1
00:00:20,760 --> 00:00:22,920
{\an1}What do you want to do?
2
00:00:23,080 --> 00:00:29,320
{\an1}It is a piece of cultural history
which has not been written yet.
3
00:00:29,480 --> 00:00:34,280
{\an1}But the interesting thing is
why it remains to be written.
4
00:00:34,440 --> 00:00:38,760
{\an1}Many have tried,
but it has come to nothing.
5
00:00:38,920 --> 00:00:43,400
{\an1}There are so many examples
that one cannot avoid suspecting–
6
00:00:43,560 --> 00:00:46,560
{\an1}–that it is in the music
or the scene itself–
7
00:00:46,720 --> 00:00:51,680
{\an1}–that it is somehow elusive
and may not allow themselves to be told.
8
00:00:51,840 --> 00:00:53,960
{\an1}What do you want to do?
9
00:00:55,880 --> 00:01:02,640
{\an1}It opposes
to be represented.
10
00:01:02,800 --> 00:01:07,920
{\an1}Representation is a prerequisite
in order to be commercialized.
11
00:01:08,080 --> 00:01:11,560
{\an1}Very evasive, evasive.
12
00:01:53,520 --> 00:01:57,280
{\an1}Difficult terrain.
We haven't dared to go in yet.
13
00:01:57,440 --> 00:02:01,600
{\an1}The festival is over there,
so we have gone in the opposite direction.
14
00:02:04,440 --> 00:02:09,760
{\an1}People wanted to buy tickets, and so
it turned out to be a private party.
15
00:02:09,920 --> 00:02:12,280
{\an1}You cannot buy tickets.
16
00:02:12,440 --> 00:02:17,200
{\an1}So we're going to play at a private party.
We have never done that before.
17
00:02:17,360 --> 00:02:22,320
{\an1}We have constantly refused
for private parties and the like.
18
00:02:22,480 --> 00:02:29,320
{\an1}It will go terribly
bad, but I'm at zero now.
19
00:02:29,480 --> 00:02:34,040
{\an1}So everything, one percent above zero,
I am satisfied with.
20
00:02:34,200 --> 00:02:36,480
{\an1}The upload was great.
21
00:02:36,640 --> 00:02:42,480
{\an1}We drove on a dirt road and drove the wrong way
and drank vodka in the car, so that...
22
00:02:44,480 --> 00:02:48,760
{\an1}Now we are underway. We leave.
23
00:02:48,920 --> 00:02:51,920
{\an1}Now there is no one even here.
24
00:02:54,800 --> 00:02:56,720
{\an1}Degradation.
25
00:03:04,200 --> 00:03:07,320
{\an1}Okay, now we start the concert.
26
00:03:09,920 --> 00:03:13,080
{\an1}–Are you ready?
-Yes.
27
00:03:54,000 --> 00:04:01,400
{\an1}I don't know how, but I keep it
28
00:04:02,480 --> 00:04:09,720
{\an1}I don't know why, but I need it
29
00:04:12,640 --> 00:04:17,600
{\an1}“Two guys singing to pre-recorded
music, clearly drugged…”
30
00:04:17,760 --> 00:04:20,240
{\an1}It was a very experimental time.
31
00:04:20,400 --> 00:04:23,160
{\an1}There was something in the water in Gothenburg.
32
00:04:23,320 --> 00:04:26,960
{\an1}It could not have grown
in a city like Stockholm.
33
00:04:27,120 --> 00:04:30,240
{\an1}Embassy are the godfathers of the scene.
34
00:04:30,400 --> 00:04:32,960
{\an1}They pulled the cords out, called the police.
35
00:04:33,120 --> 00:04:35,840
{\an1}It was huge.
Embassy, Tough Alliance...
36
00:04:36,000 --> 00:04:39,920
{\an1}Hooligan romance
who at the same time was a bit curvy.
37
00:04:40,080 --> 00:04:45,200
{\an1}–So chaotic, almost performance art.
–“I think I hate Embassy.”
38
00:05:02,440 --> 00:05:06,440
{\an1}Hello.
I'll have a big beer then, thanks.
39
00:05:06,600 --> 00:05:10,400
{\an1}–Bottled or cask?
- I'll take it.
40
00:05:28,360 --> 00:05:34,880
{\an1}Earn. Vodka tonic, do you have it?
Or just have a six shot of vodka.
41
00:05:35,040 --> 00:05:39,840
{\an1}No ice, please.
Do you have a bigger glass, by the way?
42
00:05:40,000 --> 00:05:43,840
{\an1}It's perfect. Thank you very much.
43
00:05:44,000 --> 00:05:49,760
{\an1}–Good.
- I got a shot glass first.
44
00:05:51,000 --> 00:05:56,960
{\an1}Embassy's first single, where Hurt
was the first track, released in 2001.
45
00:05:57,120 --> 00:06:01,120
{\an1}The best thing I had heard in ages.
46
00:06:03,640 --> 00:06:07,800
{\an1}And if I'd been a bit clearer
47
00:06:07,960 --> 00:06:12,840
{\an1}You took the right words
out of my mouth
48
00:06:13,000 --> 00:06:15,120
{\an1}Oh, hurry
49
00:06:18,880 --> 00:06:23,320
{\an1}I think it was Fredrik Lindsons
voice that caught me.
50
00:06:23,480 --> 00:06:30,400
{\an1}It is so crooked and buttery. Thus,
it slips through the soundscape–
51
00:06:30,560 --> 00:06:35,560
{\an1}–which itself is fantastic with
the almost bloodless drums–
52
00:06:35,720 --> 00:06:41,000
{\an1}–like someone old
Sarah Records drum machine from –88.
53
00:06:43,400 --> 00:06:48,320
{\an1}I still think it's the one
best Swedish debut single ever.
54
00:06:48,480 --> 00:06:53,240
{\an1}It really set a soundscape,
a world, a mood–
55
00:06:53,400 --> 00:06:57,960
{\an1}–like Embassy
has consistently returned to.
56
00:06:58,640 --> 00:07:02,640
{\an1}So much that I couldn't see
57
00:07:17,640 --> 00:07:19,640
{\an1}There has never been a future.
58
00:07:19,800 --> 00:07:24,040
{\an1}After the last concert
it is always devastated.
59
00:07:24,200 --> 00:07:27,680
{\an1}There never is
some new concerts booked.
60
00:07:27,840 --> 00:07:30,960
{\an1}After London we only have Paris.
Then we have nothing more.
61
00:07:31,120 --> 00:07:33,920
{\an1}Then the Embassy will no longer exist.
62
00:07:43,440 --> 00:07:48,800
{\an1}I can be very proud
over our band or what we do–
63
00:07:48,960 --> 00:07:51,840
{\an1}–at the same time as it is hard
to talk about it.
64
00:07:52,000 --> 00:07:56,440
{\an1}In normal contexts, if someone asks
about the band, I'm pressured–
65
00:07:56,600 --> 00:08:01,000
{\an1}–and I just want to back out
out of the conversation. I don't know why.
66
00:08:01,160 --> 00:08:07,560
{\an1}Either it's too close, or else
I don't know what to say about that.
67
00:08:07,720 --> 00:08:10,640
{\an1}We are like brothers.
68
00:08:10,800 --> 00:08:15,640
{\an1}When we make music so...
We don't harrow when we make music.
69
00:08:15,800 --> 00:08:21,560
{\an1}Torbjörn is digital and I am analog,
which is in line with how we make music.
70
00:08:21,720 --> 00:08:26,720
{\an1}I make music quite intuitively,
on guitar, and using my voice.
