Jocke's, Martin's and Sami's posts translated to English

[luckyguerin13]

I wonder if I say it IS about the Norway massacre if he'll come here and yell at me too?

[stjärnor]

Catching up with the translations (sorry for the recent slowness) and some posts from Jocke. The first one is from the Jocke + Avicii = OMG thread (which was recently discussed in our Live thread) Jocke is responding to the usual forum comments when he does anything outside of kent:

I am above all a songwriter.
It is what I do and what I find most satisfying.
To write, arrange and record music.
It is enormous fun to write together with others after years of self-imposed solitude in the house (chamber? ).
That Martin and I began to write together again, in the same room, became an enormous boost for us.

But is also really nice that sometimes now and then you don't need to take the music the whole way from the writing pad up to the stage.
For me, songwriting with others outside the band is a liberating break from our and my words and tone world.

kent make an album and everything around it, promo, video, cover, etc and then begins a long rehearsal period before going out on tour.
This process takes 6-7-8 months.
It is fantastic fun but also very intensive.
When it is over after a tour, you are totally empty.
Then you need to fill it with new impressions, experiences and learn new things.
Which is what happens when you work with other people.

I write music the whole time.
We (kent) have always had the outlook that music is a perishable item.
Like milk.
When it is written it should be recorded and published in any way if the possibility exists.
Provided that the music has the quality one demands.
If songs lie around for a while I/ we tire of them and write something new.
Most of the kent-songs which become an album are relatively newly written when the recording phase begins.
In our case it is almost a must.
Old songs are often butchered and become parts in the new ones.
An intro here or a bridge/a stick (?) there.

You can think what you want about the different projects I have been involved with in recent years, but I Don't Care what people think.
As usual.
I do what I think is fun and what I want and believe in.
I work with other people I like and try to be better and better.
I still haven't written my best songs.


A swedish fashion magazine, Styleby has recently done a feature with Jocke and his wardrobe. (some behind the scenes photos here) A forum member (who posted the press release in the swedish thread about the article) says: "...expect a lot of Rick Owens, Carol Christian Poell and Julius"

Jocke replies:

Don't wear Rick any more.
Too poor quality.


The original poster replies by saying that Jocke wore Rick this summer, so Jocke responds:

What I meant was that I do not buy it anymore.
The jacket I wore this summer was the last piece I bought.
And it was a few years ago.
His things are really comfortable, but everything breaks.
Besides the lining on the gig jacket broke.
As it always does.
He has the silhouette but not the quality.


Just as a little aside, if there's any swedes reading this with a copy of the magazine, it'd be really nice of you and much appreciated if you could upload a scan of the article for us international fans to see. If I find time over the next few days (I have many presents to wrap up for Christmas) I might even manage to translate any text too.

[timegirl]

My friend translated the Styleby article for me and some other friends and she let me put the translation on the forum, so here it goes (can't provide scans coz she got it on her tablet, in e-form):

Kent's frontman is the proud owner of Sweden's sharpest wardrobe. He's opening up the doors of a dark heaven for Styleby and Chief Editor Jonna Bergh.

Even when he was a little boy and drew comic series, Joakim Berg has already been aware of the power clothes can have on a character. That clothes can protect you from more than the cold, that they can give you self-confidence, that they can make you belong or into an outcast. And, not the least importantly, they can make you "look totally cool."

All this becomes very clear when you look at Jocke's wardrobe. In nearly one and a half decade, he has been consciously and sure-handedly researched, hunted down and bought elusive and experimental clothes that now are hanging side by side with catwalk classics. Without a doubt, there are many, many, many hours invested into these. And - evidently - many many many hundred thousand bills. There are staple clothes in the form of jeans and shirts (and a smoking) by Balmain next to clothes of the equally exclusive but more experimental kind like Julius (if one wants to be a gothninja), m.a+ (top notch production, fantastic materials) and Boris Bidjan Saberi (cool trousers). There is also an impressive collection of clothes from Dior Homme's Hedi Slimane-period from the middle of the 2000s. Tough accessories by Werkstatt München, m.a+ and Shaun Leane /misspelled as Sean in the original article - tr./, among others. And the many shoes, coats, trousers and even more leather jackets by the designer who is the clear star of this collection: the Milan-based, eccentric - and awfully expensive - vanguardist, Carol Christian Poell.

Jocke's wardrobe is unbelievably impressive and shows not only good (and consistent) taste, but over time even a deep love of fashion design with thought that is superior to trends, a focus on quality, together with a will, and the financial strength it requires, to create the perfect wardrobe.

