Speaker 2:Of course I will fight with it.
Speaker 3:But if you want to support her, I have to say that her call with this is she has a good spirit, she has her own way and, as she said a lot recently, she said and I have done it myself, I said it's true, but I have made you, I have all the parties in the universe. That's the only thing I can tell you about that's actually my.
Speaker 3:So that's your DNA that we started with no, no, she has done it herself, she has created it herself, she does everything and she is at a level I've never been on Artistic and it's very artistic and it's also a fantastic thing to see. She is completely Jesus Christ is coming, she is just fantastic and I'm a fan, really yes.
Speaker 2:And have you treated her as a child? And just like the two of you, are you playing music when you have children?
Speaker 3:Of course, they have been used to, and sitting on a rhythm box, they have been used to seeing things to be created, to be seen by the fire, different energies, different people in and out. There's music everywhere. There's something happening everywhere. I think they are really an example of what you can create here in the world. You can do something, you can move something. It's important to be active, to give input, to be quiet about things and meet up, as I say, to your possibilities and then use your life for something and know that there are millions of people who have existed on earth, that you are the only one.
Speaker 2:Yes, like you. Yes, there is only one.
Speaker 3:You are one completely unique creature. Everything that is happening to you is essential for the whole society, and that sounds basic and trivial, but it also sounds very right.
Speaker 2:But it's also indiscutable.
Speaker 3:Right, and that's why we need to support each other and become the ones we need to be. And, most of all, we need to be aware that we have a reason to be here and there's something we can do with it. That we are, that's very special for the world, Regardless of what happens. If there's nothing perfect, but everything you have experienced, seen, felt can be used for something. Yes, so that's what I would say if something I had been unconsciously would have given my children that would be it yes, and if I had been more conscious, I would support them in what they wanted Exactly.
Speaker 2:You should also say that I don't have any ambitions on my children at all, other than that they will be happy and happy. Exactly. That's how they have to do it, just as they want. Now my story has also gone into the music industry. I think that also Halne Kaffmann, who has been doing music for 20 years, still thinks oh, I did it myself, so there's not much in it.
Speaker 3:But then I would also say there's a point where I could say when you can do it at that level, halne is also super successful. Yes, he's also a great fan. Yes, and then it's just keep your rights. Yes.
Speaker 2:Yes, and it's really hard to read. Have you read anything about it? No, I have.
Speaker 3:I try to read but I find it really hard because it's really something that, as I would say, you underestimate. This, which is at the moment while you're writing, it, is that it can be a meaning for you for 30 years. Exactly, it's a meaning for your children. You don't have to take it lightly. You have to keep your rights, you have to be careful to place them in the right setting and take care of yourself.
Speaker 2:It's your children, it's your yes, there are some papers and works that should be done in all of this. Yes, and think long about it.
Speaker 3:I was also typically the same. There was also a single coming out, and then it came out on the list after three months. Yes. Or when it stopped with what it had, yes, and then, one year after, you could have bought a 5-i. Yes, a little TP, exactly. They were left with it, it's good to be able to give less in the first three months they live in the last ten years.
Speaker 2:They live in the last ten years.
Speaker 3:Then you come to the list and you just have to remember that.
Speaker 2:And then there are a lot of these here that you can see that are very different from what you would call a little bit of Collins. I was in the police and there is also the right to do things like this, that make gigantic profits now for what you have done 50-50 years after, and had they not even had the right to do it once but had bought it out on the songs, then you might not have had that much today. So it's really important that you take care of your things and keep it going. And it also tells something about you.
Speaker 3:Yes, you know Venture Capital Fund. They don't go in and run anything for 25X. No, Do you know why?
Speaker 2:they started to buy it.
Speaker 3:Yes, it's because they have arranged it all the way. So it doesn't make it too fun.
Speaker 2:I have read articles about it that many of them have bought it out. They have the right now to get it cheaper even if it's a huge profit than to produce new music, for example for games and things like that and for the internet, because then they have the right to be able to buy it as they want?
Speaker 3:Yes, among other things, but also the fact that there are I can't remember how many new millions of devices that are coming, that are being activated every month all over the world. Yes, absolutely and they are all on Spotify or on some of the services that are there, so the use of music is far greater than some have been before.
Speaker 2:Yes, exactly.
Speaker 3:And when the whole world comes along, which is unethical, then the market will double, many double. Yes, exactly, and that's what they're all on about. Yes. And then you can see when the accumulated value over time for a right it's more valuable than real estate. Yes.
Speaker 3:And I can also see that on songs and that can be some songs you've written for 25 years that have never been something that has been out in Portugal or in Korea or anywhere else, but still generates a different world. Yes, that's it, and when you run a big cat's loa, then it's certainly the cat's flow all the time. That is growing exponentially. Yes, that there are more and more users for these services.
Speaker 2:Was it Michael Jackson that saw it pretty early?
Speaker 3:Yes, he saw it very early.
Speaker 2:And that's where he was actually red-handed.
Speaker 3:Paul Marcartner, I can remember to say you should put your money in other's music, and then you could buy a car. And then you could buy a car.
Speaker 2:Michael Jackson saw what you actually sees all the time, called ettrol, and they are a good friend that is� mucho sacrifice.
Speaker 3:Did you actually wonder howالong this has been for Pharisee? Yes, exactly, it vous rais. Yes, he tried to buy Marvel because he thought it could be a big film and it didn't actually exist. As a film rights and I saw the potential of it before others and then that part got purged in a way. But he was a predecessor to so many things and saw these tendencies far before others.
Speaker 2:He had some good savings, even though he was also a newbie several times, that's what I've been told.
Speaker 3:When it's in the middle of the road, you do something really different. You see it so wrongly because you've taken some of it.