71
00:08:26,880 --> 00:08:32,040
{\an1}Torbjörn sits down
at a screen or a keyboard.
72
00:08:32,200 --> 00:08:34,880
{\an1}We complement each other.
73
00:08:41,520 --> 00:08:43,520
{\an1}Now I didn't change the tempo–
74
00:08:43,680 --> 00:08:48,640
{\an1}–so we drove 115
on both Bad behavior and Roundkick.
75
00:08:48,800 --> 00:08:53,520
{\an1}–No one noticed. It's live.
- It is intense.
76
00:09:00,360 --> 00:09:03,320
{\an1}We've been together so long now,
me and Fredrik–
77
00:09:03,480 --> 00:09:09,840
{\an1}–so we have probably subconsciously become
some kind of preparation for a war.
78
00:09:10,000 --> 00:09:16,080
{\an1}When there is nothing to fight for
against, or some kind of conflict surface–
79
00:09:16,240 --> 00:09:18,800
{\an1}–then we go towards each other.
80
00:09:18,960 --> 00:09:21,920
{\an1}We have to somehow
create this dynamic–
81
00:09:22,080 --> 00:09:26,440
{\an1}–to do something
which is better than just music.
82
00:09:28,600 --> 00:09:32,520
{\an1}I'm lurking with a distance
83
00:09:32,680 --> 00:09:36,720
{\an1}I'm lurking with a distance
84
00:09:36,880 --> 00:09:40,760
{\an1}I'm lurking with a distance
85
00:09:42,640 --> 00:09:47,760
{\an1}Comrades, out into the streets
for the revolution, for socialism!
86
00:09:47,920 --> 00:09:50,760
{\an1}Into the streets for Palestine!
87
00:09:51,400 --> 00:09:57,720
{\an1}There was a lot, even in pop music,
that it was very left.
88
00:09:57,880 --> 00:10:02,360
{\an1}There were very large movements
just against copyright–
89
00:10:02,520 --> 00:10:06,840
{\an1}–and like Noam Chomsky theories.
90
00:10:07,000 --> 00:10:13,640
{\an1}I have thought a lot about the connection
between the anti-American–
91
00:10:13,800 --> 00:10:19,280
{\an1}–around this George Bush hate thing,
around the riots and so on.
92
00:10:19,440 --> 00:10:22,160
{\an1}I remember
that the Embassy had on its website...
93
00:10:22,320 --> 00:10:27,720
{\an1}The first time I entered theirs
website, perhaps in 2002, it said:
94
00:10:27,880 --> 00:10:29,880
{\an1}"Be anti-American!"
95
00:10:33,400 --> 00:10:37,120
{\an1}From the beginning we were quite political.
96
00:10:37,280 --> 00:10:41,280
{\an1}Then we had opinions
in various political issues.
97
00:10:41,440 --> 00:10:45,280
{\an1}But today I haven't
so many opinions anymore.
98
00:10:45,440 --> 00:10:49,680
{\an1}No opinions - it's political.
Just making music is political.
99
00:10:49,840 --> 00:10:53,120
{\an1}And how to do it.
100
00:10:53,280 --> 00:10:58,600
{\an1}We used to be more united,
but now we have drifted apart.
101
00:10:58,760 --> 00:11:01,800
{\an1}–Yes.
- Because I lack opinions.
102
00:11:01,960 --> 00:11:06,000
{\an1}I often don't understand how
I will deal with a question.
103
00:11:06,160 --> 00:11:08,800
{\an1}I weigh various pros and cons.
104
00:11:08,960 --> 00:11:12,960
{\an1}If I come up with something
Can I change my mind right away?
105
00:11:13,120 --> 00:11:15,320
{\an1}Now we have approached.
106
00:11:15,480 --> 00:11:19,720
{\an1}You have had strong opinions
and I've never thought anything.
107
00:11:19,880 --> 00:11:23,760
{\an1}–Now I ask you: "What do you think?"
–"What should one think?"
108
00:11:25,440 --> 00:11:29,960
{\an1}Political opinions are often about
to express something in a certain direction.
109
00:11:30,120 --> 00:11:32,800
{\an1}Then you are political.
110
00:11:32,960 --> 00:11:37,840
{\an1}And I don't know anymore
what i think–
111
00:11:38,000 --> 00:11:42,160
{\an1}–because everything gets eaten
of capitalism.
112
00:11:42,320 --> 00:11:45,360
{\an1}So how do I relate as an individual–
113
00:11:45,520 --> 00:11:49,560
{\an1}–in a system
where the opinion becomes a product?
114
00:11:52,280 --> 00:11:57,080
{\an1}Better die on your feet
115
00:12:00,760 --> 00:12:05,840
{\an1}than live on your knees
116
00:12:09,160 --> 00:12:13,960
{\an1}Better die on your feet
117
00:12:17,520 --> 00:12:22,560
{\an1}than live on your knees
118
00:12:32,600 --> 00:12:37,640
{\an1}Then the question is, should you...
I'm a little hungry.
119
00:12:37,800 --> 00:12:42,040
{\an1}Shall we buy something sleazy in the store
and just go and eat?
120
00:12:43,800 --> 00:12:49,040
{\an1}There have always been far fewer
bands from London and New York.
121
00:12:49,200 --> 00:12:53,160
{\an1}Just like Stockholm.
The largest city, the capital–
122
00:12:53,320 --> 00:12:59,480
{\an1}–has always been too expensive, too big,
too broken, too stressed–
123
00:12:59,640 --> 00:13:04,440
{\an1}–to be able to create
these little scenes–
124
00:13:04,600 --> 00:13:08,880
{\an1}–where something new arises.
125
00:13:11,080 --> 00:13:13,960
{\an1}Mid 90s.
It was quite successful in Gothenburg.
126
00:13:14,120 --> 00:13:18,120
{\an1}There were many places to play,
there were black clubs everywhere–
127
00:13:18,280 --> 00:13:20,600
{\an1}–and thus a hell of a lot of good bands.
128
00:13:20,760 --> 00:13:23,880
{\an1}Honey Is Cool, Silverbullit...
And Brother Daniel of course.
129
00:13:24,040 --> 00:13:28,080
{\an1}They were really the basis of everything.
It was an awesome time.
130
00:13:28,240 --> 00:13:33,520
{\an1}We who are stuck in Stockholm can
find it extremely fascinating–
131
00:13:33,680 --> 00:13:36,520
{\an1}–because it doesn't happen here.
132
00:13:36,680 --> 00:13:41,360
{\an1}At the same time as the politicians liked
that there was talk of Gothenburg...
133
00:13:41,520 --> 00:13:45,160
{\an1}"This we might not
want to be associated with."
134
00:13:45,320 --> 00:13:48,000
{\an1}We don't have a bit
to do with it.
135
00:13:48,160 --> 00:13:53,880
{\an1}It was probably stopped a little. I can't
remember some black clubs after -97.
136
00:13:54,040 --> 00:13:59,760
{\an1}You probably have to go back to that
Gothenburg was a very silly city.
137
00:13:59,920 --> 00:14:06,160
{\an1}Only crappy cities have
opportunity to build something new and fun.
138
00:14:06,320 --> 00:14:09,880
{\an1}75 to 120...
There it is, fried rice deluxe.
139
00:14:10,040 --> 00:14:12,080
{\an1}What happened was the Gothenburg party.
140
00:14:12,240 --> 00:14:15,880
{\an1}The young people have been drinking
the soap that contains alcohol–
141
00:14:16,040 --> 00:14:19,280
{\an1}–as was in the containers
in the public toilets.