Despite these, Jocke's name comes up unbelievably rarely when the best dressed men of the country are mentioned.

"I don't really get much reaction to my clothes, but it's it is not something I want, anyways" says Jocke.

It is the day after the photoshoot when STYLEBY dressed a whole gang of people in pieces of Jocke's wardrobe ("It was a little strange feeling to see them in my clothes, but I saw also a kind of... work."), today he is wearing trousers by Boris Bidjan Saberi and a shirt by Julius.
"It might sounds strange that someone invests so much time and money into their wardrobe as I do, but I am absolutely not wearing these clothes because I want others to think they are nice. I am totally uninterested in that. I am of course really happy if I get complimented, but I dress up for my own sake. Actually. I, for myself, think they look good and that's enough for me."

What was the first thing you wanted to wear?
"When I was about 7 years old, a friend of mine came to school in a pair of brown cowboy boots with a star on the shafts. I remember everything in details even today. Me and my mom found a pair of boots in the shoe shop in Torshälla later, a pair of boots with chequered lining. But they were too expensive so we didn't buy them. But that was how it started, that was the first time I really, really wanted to have something."

Jocke took his first style risk after the christmas holiday in 8th class, when he went home from the autumn term as a metalhead - but came back after the holidays as a synth fan, because he realized he liked both that kind of clothes and music more.
"Wide, black trousers, black loafers, synth haircut... I didn't get to hang out with the synth guys tho, such a sudden complete change can seem quite suspicious, after all. I think people just thought that I was very weird. But noone said anything nasty - and I have to say I was very brave that I dared to do it."

In Jocke's world the visual expression stands always in relation to the music he, alone or together with kent, gives out. Already when "Kent started to happen" (Jocke's expression), they understood how important it was to create a unity that is above the individual members, a visual expression that could stretch over the whole spectrum the band represented and gave out - CD-covers, photos, videos, tours. There were many role models, Jocke names Pet Shop Boys as an example for a band that always managed to convey a consistent expression both musically and visually, " a world that is clear and individual."

"And that, that we never smile on photos, we also stole from them" says Jocke pleased.

"An easy way to create a unity as a band who didn't have any money was that we went to Myrorna /a Swedish second hand shop chain - tr./ and bought a suit each. Not because it was especially cool or something, but because it was simple. Noone had a suit on at that time, it was the 90ies, when all the hipsters wore old T-shirts from the 70ies and 80ies with prints like "Sempers barnmat" /Semper's baby food - tr./, Lindströms Åkeri, Örkelljunga /Lindström's Transport, Örkelljunga - tr./. I have always been interested in unity and consistence. And clothes are a part of it. I think we've been good at keeping to a straight line in our career, I am proud of that. I think we've been good at that, even if we maybe had some not so good periods within the borders. Like when the whole rock wave came back around the millennium - keychains, tattoos, studded belts, bootcut... Even we, like most of the others, got sucked into it. From a style point of view it was a bad period, but it was cool too, in a way."

It was a long time ago when Kent had to wear old suits - before the tour in summer the shopping round was done at the favourite shop, Darklands in Berlin. Darklands is one of the more famous shops for the brands that are a bit out of sight for those with ordinary interest in fashion, and it provides the bigger part of Jocke's wardrobe. Together with the shop Atelier New York, this is the place Jocke usually shops at. Both shops are world leading when it comes to exclusive, avant-garde clothes for men (Darklands recently started selling women's clothes too).

Both shops represent Carol Christian Poell, Jocke's absolute biggest idol among fashion designers. Jocke talks about Poell (tho Jocke says "Carol" and no, they haven't met) and his clothes with the greatest admiration and respect. It was discovering his clothes that really set Jocke on the track to the style he has since then followed.

"I advanced a bit clothes-wise in 1996/97. It was purely a question of quality. I was bored of the sweat-smelling coats from UFF and Myrorna. We had received some money from the record label before the first album - not much, but I had absolutely no money before, so it felt like I suddenly became rich - and I spent a big chunk of it then. At Paul&Friends in NK they had a very sharp buyer at that time who took in good stuff. Tom Ford had just started at Gucci and the brand became very much 'in' after many years in slumber, I remember a pair of nice loafers among others. I found also shirts from Carol Christian Poell there, a brand I hadn't previously known. That was the beginning of a long - what should I call it - love affair? The shirts I came across at that time must have been from his second or third collection, so I was an early bird. Under a three years' period I bought three shirts, three jackets and a coat. That was all that was to be found. The thing that still surprises me is how good quality these stuff are. I have kept the shirts, and use them, even today and not even a button has fallen off. So that was when I took a kind of mental step - both quality-wise and from a financial perspective."