Speaker 2:Which you yourself have been Exactly Several years ago. It's hard to not go into it. Remus, what's going to happen? How far are we in music? You're sitting and doing something you can see and hear. Is there going to be any sun from you again? I don't think we're going to change that.
Speaker 3:But I think I've found something important for me A partner that I could save with First Cold Folder Joe. I got to know them. I got to know Mick and his new friends. We broke up in the same way. Thomas Trudelsen was my partner for many years. He lives in Portugal. He loves Thomas. We work together. He's a great guy. Chief went through his transformation. He became a solo artist and became a drummer. It's a big challenge and a big discipline.
Speaker 3:And many things. Typically, when things are hit, there's no problem, there's everything, just a total hippie and love, respect and respect. And when you're hit, there's problems. But I haven't found the right constellation. I met a young guy last year. He was playing random music at his altar and he made a remix of Superstar. He played the most random music at his altar. It was a vibe. It was a remix of the music. He wanted to play something on the club. I hear it myself at the museum. He plays DJ in Paris. He plays the genres. He's playing some stuff. Then someone else comes and writes his own sessions. We started with a以前, basicallyぎλυμ ze ser spath. It's important.
Speaker 3:We tested it at the club. We made the new remix of Superstar.
Speaker 2:And once again we were the original demo singers.
Speaker 3:And that version was also fantastic. We also played that on the club now, and then we actually started with Made in Europe here last week which is really cool, that would not have been included in that.
Speaker 2:You actually rapped on Made in Europe, didn't you? Yes?
Speaker 3:yes, yes, I was 19 years old, but we then started with another mix here, which was also fantastic. So now I'm starting to see a project that is actually to take all the old things or at least build the foundation on a lot of the things you have done in new versions, new games, a new take on them, so that they are gathered in a place.
Speaker 2:It will be a big. It will be a big Remi box.
Speaker 3:Yes, but it's a different kind of yes.
Speaker 2:It's your life, isn't it? Yes, it's a different place and you get older. It's not something we should talk about, but you get to want it and then you realize that you actually have left it a whole lot. Even if you don't think it has to be so structured, then at times you see, I think, a line in that how big am I going to be?
Speaker 2:Are they really aware that I have been in the prison in 1904 and would like to play boards now, and I'm here on the highest floor? I mean, that's the trend that you might have been up to, isn't?
Speaker 3:it, yes, and all of a sudden, the whole story is very clear and that's exactly what it felt like, because we were inspired every time we took new things up. We have the next ten clear, we know the next ten and it was like, okay, cool, then you can do it like that. And it's never been done, because it's just given the hands to others, sometimes with great success, but never, maybe, what you actually wanted to do with it and not what you want to do with it today. So, instead of being super stuck many times a year in all kinds of different versions and really many also, and you're getting new every year almost.
Speaker 3:In Germany last year or in Italy or in France, but you could be funny or something you yourself wanted to hear about in that version, and that's kind of a new project and where it ends because then it's naturally all of a sudden a new piece is written or some of the songs. There's never been a song with a saxophone, maybe six or six minutes of things that I haven't touched on because I haven't had the right setup and I haven't just had the calm that is now up.
Speaker 3:It took a long time to build the system that is now being made, and first you have to learn to build a naik club. You have to learn to build social media, you have to learn to build and to fake a label, and you have to learn to build a social media system and you have to learn to build. All those parts that are here now have taken me 20 years, longer than planned and now it is here and now. The whole thing is just to put new inspired music into it without being stuck here and doing it, but just do it because it's cool. I'm happy to know that all the time.
Speaker 2:Fantastic Grimes. To finish, I've asked everyone if I should make music for the funeral and for you. I think now I know you, so it's really good, and you're the master in stage setting. We can't do two. Let's go out and eat. We have to have a choir that has to sing for us. You see the big picture in it and set it up. How should it go? When you have to be buried, it's a bit difficult to translate I mean it's also because I'm listening to myself.
Speaker 2:It can be arranged completely before you think you'll be allowed to be allowed to be written down.
Speaker 3:No, I'm most interested. It's a really cool project.
Speaker 2:Maybe you're in the right time it can actually be.
Speaker 3:I hope it's a long project. I hope so too, but it's actually a very good idea to start doing some things, and then it can be done properly.
Speaker 2:I know how sad you will be if it's not done properly it would be great.
Speaker 3:I remember they made. It was so sweet. They made here in your life with me, which also happened in a radio station. It was so nice but I couldn't really keep up with it.
Speaker 2:How did you get up there? My advice is actually to do it yourself.
Speaker 3:It's simply something to arrange on the stage.
Speaker 2:It's just a matter of time. But when I know what to do, it's actually too late to start.
Speaker 3:I think it's a really bad idea.
Speaker 2:That's what I'm thinking about. Do you know what?
Speaker 3:a song should be if it's done properly, if it's just to be translated to someone else.
Speaker 1:Where it's almost done properly. They don't have to do it.
Speaker 3:They would like to invite some of the guests. But to the after-party. Yes exactly Some of the guests.
Speaker 2:I still play if I like it.
Speaker 3:But if it's just to be completely English, I would say Knock Randy Crawford. One Day of Flyway, Wow, beautiful.
Speaker 2:I think that's what we should end with, isn't it? Thank you so much for joining us.
Speaker 3:I've been so proud.
Speaker 2:Thank you so much for joining us on this week's Musiker Lokal podcast, Music mid-druck. I hope you've enjoyed the music of the Tryllin Universe and found inspiration for your own musical journey. If you'd like to listen to today's guest list over the youth song, you can find the list on the Musiker Lokal 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. Until next time, let the music continue to be your trusty leadership series. If you want to listen to good music and good knowledge about the real world, you can find Musiker Lokal right under the Nightclub Mosaic in Lille Kongenskade in København.