142
00:14:19,440 --> 00:14:24,240
{\an1}They went into the Belt Buckle Park,
was threatened by someone, there was a fight–
143
00:14:24,400 --> 00:14:27,040
{\an1}–and then The Animals kind of played.
144
00:14:27,200 --> 00:14:33,720
{\an1}We had an enormous amount of young people who
were drunk or very drunk.
145
00:14:33,880 --> 00:14:38,440
{\an1}The prevailing taste in music
had been deintellectualized.
146
00:14:38,600 --> 00:14:44,120
{\an1}It was perfect in a raggar country
where Springsteen is some kind of god.
147
00:14:45,880 --> 00:14:49,400
{\an1}In mainstream music life in Sweden
at this time–
148
00:14:49,560 --> 00:14:55,960
{\an1}–there was a lot of guitar music
which was quite, what can I say…
149
00:14:56,120 --> 00:14:58,920
{\an1}–…meaty, in a way.
- A raggar country.
150
00:14:59,080 --> 00:15:05,600
{\an1}They go to the grocery store, around the square
and back. I don't know why.
151
00:15:05,760 --> 00:15:08,880
{\an1}–What the hell is this?
- It was such cool music.
152
00:15:09,040 --> 00:15:14,000
{\an1}What came out of Sweden
was mostly record label music.
153
00:15:14,160 --> 00:15:21,200
{\an1}Now I'm shitty, but in an indie way
was it like Escobar and The Ark.
154
00:15:21,360 --> 00:15:24,080
{\an1}Bingo is successful.
Everyone can join.
155
00:15:24,240 --> 00:15:27,840
{\an1}Bingolotto, shrimp
and local television aesthetics.
156
00:15:28,000 --> 00:15:32,400
{\an1}It was just really dead, you felt,
and very plastic.
157
00:15:32,560 --> 00:15:38,640
{\an1}At the same time, a very strong one was going on
and interesting counter movement.
158
00:15:38,800 --> 00:15:43,080
{\an1}I think that
the whole grassroots thing that happened then–
159
00:15:43,240 --> 00:15:46,160
{\an1}–is so obvious in a way.
160
00:15:46,320 --> 00:15:48,240
{\an1}I take 101.
161
00:15:48,400 --> 00:15:53,160
{\an1}Swedish bands were incredibly tough. The
were leather jackets, a pastiche almost.
162
00:15:53,320 --> 00:15:55,240
{\an1}I wasn't a jerk–
163
00:15:55,400 --> 00:15:59,400
{\an1}–but I liked more orientation
than the Jon Spencer Blues Explosion.
164
00:15:59,560 --> 00:16:05,160
{\an1}And Torbjörn, when we met
he did chess and boxing.
165
00:16:05,320 --> 00:16:09,040
{\an1}It is close to life.
It's not that much of a pose.
166
00:16:11,640 --> 00:16:15,680
{\an1}When I think back to Embassy,
TTA, The Knife and so on...
167
00:16:15,840 --> 00:16:19,560
{\an1}They were like they had got it
that they were right–
168
00:16:19,720 --> 00:16:23,480
{\an1}–and that Gothenburg was not
the world's dumbest city.
169
00:16:23,640 --> 00:16:26,880
{\an1}There was nothing
to back it up with–
170
00:16:27,040 --> 00:16:29,880
{\an1}–but it did
that we created a mass.
171
00:16:30,040 --> 00:16:35,680
{\an1}Did you take tram number 7 to heaven?
172
00:16:35,840 --> 00:16:41,080
{\an1}I remember seeing Jens Lekman
and that I was completely blown away.
173
00:16:41,240 --> 00:16:46,640
{\an1}It was anti, it went against everything that
you had thought you had to do.
174
00:16:46,800 --> 00:16:49,080
{\an1}I remember it being very good.
175
00:16:49,240 --> 00:16:53,760
{\an1}Tram number 7 to heaven
176
00:16:53,920 --> 00:16:57,560
{\an1}Tram number 7 to heaven
177
00:16:57,720 --> 00:17:05,000
{\an1}Jens Lekman worked a lot with
to create your own sound universe–
178
00:17:05,160 --> 00:17:12,400
{\an1}–and he did something that I experienced
was completely new and completely amazing.
179
00:17:19,680 --> 00:17:22,960
{\an1}This is where the sea begins.
180
00:17:23,120 --> 00:17:26,680
{\an1}Somewhere over there is the Caribbean.
181
00:17:27,320 --> 00:17:32,440
{\an1}Embassy were perhaps the first
that moved towards this Balearic–
182
00:17:32,600 --> 00:17:37,120
{\an1}–like late Air France, The Studio
and TTA also moved towards.
183
00:17:37,280 --> 00:17:40,080
{\an1}That contrast was so beautiful.
184
00:17:40,240 --> 00:17:44,920
{\an1}If you look out here as well
and see how it looks in Gothenburg...
185
00:17:45,080 --> 00:17:49,040
{\an1}It was not a place like man
wanted to sing about or make a film about.
186
00:17:49,200 --> 00:17:53,200
{\an1}It is based on a feeling of
to dream about something–
187
00:17:53,360 --> 00:17:57,040
{\an1}–which may not be fulfilled.
188
00:17:57,200 --> 00:18:03,080
{\an1}To build something that felt more summery
and more beautiful than it was here.
189
00:18:04,440 --> 00:18:07,480
{\an1}What kind of fence were you talking about?
190
00:18:10,960 --> 00:18:13,800
{\an1}I wrote it.
191
00:18:26,920 --> 00:18:30,960
{\an1}A lot of bands from Gothenburg
at this time sounded Balearic.
192
00:18:31,120 --> 00:18:35,280
{\an1}So a bit fuzzy,
beach romantic undulations.
193
00:18:35,440 --> 00:18:41,480
{\an1}I asked myself: What is it due to?
That Gothenburg is a port city?
194
00:18:41,640 --> 00:18:47,320
{\an1}Then why hasn't earlier pop music
sounded oceanic or balearic?
195
00:18:47,480 --> 00:18:51,760
{\an1}One evening I met a person outside.
Unfortunately I don't remember who it was.
196
00:18:51,920 --> 00:18:55,760
{\an1}She said, “You know why
the artists sound like this?"
197
00:18:55,920 --> 00:19:01,080
{\an1}"There have been huge amounts appearing
high potency ecstasy in Gothenburg."
198
00:19:01,240 --> 00:19:04,400
{\an1}"People nibble E all the time.
That's why it sounds like this."
199
00:19:04,560 --> 00:19:09,120
{\an1}Where the drugs came from is not known,
nor which way it came in–
200
00:19:09,280 --> 00:19:13,400
{\an1}–but it is likely that it arrived
via one of the ferries in Gothenburg.
201
00:19:13,560 --> 00:19:16,240
{\an1}There was something in the water in Gothenburg.
202
00:19:16,400 --> 00:19:21,440
{\an1}When Gothenburg was the coolest in the 00s
was always asked:
203
00:19:21,600 --> 00:19:26,000
{\an1}"What's in the water?" It was nothing
in the water – and that was the problem.
204
00:19:30,840 --> 00:19:34,640
{\an1}Denmark is over there,
Caribbean over there.
205
00:19:34,800 --> 00:19:38,560
{\an1}I have asked some of the artists
if it was true.
206
00:19:38,720 --> 00:19:42,600
{\an1}Most people have said: On the contrary, it was
impossible to get hold of ecstasy.
207
00:19:42,760 --> 00:19:44,760
{\an1}It was terribly boring!
208
00:19:44,920 --> 00:19:50,480
{\an1}So it was due to a sudden shortage
on drugs, not more drugs than ever.