It must have been very hard to find these clothes at that time?
"Yes, that we began to tour in Europe with Kent was a pre-requisite to developing my wardrobe. There I could come into contact with shops which had more experimental and special stuff. In those days internet was not the same as today. There weren't any good search engines or online shops, as I remember. Finding these clothes required real detective work, but at the same time, that was something I appreciated - and still appreciate."

Other than Poell, Hedi Slimane has had a big influence on Jocke's style. Hedi, today at Saint Laurent Paris, came to Dior Homme in the beginning of the 2000s and led the rock influence straight into the finest parlour of fashion. At Dior Homme he completely changed the way modern men dress. The silhouettes became thinner, darker and cooler. It was an enormous breakthrough.

"What music Dior Homme played at their fashion shows had the same importance as how the clothes looked" Jocke remembers. The Luster-collection (AW 2003), when Hedi was influenced by the electro scene of Berlin, is considered the climax of this successful period, and it is also the one Jocke values the most.

"It is still my favourite collection of all" says Jocke. "Everything was so different from what had been before, it was so dark and extremely cool. I still think of the Napoleon-jacket from Luster as 'the one that got away.' Sometimes they auction one off for as much as 10,000 dollars. Actually, there is a good second hand price for nearly all of these stuff, but isn't that a little too much for a jacket?"
However, the smile that accompanies this betrays that Jocke hasn't yet given up on Hedi's Napoleon-jacket as a possible future catch.

Would you call yourself a collector?
"There is definitely an element of collecting. But I'm not buying clothes to archive them, I'm buying them to wear them. I do think that's what is cool about them, that they are actually consumer goods. I arrived to the point where I felt I was too old for ripped jeans and Converse, I wanted to dress like a grown man. The clothes I wear today, I will be able to wear for the rest of my life both from a quality and a style point of view. If I manage to keep my weight stable. (laughs) The clothes I buy are absolutely not tied to seasons, which I love. It is pretty much the opposite of how it works today with other brands. There are main collections, cruise collections... I mean, there are collections all the time. Most of the designers I wear work against that trend."

You put unbelievably much money into your wardrobe, Poell's leather jackets cost around 40,000 kr. Do you know how much money you have invested into it?
"I usually console myself with the fact that most of them have a very good second hand value. I have sold some of them, actually. And not everything was bought at a shop, a huge chunk of the stuff is a result of long hours of searching on Ebay. But sure, I could count how much money I have pumped into my wardrobe if I wanted to. But I don't think I want that. I am sure that some people would react negatively to someone investing so much into clothes - but then we are at the handbag debate again. Like, cars are okay, but clothes are not looked at in the same way. But collecting is somehow always about the feeling, to get something that makes you feel good. And I don't have a driving license anyways." (laughs)

Jocke's latest buy is a limited edition suit that Poell made especially for the ten years anniversary of Atelier New York (which was held in October, Jocke, as a patron, was invited to the celebration). Jocke got his hands on the first one even before it was out on the market. The staff in the regular shops has become friends and if you meet a "fellow Carol-fan", you nod to them (the musician, Seal is also a loyal soldier of Poell's army, and "Springsteen doesn't only own flannel shirts, to put it that way" says Jocke.)

"Right now I'm into this uniform stuff, and I like suits. I want to have a white suit. I know that it's extremely impractical, but also extremely beautiful. I'm torn between a desire for suits and a kind of "country look" - I love the style of the last century, the dressed up working class clothes. The brand Label under Construction makes very nice clothes like that. You can also love them for their regular use of recycled material."

Women's fashion is nearly exclusively superficial - the good old "does my ass look good in this?" - while men's fashion is often focused on the story behind the clothes. What are your thoughts about that?
"The nice-ass argument is also true for men, but we like to phrase it as "this material is trampled by cows in Nepal before it is sewn together", to hide the truth." (laughs)

Poell's silhouette is very thin and nearly armor-like, you can't be overweight and wear his clothes. There is something nearly feminine in forming the body to the clothes in a way that has never really been traditional for men.
"Exactly, I think that is one of his points. He would probably not put it like that, but I think that exactly these thoughts are behind it. His stuff is prominently about control. There is a bondage-feel, to control your body, to fit it into an armor. There is the will to fit the body for the clothes. I find it exciting, but a bit dangerous too. Somewhat unsettling in a good way. The thought can be nearly a little fascistic and I sometimes think "I'm not sure I like this" - from a solely body point of view. But in the end it all comes down to the fact that if you put on a coat by him, you look like a million dollars. 'Does my ass look good in this?' and so on. I think one can look very cool in his clothes."

Your clothes are not exactly saying "come here and talk to me please", they are rather saying "I am really tough and I want to be alone." Is your way of dressing is also a kind of... protection?
"Obviously there is a kind of setting up the boundaries at play. I like the thought of an armor against the world, that clothes also have a kind of protective function. But they shouldn't stand out, I don't like things that stand out, whatever they are. At all. I want to be able to pick up the kids from kindergarten in one of my leather jackets without it drawing too much attention in that way. Only when you look closely at it can you see that it is a bit special. That's what I like. That from a distance it just looks... black. It's the feeling of being inside it that is powerful. It's also about quality, wearing these clothes are enormously nice. In the past I could put up with uncomfortable clothes, but not anymore. If they are not by Carol, obviously. I can put up with anything at all for his clothes's sake, and his clothes are not always that... comfortable." (Jocke has a pair of trousers in which he can't walk the stairs)

You are mentioning quality all the time.
"When you have bought as much shit as I have, you realize how much it means. I can't stomach paying 5000 kr for a shirt that loses a button the first day. Things like that make me so pissed off. There are many brands that have the silhouette, but not the quality. I have noticed that many raise the price, but revert to a worse quality. I hate that, that makes me very angry. Noone would find it acceptable if a wheel fell of a car, but if it's a button that falls off or a stitching that loosens, it's cool. Unbelievable."

What are your thoughts about your private wardrobe versus the clothes you wear at work?
"I don't differentiate much between clothes, and I absolutely keep in mind that I should be able to wear everything I buy on a stage, on a photo or maybe in a video. But I use more extroverted clothes on stage than in private, especially now that we are always playing on big stages. Then I use more colours and maybe lighter-coloured clothes than I would put on in private life. Clothes that are worn on stage get ruined. I don't even want to touch the clothes I have used on a tour. You sweat like a beast, you get make-up on them and so on. And I am unable to put on clothes that I have worn with Kent that are easy to recognize. For example, I have a red circus jacket by Dior. If you've ever seen it, you will recognize it. Stuff that gets popular becomes kind of destroyed in a way, I don't want to use them in private again. Plus: if someone recognizes that jacket, maybe they recognize me too. And that is something I definitely want to avoid."

What is your goal from a clothes point of view?
"I want to have a wardrobe made up of only the things that I really want to have. Only good stuff."

Are you there today?
(Silence.) "Yes, I could probably say that I am. I don't ever have to put on something that is only nearly perfect. Everything I have in my wardrobe is extremely good."

I ask him if he agrees with that he is the owner of the best male wardrobe in Sweden. He thinks for a while then says:
"There may be some others who could be in the competition for that."
Then he smiles wide and says:
"But maybe not that many."

/translation by jazzpurist

Here are some screenshots and photos:

http://niohundranittionio.tumblr.com...sa-snygggggggg

http://jonnabergh.com/2012/12/19/visiting-styleby/

http://jonnabergh.com/2012/12/18/joc...nd-the-scenes/

[stjärnor]

Hey timegirl, many thanks to you and jazzpurist for this mega translation! (I had no idea the article was so long, seriously, thanks! ). It was very interesting reading and I just spent a nice half an hour with my lunch reading it all.

I'm not one for following fashion (or designer/exclusive brands, I couldn't afford them, nor would they fit my small frame) but I understand what Jocke says about buying clothes that last (style-wise) for a long time. Most of my clothes come from Gap, I have nice jeans and tops/ jumpers and jackets that I bought a few years ago and they still wash and wear as well as when I first got them. Hardly comparable to the brands Jocke speaks of (in style and price!), but I'd rather spend a little more on a few high street pieces that will last rather than a cheap throwaway wardrobe every couple of months from Primark and the like.

I can imagine some people will baulk (is that a purely scottish word?) at the money he must spend on clothes, but it's his money which he has earnt and can spend it how he likes. As he says, some people spend it on cars, and if he has no need for a car (since he doesn't have a driving licence) then why not look good in nice clothes instead. I don't really remember much of the tour clothes, the old red jacket is there in my memory (would need to google for pics to remember the details) but I do remember his sparkly trousers from a winter/spring tour a few years back. They were really cool. Not in a 'off to the shops for some milk' kind of way, but on stage, yeah, they were perfect.