209
00:19:50,640 --> 00:19:53,000
{\an1}Nothing. We fought against the wind.
210
00:19:53,160 --> 00:19:57,000
{\an1}If you want to have fun
do you have to go to fucking Hisingen–
211
00:19:57,160 --> 00:20:03,240
{\an1}–enter a horrible room, stand there,
get fucked up, and then go home again.
212
00:20:03,400 --> 00:20:08,720
{\an1}All of a sudden Service arrives,
like some kind of, I don't know…
213
00:20:08,880 --> 00:20:12,040
{\an1}...like a candle,
combined with all art schools.
214
00:20:12,200 --> 00:20:15,320
{\an1}Gothenburg became a great art school,
and there everyone met.
215
00:20:15,480 --> 00:20:18,400
{\an1}You could be somewhere
late into the night.
216
00:20:18,560 --> 00:20:23,560
{\an1}One met people, talked,
had the same ideas, and moved on.
217
00:20:32,960 --> 00:20:39,160
{\an1}Service was a club before it was
a label. Those were the best parties.
218
00:20:40,600 --> 00:20:45,840
{\an1}Me and Dan Lissvik
were joined by a mutual friend.
219
00:20:46,000 --> 00:20:50,680
{\an1}Dan went to Valand School of Art–
220
00:20:50,840 --> 00:20:56,480
{\an1}–which allowed us to have access
to a whole block in the middle of Avenyn.
221
00:20:56,640 --> 00:21:00,600
{\an1}It was a tremendous resource, and
we were not slow to realize that–
222
00:21:00,760 --> 00:21:04,800
{\an1}–so we started arranging
big parties.
223
00:21:06,200 --> 00:21:09,000
{\an1}–You were there several times.
- On this boat too.
224
00:21:09,160 --> 00:21:15,200
{\an1}HDK parties were there all the time.
They had a principal who was permissive.
225
00:21:15,360 --> 00:21:18,800
{\an1}There were a lot of parties
and perhaps less art-making.
226
00:21:18,960 --> 00:21:25,520
{\an1}The material, economic basis
for Service was the smuggled beer.
227
00:21:25,680 --> 00:21:29,760
{\an1}The art schools were a bit loose
at that time and was like this:
228
00:21:29,920 --> 00:21:34,480
{\an1}"Have a party, drive on."
It was so incredibly important.
229
00:21:34,640 --> 00:21:39,560
{\an1}The jazz house was the first.
From the time I was 17 I was there.
230
00:21:39,720 --> 00:21:44,040
{\an1}–I was there 52 times a year.
-Lolita was the first. Late Gump.
231
00:21:44,200 --> 00:21:47,680
{\an1}You were right there
until Upward Forward opened.
232
00:21:47,840 --> 00:21:52,200
{\an1}Then it was Starboard Port.
That's what we did.
233
00:21:52,360 --> 00:21:56,560
{\an1}We went out to a club and met
others who were doing music.
234
00:21:56,720 --> 00:21:58,720
{\an1}Much of what was done then–
235
00:21:58,880 --> 00:22:02,440
{\an1}–what Dan and Rasmus did,
what Jens did, what I did–
236
00:22:02,600 --> 00:22:05,480
{\an1}–what Embassy did…
"We have something going on."
237
00:22:05,640 --> 00:22:07,600
{\an1}Something happened in the meeting–
238
00:22:07,760 --> 00:22:12,360
{\an1}–between the Gothenburg one
the indie tradition and house music.
239
00:22:12,520 --> 00:22:18,320
{\an1}We had a room for house/disco
and one for punk/indie.
240
00:22:24,720 --> 00:22:28,160
{\an1}The Gothenburg bands were
surprisingly experimental.
241
00:22:28,320 --> 00:22:31,560
{\an1}Nothing similar
took place in Stockholm at the same time.
242
00:22:31,720 --> 00:22:34,280
{\an1}It continued to apply for many years.
243
00:22:34,440 --> 00:22:40,800
{\an1}They thought Stockholm was uninteresting
and came to symbolize large corporations.
244
00:22:40,960 --> 00:22:45,240
{\an1}They were uninteresting
for that reason.
245
00:22:45,400 --> 00:22:50,040
{\an1}Once the wave starts rolling
It is quite difficult to stop it.
246
00:22:50,200 --> 00:22:55,480
{\an1}You wanted to hear a new Swedish artist
only came for the reason–
247
00:22:55,640 --> 00:22:59,760
{\an1}–that he was issued on a specific
record label, in this case Service.
248
00:22:59,920 --> 00:23:04,040
{\an1}"We send it to Service.
That's just where we want to be."
249
00:23:04,200 --> 00:23:07,600
{\an1}Henning Fürst and Eric Berglund
is the Tough Alliance.
250
00:23:07,760 --> 00:23:12,520
{\an1}Tough Alliance is as a phenomenon,
in my world, a bit of a milestone.
251
00:23:12,680 --> 00:23:17,880
{\an1}Someone has put it as Tough
Alliance was Embassy's hooligan brothers.
252
00:23:18,040 --> 00:23:24,840
{\an1}What attracted Embassy
and Tough Alliance was their energy.
253
00:23:25,000 --> 00:23:30,520
{\an1}One never felt safe.
It was romantic music that touched–
254
00:23:30,680 --> 00:23:35,840
{\an1}–but at the same time they tried to make it happen
riots and fights.
255
00:23:36,000 --> 00:23:39,040
{\an1}It was exciting and unusual.
256
00:23:39,200 --> 00:23:42,360
{\an1}The group Studio was praised
in the British press.
257
00:23:42,520 --> 00:23:45,880
{\an1}The newspaper Uncut wrote
that their debut album, West coast–
258
00:23:46,040 --> 00:23:50,000
{\an1}–was the best Factory record
which had never been issued by Factory.
259
00:23:50,160 --> 00:23:52,560
{\an1}Franke – also Service.
260
00:23:52,720 --> 00:23:55,760
{\an1}The mockery of optimism, one of the best
Swedish records ever.
261
00:23:55,920 --> 00:23:58,480
{\an1}Embassy, TTA and Brother Daniel...
262
00:23:58,640 --> 00:24:03,320
{\an1}It's so damn cliche.
But Bad Cash Quartet was number one.
263
00:24:03,480 --> 00:24:08,640
{\an1}Man stood in the bar and talked while
Embassy or Silverbullit played.
264
00:24:08,800 --> 00:24:12,320
{\an1}Tough Alliance was also seen
without standing and watching.
265
00:24:12,480 --> 00:24:16,440
{\an1}Tough Alliance is perhaps the best
the band that has existed in Gothenburg.
266
00:24:16,600 --> 00:24:22,520
{\an1}It's just something
in the neighborhood that hurts
267
00:24:22,680 --> 00:24:29,200
{\an1}TTA had enormous power,
an energy that you were drawn into and with.
268
00:24:30,640 --> 00:24:35,640
{\an1}They were a little younger, a little hipper
and a little prettier.
269
00:24:39,720 --> 00:24:43,880
{\an1}The biggest fan of Embassy
is still Henning.
270
00:24:46,440 --> 00:24:51,720
{\an1}There is something about the Embassy
which cannot really be touched.
271
00:24:51,880 --> 00:24:55,960
{\an1}It is not concrete,
but there is some mystery.
272
00:24:56,640 --> 00:25:01,000
{\an1}I can't feel it
273
00:25:01,160 --> 00:25:06,840
{\an1}Is there a new world?
I can't see it
274
00:25:07,000 --> 00:25:09,520
{\an1}We met for a few hours–
275
00:25:09,680 --> 00:25:15,320
{\an1}–and made a bunch of new shots
to JJ's first record.
276
00:25:15,480 --> 00:25:18,200
{\an1}Then we didn't see each other for like 15 years.
277
00:25:18,360 --> 00:25:21,880
{\an1}Then when I checked again
were you pop star
278
00:25:24,680 --> 00:25:29,120
{\an1}Then I thought:
Damn, maybe we should do something.
279
00:25:29,280 --> 00:25:32,360
{\an1}It is very fun to...
We talked about it yesterday.
280
00:25:32,520 --> 00:25:37,280
{\an1}I have no direct memory
with Embassy.
281
00:25:37,440 --> 00:25:41,040
{\an1}Though I should have.
It was a very fuzzy time.
282
00:25:41,200 --> 00:25:44,680
{\an1}You think you've performed
together with the Embassy?
283
00:25:44,840 --> 00:25:49,040
{\an1}Yes, or at least
that I have sung with Liston.
284
00:25:49,200 --> 00:25:52,280
{\an1}But that could be a lie.
285
00:25:53,840 --> 00:26:00,240
{\an1}I found my dream
and had no meaning
286
00:26:00,400 --> 00:26:03,720
{\an1}–It could be a dream.
- It could also be a dream.
287
00:26:03,880 --> 00:26:09,960
{\an1}In the dream, which I believe happened on
really, we sang Just a dream away.
288
00:26:11,960 --> 00:26:14,000
{\an1}Elin Kastlander!
289
00:26:14,160 --> 00:26:21,520
{\an1}But that could be a lie. But it is
a good title for my time in Gothenburg.
290
00:26:21,680 --> 00:26:24,640
{\an1}Elin, check what I have said.
Listen to the genius:
291
00:26:24,800 --> 00:26:27,880
{\an1}"If you don't try to sound
as modern as possible"–
292
00:26:28,040 --> 00:26:31,240
{\an1}–"I don't think so
that you should have a bond."
293
00:26:31,400 --> 00:26:33,920
{\an1}It became a bit difficult for us in TTA.
294
00:26:34,080 --> 00:26:38,960
{\an1}Since we were 11–12 years old, we had planned
to have the best band in the world.
295
00:26:39,120 --> 00:26:45,680
{\an1}Then it became difficult to end up on one
record label with a band that is better.
296
00:26:45,840 --> 00:26:48,360
{\an1}It was really stupid.
297
00:26:48,520 --> 00:26:55,200
{\an1}I think they almost tried
get out of it by sort of…
298
00:26:55,360 --> 00:26:59,800
{\an1}I don't know. We named our record label
after a song with them, for example.
299
00:26:59,960 --> 00:27:04,960
{\an1}But it was all about wanting to
be seen by his big brothers.
300
00:27:07,840 --> 00:27:13,200
{\an1}The first thing I got hooked on
was the dog skull in the background in Hurt.
301
00:27:13,360 --> 00:27:18,160
{\an1}It was incredibly good. Although it is
Björn Olsson's merit, I think.
302
00:27:20,040 --> 00:27:24,040
{\an1}It was Fredrik who started
my producing career.
303
00:27:24,200 --> 00:27:28,880
{\an1}I thought you would record us
and you were asked the question.
304
00:27:29,040 --> 00:27:34,920
{\an1}You just recorded yourself.
So it was a bit innovative.
305
00:27:35,080 --> 00:27:37,920
{\an1}You have a good time, don't you?
306
00:27:42,120 --> 00:27:46,200
{\an1}I was on bass too. A gig
it was just me playing live.
307
00:27:46,360 --> 00:27:52,120
{\an1}They fooled themselves into backing tracks
while I played bass in the DJ booth.
308
00:27:52,280 --> 00:27:55,960
{\an1}It's so damn under all the criticism.
309
00:27:56,120 --> 00:27:58,240
{\an1}We recorded the first ep there.
310
00:27:58,400 --> 00:28:02,840
{\an1}It took a long time to sync.
A couple of months.
311
00:28:03,000 --> 00:28:09,720
{\an1}I asked, "What should you have paid?"
You thought for a long time. "Say 2,000, then."
312
00:28:09,880 --> 00:28:15,680
{\an1}Of which the roller conveyor cost 1,800.
So in cash you took 200 bucks.
313
00:28:15,840 --> 00:28:19,920
{\an1}Then we thought: We can work with him.
314
00:28:20,080 --> 00:28:21,760
{\an1}Do not film.
315
00:28:21,920 --> 00:28:26,400
{\an1}Björn's studio at the moment
consists of a computer–
316
00:28:26,560 --> 00:28:31,480
{\an1}–which needs a reinstallation
all the time.
317
00:28:31,640 --> 00:28:35,480
{\an1}He has it in the bedroom.
He has no chair and sits on his knees.
318
00:28:35,640 --> 00:28:40,480
{\an1}It is not obvious that Björn wants to
record us. We don't pay anything.
319
00:28:40,640 --> 00:28:44,880
{\an1}Good, good, good.
Yes, it's a rash, right?
320
00:28:45,040 --> 00:28:48,640
{\an1}Good times, bad vibes make me sad
321
00:28:48,800 --> 00:28:51,800
{\an1}We met at parties. Frederick said:
"You want to hear about my hate?"
322
00:28:51,960 --> 00:28:55,800
{\an1}It was when you were drunk.
I don't remember what the hate was.
323
00:28:55,960 --> 00:29:00,400
{\an1}It was just one ingredient
that made him interesting.
324
00:29:00,560 --> 00:29:04,080
{\an1}Nowadays I don't close my eyes
325
00:29:04,240 --> 00:29:08,760
{\an1}It is good that Björn thinks so
that singing is uninteresting.
326
00:29:10,560 --> 00:29:15,720
{\an1}It is a private moment.
I don't want to sit there and judge.
327
00:29:15,880 --> 00:29:19,840
{\an1}I have not wanted to be a producer,
so it's nice to avoid that.
328
00:29:20,000 --> 00:29:22,720
{\an1}It was really painful.
329
00:29:22,880 --> 00:29:26,240
{\an1}With Embassy it felt more
like I was in the band.
330
00:29:26,400 --> 00:29:31,200
{\an1}That is why I have been involved a little
on the discs here and there.
331
00:29:31,360 --> 00:29:35,560
{\an1}I have always thought that you should take
the commercial step and bet–
332
00:29:35,720 --> 00:29:40,760
{\an1}–and find a really awesome mixer
and earn money.
333
00:29:40,920 --> 00:29:45,520
{\an1}But I would never do it myself
with my records. Absolutely never.
334
00:29:45,680 --> 00:29:52,800
{\an1}That is why they live on now. Otherwise
had it been dead already in 2007.
335
00:29:54,120 --> 00:29:58,240
{\an1}But that's the only thing I do
336
00:29:59,640 --> 00:30:02,320
{\an1}Gimme a break
337
00:30:02,480 --> 00:30:05,960
{\an1}Gimme, gimme, gimme a break
338
00:30:06,120 --> 00:30:10,120
{\an1}Gimme, gimme, gimme a break
339
00:30:10,280 --> 00:30:13,120
{\an1}Gimme, gimme, gimme a break
340
00:30:18,080 --> 00:30:22,280
{\an1}We actually met
in common feelings.
341
00:30:22,440 --> 00:30:26,000
{\an1}We see the world in roughly the same way.
342
00:30:35,680 --> 00:30:38,640
{\an1}It became a strong community
on Service.
343
00:30:38,800 --> 00:30:44,440
{\an1}I guess we had mutual friends
and common enemies.
344
00:30:45,800 --> 00:30:51,200
{\an1}Characteristic of Service was well
that it was only white guys.