[stjärnor]

A few posts from Jocke, I'm a bit behind with the translations, sorry...


From the thread about the Cirkus gig in Stockholm in May 2012, the discussion ended up about the setlist (or setlists in general and the number of 'hits' played at a gig to satisfy the 'masses'), Jocke says:

Ahhhh.
It is to UNDERSTAND what the music is about?
Is that the thing?
And I who always thought that it was what the music makes us feel.
Whatever genre.
Think how wrong I was!
You should therefor put a deep crease in your brow, analyse and superiorly run down those who are not sufficently deep
"The real quality is those who don't become hits!" (quote from a forum member- "Den riktiga kvaliten är det som inte blir hits"! )
Wonder who it is who doesn't really understand?



And from the same thread:


Yes.
I usually always try to be really careful with my statements so that I don't offend anyone here (NOTE: Irony).
Sometimes I only wish that all those who diss that big pop hits should try and write one themselves sometime.
It is difficult.
Really difficult.



In the kent press conference (for the release of JÄIRFM last year) Sami made a reference to a song that wasn't on the album, someone wonders whether it was the song "Ingen kunde röra oss", Jocke replies:

No, it wasn't.
"Ingen..." was written in the middle of December 2012.




A piece on Sverigesradio about Jocke and his collaberations (or 'JockeBerg-ifying' Swedish music, I think was the actual term used!) was linked to in the 'kent mentioned in...' thread, Jocke reponds:

Got a link from an acquaintance yesterday and in a weak moment made the mistake of listening.
It was the most embarrassing amateurish analysis of music I have EVER heard.
What was the content?
They concluded that it was really J.Berg to have a quiet verse and a 'ösig?' (can anyone help translating that?) chorus.
What the FUCK!
So have 90% of all the some that have ever been made.
Perhaps Musikguiden in this case should be called Music amateurs.

[Caffrey]

Thanks very much for the translations, guys. I always love keeping up with this thread. Oh and stjärnor, baulk is a common word here in the southern US. It is also a term used in baseball as well.

[stjärnor]

It's time to resurrect the thread, Jocke has posted something!

In the 'Happy Midsommar' thread (which Jocke started) he posted this:

Hi

Just wanted to wish a Happy Midsummer.
Hope that July and August will be better weather-wise than last year.
It's going to be a cruel summer (in english, a Bananarama reference?)
See you in August...
And keep posting ultimate setlists for the gig.
But be a little realistic.

Kiss

[stjärnor]

A forum member saw the recent photos of Jocke working with Rudie Edwards in NY, and thinks that Jocke should be focusing on kent. Jocke replies:

What would life be like if you were forced to do the same thing all the time?
Booooooooooring.
I will do exactly what I want with my time, ok?


And in the same thread, in response to the previous member saying that they hope Jocke won't run out of ideas, Jocke says:

It is probably surprising, but I have found that the more I write/ produce and play, the more ideas I have.
Exactly like physical exercise.
If you do it, the brain and the body are awakened.
As soon as you slack you become tough and listless and uninterested.
I meet new fantastic people the whole time.
I learn so many new things and am reminded about things which actually ARE good and other things which I must be better at.
No music comes from thin air.
It comes out to play and communicate with other musicians.


Still in the same thread, someone asks if the last two lines of the previous post were meant as an objective truth, Jocke replies:

I need other things and people around me to write good music.
New ideas and new impressions.
Sometimes a guitar which I've never played before or a little nice synth.
It is also a lot more fun if you do it together with others.
But what do I know about writing songs?

[.namnlös]

Jocke is correct about the writing thing. Lots of little changes, sideprojects, fun people & something to aim at are good to have. You need all of those generally to keep your sights set higher.

[stjärnor]

A few translations below, there's a couple of missing words, which I can't check as I'm not at home with my big dictionary, hope you can still get the gist! If anyone can explain the 808 and 909 references to me, that would be great.


In the thread about Album 11, there's been a bit of discussion if the next album should have more or less synth, Jocke replies:

Thanks.
Have NEVER understood that thing with syths versus guitars or live drums versus eg, 808.
Who cares?
It is as if some people, especially in Rock-Sweden, that it is cheating to use synths because synths "aren't a proper, real and nice instrument".
Like it was a sport.
Like it would be easier to play synth than play guitar.
Everything is as difficult to play or programme if you want to be good at it.
Also, I hate Rock


Someone questions the 'hate rock' statement in the last post, and surely if talented musicians made the music, how could he hate it? Jocke replies:

Perhaps because I put a smiley at the end?
I obviously don't hate rock
Would be fantastic to never ever hear the word rock again, however I am so tired of the (mis) conceptions about 'Rock' and this prementioned constant nagging about authenticity here and there.
Now I will go and write a great ____ (pad in Swedish?) over a lovely soft filtered 909-kick.
Music, I believe it used to be called.