345
00:30:51,360 --> 00:30:55,800
{\an1}There was no requirement,
but that's how it was–
346
00:30:55,960 --> 00:31:01,600
{\an1}–and I don't think it was
something that someone thought of then.
347
00:31:01,760 --> 00:31:07,080
{\an1}–Cat5 we need to talk about.
- Service was a boyish domain.
348
00:31:07,240 --> 00:31:10,840
{\an1}I guess they released someone...
Didn't they release Cat5?
349
00:31:11,000 --> 00:31:14,560
{\an1}Those are the only ones I can think of
who were female musicians.
350
00:31:14,720 --> 00:31:19,840
{\an1}Teach you how to behave,
use the right kind of words
351
00:31:20,000 --> 00:31:25,360
{\an1}They were really an active part
of the local scene and culture–
352
00:31:25,520 --> 00:31:27,720
{\an1}–even before we got in touch.
353
00:31:27,880 --> 00:31:32,280
{\an1}They are songwriters, producers,
mixer. They master all the steps.
354
00:31:32,440 --> 00:31:35,640
{\an1}Electroclash
never really hit in Sweden.
355
00:31:35,800 --> 00:31:40,080
{\an1}Then came a fantastic duo on Service
who made the electroclash stuff–
356
00:31:40,240 --> 00:31:43,600
{\an1}–and they delivered at least as well
as Miss Kittin.
357
00:31:43,760 --> 00:31:47,280
{\an1}A kind of synthpunk
in the best sense of the word.
358
00:31:47,440 --> 00:31:53,640
{\an1}Stretch over and bend, yeah
You really need to work it, baby
359
00:31:53,800 --> 00:31:58,600
{\an1}Maybe it was a little unclear
how ironic it was–
360
00:31:58,760 --> 00:32:02,320
{\an1}–or if it was indie.
It was difficult to present.
361
00:32:02,480 --> 00:32:06,600
{\an1}Perhaps not as painfully introverted
like many other Service bands.
362
00:32:06,760 --> 00:32:12,760
{\an1}Directly after our single on Service
Ola let us go to Universal.
363
00:32:12,920 --> 00:32:18,880
{\an1}I don't think he could handle
that it went so well suddenly.
364
00:32:19,040 --> 00:32:21,360
{\an1}"This is commercial."
365
00:32:21,520 --> 00:32:25,000
{\an1}It became difficult for him
to maintain this indie…
366
00:32:25,160 --> 00:32:28,120
{\an1}We ended up in the borderland somehow.
367
00:32:28,280 --> 00:32:31,600
{\an1}Sometimes we could feel each other
a little let down by Ola–
368
00:32:31,760 --> 00:32:35,760
{\an1}–that he could not stand up for us
and hold our backs.
369
00:32:35,920 --> 00:32:40,760
{\an1}Cool to lie at Universal,
but Service was our heart.
370
00:32:40,920 --> 00:32:45,640
{\an1}Maybe I should have done it on
some other way, but I don't know how.
371
00:32:45,800 --> 00:32:50,400
{\an1}It is always in hindsight
as you understand.
372
00:32:50,560 --> 00:32:54,800
{\an1}They absolutely have
an obvious place in Service.
373
00:32:55,880 --> 00:33:00,080
{\an1}It has become more difficult for artists
to make a living in the music industry.
374
00:33:00,240 --> 00:33:03,960
{\an1}Especially if you are
mid-sized indie bands.
375
00:33:04,120 --> 00:33:07,640
{\an1}Oh, no, no, no
376
00:33:07,800 --> 00:33:09,840
{\an1}Oh, no, no, no
377
00:33:10,000 --> 00:33:15,560
{\an1}That's the last words
that you'll hear from me when I go
378
00:33:15,720 --> 00:33:19,240
{\an1}I am upset about
that you can't live on your music–
379
00:33:19,400 --> 00:33:23,600
{\an1}–that Spotify can continue
the way they do.
380
00:33:23,760 --> 00:33:27,480
{\an1}I think about it more and more,
that I, as an artist, am a product.
381
00:33:27,640 --> 00:33:32,040
{\an1}I feel sick when I go
promote me on Instagram.
382
00:33:32,200 --> 00:33:36,800
{\an1}When working with major record companies
expected to do so.
383
00:33:36,960 --> 00:33:38,920
{\an1}The Embassy has regular jobs.
384
00:33:39,080 --> 00:33:42,560
{\an1}Torbjörn drives a tram
and Fredrik is a therapist.
385
00:33:42,720 --> 00:33:47,440
{\an1}There is something about working-class romance
that pops up in The Embassy's music–
386
00:33:47,600 --> 00:33:51,600
{\an1}–which leads me to believe that
they had kept their regular jobs–
387
00:33:51,760 --> 00:33:56,240
{\an1}–even if they had succeeded
and made a lot of money.
388
00:33:58,280 --> 00:34:05,320
{\an1}We are on our way to Twickenham,
Vic Godard's home. We're going to visit him.
389
00:34:05,480 --> 00:34:11,960
{\an1}Postman and singer of Subway Sect,
an old model for Embassy.
390
00:34:12,120 --> 00:34:16,760
{\an1}We have a community because Embassy
has also been a postman band.
391
00:34:16,920 --> 00:34:21,560
{\an1}It's actually great to mix
mail delivery with music making.
392
00:34:21,720 --> 00:34:24,760
{\an1}We played at the same festival
2004 in Kalmar–
393
00:34:24,920 --> 00:34:28,760
{\an1}–and then I handed over
a Swedish postal shirt for him.
394
00:34:28,920 --> 00:34:34,440
{\an1}It was funny. I would play there,
and Fred came forward and said:
395
00:34:34,600 --> 00:34:41,600
{\an1}"We have made a cover of your song Make
me sad. Do you want to join it tonight?"
396
00:34:41,760 --> 00:34:47,960
{\an1}We sat in the car and he played
their version and gave me their music.
397
00:34:48,120 --> 00:34:52,160
{\an1}And since then we have kept in touch.
398
00:34:53,520 --> 00:34:58,640
{\an1}I love their music,
and Fred is one of my favorite singers.
399
00:34:59,680 --> 00:35:04,840
{\an1}I quickly realized where The Embassy was
a pop theoretically advanced band.
400
00:35:05,000 --> 00:35:09,480
{\an1}A pop band for pop journalists
who loves Pet Shop Boys.
401
00:35:09,640 --> 00:35:14,160
{\an1}They are pop theorists to the core.
They could have been Andres Lokko.
402
00:35:14,320 --> 00:35:18,320
{\an1}Tough Alliance
and Embassy in particular–
403
00:35:18,480 --> 00:35:21,080
{\an1}–is the finest there is:
404
00:35:21,240 --> 00:35:26,920
{\an1}They are failed rock critics
rather than artists.
405
00:35:27,080 --> 00:35:32,400
{\an1}We have no fixed references
or songs that we think are better.
406
00:35:32,560 --> 00:35:37,600
{\an1}If we talk about music, it is more
that we are talking about attitude and aesthetics.
407
00:35:37,760 --> 00:35:42,680
{\an1}Subway Sect coined the term
"We oppose all rock'n'roll"–
408
00:35:42,840 --> 00:35:46,000
{\an1}–which appealed to us a lot.
Then they were short-lived.
409
00:35:46,160 --> 00:35:50,560
{\an1}They were named the world's best band
for a few months in 1977.
410
00:35:50,720 --> 00:35:53,560
{\an1}Tell the story of the bass drum.
411
00:35:53,720 --> 00:35:57,720
{\an1}I have read everything there is to read
about Subway Sect.
412
00:35:57,880 --> 00:36:02,440
{\an1}That thing about you not knowing
what the bass drum was for.
413
00:36:02,600 --> 00:36:07,520
{\an1}We didn't have a drummer
but knew you needed a drum set–
414
00:36:07,680 --> 00:36:11,200
{\an1}–so we went and bought one.
415
00:36:11,360 --> 00:36:17,880
{\an1}When we saw the pedal, we thought:
"What the hell is it for?"
416
00:36:18,040 --> 00:36:23,440
{\an1}We thought the bass drum was just
a place to write the group name.
417
00:36:33,200 --> 00:36:37,200
{\an1}Can you lower the background comp a bit
on stage?
418
00:36:37,360 --> 00:36:40,960
{\an1}They go on in...35 minutes.
419
00:36:43,000 --> 00:36:49,280
{\an1}It is difficult to explain, because I am English-
man, but the Swedes' way of writing music...
420
00:36:49,440 --> 00:36:52,280
{\an1}They are so influenced by British music.
421
00:36:52,440 --> 00:36:58,440
{\an1}In Embassy's music you can hear Factory Records
- you hear New Order and all that.
422
00:36:58,600 --> 00:37:02,960
{\an1}That's why they play here.
You hear Heavenly, Saint Etienne...
423
00:37:03,120 --> 00:37:08,600
{\an1}English is not their mother tongue,
so there is an element of…
424
00:37:08,760 --> 00:37:12,280
{\an1}The lyrics are sweet, and it fascinates me.
425
00:37:12,440 --> 00:37:15,800
{\an1}I don't know what it is that touches me like that.
426
00:37:17,400 --> 00:37:21,920
{\an1}When E-Numbers came out last year,
they did like three gigs.
427
00:37:22,080 --> 00:37:27,080
{\an1}Afterwards I thought:
"They must come back to London."
428
00:37:27,240 --> 00:37:32,160
{\an1}It was chaotic. It's so chaotic
that it is almost performance art.
429
00:37:32,320 --> 00:37:35,280
{\an1}We have an idea for tonight.
430
00:37:35,440 --> 00:37:40,200
{\an1}You know the review
from when we played together?
431
00:37:40,360 --> 00:37:46,040
{\an1}We thought you might introduce us
by reading the review.
432
00:37:46,200 --> 00:37:52,880
{\an1}Absolutely! "Some bands weren't so good,
and worst of all was probably Embassy."
433
00:37:53,040 --> 00:38:00,520
{\an1}"They have a lot of fans, which feels weird
- especially after a concert like this."
434
00:38:00,680 --> 00:38:05,440
{\an1}"The band consists of two guys
who sings to pre-recorded music."
435
00:38:05,600 --> 00:38:10,520
{\an1}"They were drugged and not playing
a single song from start to finish."
436
00:38:10,680 --> 00:38:12,720
{\an1}"Instead they walked around..."
437
00:38:12,880 --> 00:38:17,720
{\an1}"...screamed and slurred,
threw the microphone stand at the audience"–
438
00:38:17,880 --> 00:38:21,480
{\an1}–"and broke the sound system"–
439
00:38:21,640 --> 00:38:27,520
{\an1}–“which meant that the festival
wouldn't go around financially."
440
00:38:28,800 --> 00:38:31,840
{\an1}"I think I hate Embassy."
441
00:38:33,520 --> 00:38:37,400
{\an1}That was a good old review.
442
00:38:37,560 --> 00:38:40,200
{\an1}Here is the Embassy.
443
00:38:53,280 --> 00:38:56,800
{\an1}I have seen them "live".
444
00:38:56,960 --> 00:39:01,760
{\an1}Depending on my theoretical daily form–
445
00:39:01,920 --> 00:39:08,520
{\an1}–I think it is complete
magical how they appear live.
446
00:39:08,680 --> 00:39:14,200
{\an1}Other days I can be like this:
How are you coping? It just goes on.
447
00:39:16,280 --> 00:39:21,080
{\an1}–I don't know what happened.
- Shall we start over?
448
00:39:22,560 --> 00:39:27,040
{\an1}As you can see, we have technical problems.
449
00:39:27,200 --> 00:39:30,320
{\an1}The first gigs people said:
"Damn, how bad."
450
00:39:30,480 --> 00:39:36,760
{\an1}People thought it was fun. That was it
that drew people to the gigs.
451
00:39:36,920 --> 00:39:39,000
{\an1}It could be
a three-song long concert–
452
00:39:39,160 --> 00:39:43,800
{\an1}–of which the first song was an instrumental
and mixed with the dj music before–
453
00:39:43,960 --> 00:39:46,960
{\an1}–so no one understood
that it was part of the concert.
454
00:39:47,120 --> 00:39:49,480
{\an1}They ran on CDR players.
455
00:39:49,640 --> 00:39:54,400
{\an1}When it got too loud, it jumped,
so it hacked into songs. Catastrophic.
456
00:39:54,560 --> 00:39:56,960
{\an1}Torbjörn was always quite drunk.
457
00:39:57,120 --> 00:40:01,640
{\an1}And then the CD jumped there too.
We start at the top.
458
00:40:05,320 --> 00:40:09,440
{\an1}I read about their live concerts,
which was not live.
459
00:40:09,600 --> 00:40:14,400
{\an1}They performed without real instruments.
They had cardboard instruments sometimes.
460
00:40:14,560 --> 00:40:18,880
{\an1}Everything was pre-recorded. It was
like a heterosexual drag show.
461
00:40:19,040 --> 00:40:22,000
{\an1}Embassy stood with paper keyboards.
462
00:40:22,160 --> 00:40:27,400
{\an1}I think Björn Olsson sat in some booth
and played bass, in the mixing booth.
463
00:40:27,560 --> 00:40:30,040
{\an1}It was very strange and liberating–
464
00:40:30,200 --> 00:40:35,920
{\an1}–seeing a band like neither
looked or sounded like something else.
465
00:40:36,080 --> 00:40:38,080
{\an1}It was so fascinating.
466
00:40:38,240 --> 00:40:42,680
{\an1}It was very provocative to people
that they did this way.
467
00:40:42,840 --> 00:40:45,680
{\an1}I remember a gig
in the early 00s–
468
00:40:45,840 --> 00:40:50,160
{\an1}–when they had started getting
a slightly bigger breakthrough.
469
00:40:50,320 --> 00:40:52,560
{\an1}They never took the stage–
470
00:40:52,720 --> 00:40:57,440
{\an1}–but some Chinese exchange student sounded
sing karaoke to their songs.
471
00:40:57,600 --> 00:40:59,720
{\an1}People went crazy.
472
00:40:59,880 --> 00:41:05,280
{\an1}I remember a couple
who wanted their money back–
473
00:41:05,440 --> 00:41:08,600
{\an1}–because this was not
what they had paid for.
474
00:41:11,720 --> 00:41:16,560
{\an1}Keep talking
I don't know what you say
475
00:41:18,040 --> 00:41:20,840
{\an1}When did you lose it?
476
00:41:22,120 --> 00:41:25,120
{\an1}When did you lose it?
477
00:41:27,120 --> 00:41:31,120
{\an1}The important thing is not that it is live,
without it feeling real.
478
00:41:31,280 --> 00:41:34,280
{\an1}Which it really isn't
because everything is playback.
479
00:41:34,440 --> 00:41:38,440
{\an1}They did strange...
They set rules for each other.
480
00:41:38,600 --> 00:41:41,440
{\an1}"You can only play maracas."