Still in the same thread, and discussing synths, someone thinks synths are ok if used in the right way, TTS was mostly ok (except the synth drum solo in Ensamast i Sverige), and Ensamheten on Röd was 'horrible and messy' between 2:30 and 3:00, Jocke replies:

Perhaps you should realise that you don't actually like music?
You like when things are as you want them to be.
And then it is a large part of the other things are really wrong in your book.
So here it is:
As musicians in a studio/rehersal room we don't just try things once, but many times.
We go through every song 100 times, at least.
We throw away parts, or even songs and scraps and takes which we're not pleased with.
Nothing is sacred.
Because you can never fool the gut.
It must FEEL good.
There is nothing left in the mix which we didn't love when we recorded it.
Of course, you can change your mind after a few years.
For me, the parts in Ensameheten which you mention are the most important in the songs' arrangement.
Without it the whole composition would be meaningless.
The song began as an idea around a massive electronic chaos-part with softer songwriter-esque verses.
That the song totally changes atmosphere and arrangement was the basic concept.
We can have different views if we suceeded and if the idea was good.
Ensammast i... was built around the drum accompaniment you hate, which Markus played live on an electronic kit and isn't programmed like you probably think.
Without it, neither the intro, the ____ (sticket in Swedish) or the outro with the text written.
A little, slow mournful reflection was built around G Maj and C Maj (I think ) was in our new worlds life.
But this is exactly the point I was trying to make in my previous post about rock and the previously mentioned belief in right and wrong, real and false.
"And it that is when it goes wrong" you wrote
Wrong how?
How can music be wrong?

Both Röd and EPIS have this recurring theme: What we know to be 'real' vs what we know to be 'false'.
But then it is not only the music which refered to.
Now I am away to record an amazing megahit.
With synth drums.

Kiss


The original poster says: 'Very insightful' to Jocke's reply above. So Jocke responds:

Shit, in other words.
You should produce us on the next album!
Really impressed by your deep and indepth knowledge.
Call me!

[.namnlös]

In talking about 808 and 909's Jocke is referring to synth drums, textures and samples. The 808 was a signature 80's drum machine and is well known among musicians for a particular sound often used in electronica, and brought to prominence in the 80s.

He also talks about "pads" a pad is a soft background synth that is often used to create atmosphere in a track (yes even in rock music.) For example there is a prominent one in Beredd På Allt at the start, below the main riff, the deep "stabs" of noise are possibly a pad. Also, maybe the intro swirly noise of Månadens Erbjudande etc.... You get the idea though, they are very effective when used in the right place.

[stjärnor]

Thanks .namnlös, I was hoping you'd appear and explain these musical terms to me (there's not a musical bone in my body, sadly!), I shall now go and listen for 'pads' and see if I can spot them in the songs you mentioned!

I have a feeling that sticket must be some part of the body of song, since it's mentioned with intro and outro. Can I just hang out with some musicians so I can gen up on music-speak?!

Oh, and for what it's worth, I actually really like Ensamheten, especially the bit where it goes mental!

[stjärnor]

.namnlös, in Beredd på allt, are we talking about the deep-sounding 'duumms' that you can hear? (no laughing at my technical term!).
Those are what I really like about that song, it give it a sense of foreboding.

[.namnlös]

Sorry didn't see this reply! Yes the deep 'duuuuummms' are what I mean. I'm not sure if they 100% count as pads because they are very bassy, so I think they might be there instead of live bass guitar, but they still feel a bit like a pad as they fill out the song. The ones on Månadens Erbjudande are more traditionally standard pads. Generally pads create an extra mood in the song, quite subtly and I can say from when I've had them in my stuff, they are very useful.

Also: often even musicians can be caught out thinking a keyboard is a guitar and vice versa when certain sounds are made, it's sometimes hard to know which is which with these floaty sounds.

[stjärnor]

Thanks! And no worries for not seeing this til now. I always appreciate any musical background info you provide.

Referring back to my post up there, a look in my big dictionary for 'stick' (sticket), could possibly mean the 'thrust' or the 'stab' of the song. Still not quite sure that makes any sense in the context...