481
00:41:41,600 --> 00:41:46,840
{\an1}They constructed layers
of some kind of verfremdung effect–
482
00:41:47,000 --> 00:41:49,200
{\an1}–between themselves and the audience–
483
00:41:49,360 --> 00:41:55,840
{\an1}–which some thought was fantastic
and which others could not understand.
484
00:42:06,480 --> 00:42:11,840
{\an1}There is an old thought about
that we destroy and recreate.
485
00:42:12,000 --> 00:42:18,400
{\an1}That we are charged with negative energy
which has to get out of the body somehow.
486
00:42:18,560 --> 00:42:22,600
{\an1}I just...
I let the situation guide me.
487
00:42:26,920 --> 00:42:30,520
{\an1}We are not self-destructive.
488
00:42:30,680 --> 00:42:37,400
{\an1}We are very positive people,
but with dark undertones.
489
00:42:50,720 --> 00:42:56,600
{\an1}If I could turn back time
and rearrange it
490
00:43:00,280 --> 00:43:06,160
{\an1}If I could rewind,
I would embrace it
491
00:43:07,040 --> 00:43:11,160
{\an1}'Cause all of my life
492
00:43:11,320 --> 00:43:15,200
{\an1}yeah, all of my life
493
00:43:15,360 --> 00:43:19,800
{\an1}it has left me wasted
494
00:43:21,880 --> 00:43:26,760
{\an1}We lived strangely, so it was difficult
to have an approved experience.
495
00:43:26,920 --> 00:43:29,640
{\an1}It was a state of emergency
all the time.
496
00:43:29,800 --> 00:43:33,800
{\an1}Farth towards the outer ring,
some highway–
497
00:43:33,960 --> 00:43:37,960
{\an1}–at a super cheap hotel
filled with guest workers–
498
00:43:38,120 --> 00:43:42,480
{\an1}–and pensioners from low-wage countries.
They lived in small cabins.
499
00:43:42,640 --> 00:43:45,960
{\an1}It was outside
like Skid Row in Los Angeles.
500
00:43:46,120 --> 00:43:49,560
{\an1}There were an incredible number of homeless people.
501
00:43:49,720 --> 00:43:57,000
{\an1}So that was our everyday picture.
We always started there every morning.
502
00:43:57,160 --> 00:44:01,480
{\an1}We had a little holiday too,
so we booked in the same hotel.
503
00:44:01,640 --> 00:44:04,480
{\an1}Worst holiday ever.
504
00:44:14,640 --> 00:44:18,880
{\an1}We are here to see Embassy.
505
00:44:19,040 --> 00:44:23,080
{\an1}It came as a surprise
that they were going to Paris.
506
00:44:23,240 --> 00:44:28,360
{\an1}We thought they had stopped,
we didn't know they were still going.
507
00:44:28,520 --> 00:44:31,800
{\an1}I love the albums. Very interesting.
508
00:44:31,960 --> 00:44:38,360
{\an1}I heard about Embassy from Swedish friends,
but knew nothing about Swedish music.
509
00:44:38,520 --> 00:44:45,400
{\an1}Some Indulgence is me
mostly associated with my life in Sweden.
510
00:44:45,560 --> 00:44:50,800
{\an1}Some Indulgence is a real hit.
511
00:44:50,960 --> 00:44:54,200
{\an1}It will be great fun to see them!
512
00:44:54,360 --> 00:44:57,440
{\an1}It will be cool to see Embassy–
513
00:44:57,600 --> 00:45:02,800
{\an1}–and I am sure
that they will give everything on stage.
514
00:45:12,240 --> 00:45:14,240
{\an1}One moment.
515
00:45:24,080 --> 00:45:26,920
{\an1}There is something about the guitar.
516
00:45:28,440 --> 00:45:30,480
{\an1}I have no sound either.
517
00:45:30,640 --> 00:45:33,760
{\an1}That was a powerful episode–
518
00:45:33,920 --> 00:45:38,080
{\an1}–when the crew came up and tried to fix
Fredrik's guitar that had broken.
519
00:45:38,240 --> 00:45:41,240
{\an1}The guitar does not work.
520
00:45:42,240 --> 00:45:47,680
{\an1}That was the source
to our annoyance.
521
00:45:47,840 --> 00:45:49,760
{\an1}It can only go on.
522
00:45:49,920 --> 00:45:55,920
{\an1}I managed to piss off the sound engineer.
There was no remorse after that.
523
00:45:56,080 --> 00:46:00,760
{\an1}All the French cavalry started,
noticed. You know, total rage.
524
00:46:02,840 --> 00:46:07,920
{\an1}We are going to change amplifiers.
You can see it as an encore.
525
00:46:08,080 --> 00:46:11,600
{\an1}There were very long blank spaces
between songs.
526
00:46:14,280 --> 00:46:19,080
{\an1}I forgot my things
and had to fix it.
527
00:46:19,240 --> 00:46:22,960
{\an1}/MUSIC WILL NOT START/
528
00:46:23,120 --> 00:46:25,120
{\an1}It's always like this.
529
00:46:25,280 --> 00:46:28,200
{\an1}I got very frustrated.
530
00:46:31,040 --> 00:46:35,280
{\an1}It could be
several minutes between the songs.
531
00:46:40,040 --> 00:46:45,000
{\an1}Instead of directing my energy
on arranging the sound–
532
00:46:45,160 --> 00:46:47,920
{\an1}–then I make the sound worse.
533
00:46:54,360 --> 00:46:58,360
{\an1}Unfortunately, the guitar does not work at all.
534
00:47:14,880 --> 00:47:18,760
{\an1}I have stopped apologizing.
535
00:47:18,920 --> 00:47:23,360
{\an1}Instead I feel guilt and sadness.
536
00:47:23,520 --> 00:47:29,040
{\an1}The game didn't go very well, so they
I have lived with the feelings this week.
537
00:47:35,480 --> 00:47:39,000
{\an1}You have had panic attacks on stage
and experienced different…
538
00:47:39,160 --> 00:47:44,800
{\an1}It is a strange situation
to be on stage. That's how it is.
539
00:47:44,960 --> 00:47:49,240
{\an1}We have never made it easy for ourselves
in that we do not prepare–
540
00:47:49,400 --> 00:47:52,200
{\an1}–but we expose ourselves to it.
541
00:47:52,360 --> 00:47:57,960
{\an1}You could have been very
prepared, control the situation–
542
00:47:58,120 --> 00:48:02,520
{\an1}–but then you also become
quite a defensive band.
543
00:48:04,160 --> 00:48:09,120
{\an1}Live music for the last 15 years
has become more and more like a movie.
544
00:48:09,280 --> 00:48:12,560
{\an1}Like going to the cinema
and see something that is finished.
545
00:48:12,720 --> 00:48:17,080
{\an1}They have always had this
to break the fourth wall–
546
00:48:17,240 --> 00:48:21,520
{\an1}–and not get into this
to play the classical record–
547
00:48:21,680 --> 00:48:24,360
{\an1}–which was released 20 years ago,
in its entirety.
548
00:48:24,520 --> 00:48:30,440
{\an1}No one would in this scene
do right. It is the antithesis.
549
00:48:30,600 --> 00:48:32,680
{\an1}They refuse to adapt–
550
00:48:32,840 --> 00:48:38,960
{\an1}–but they know that sooner or later
will reach the right person.
551
00:48:39,120 --> 00:48:45,520
{\an1}It was chaotic, a real mess.
Almost a kind of performance.
552
00:48:45,680 --> 00:48:51,080
{\an1}They should not be perfect,
they should be themselves. And they were.
553
00:48:52,920 --> 00:48:54,920
{\an1}Then it might be uncomfortable.
554
00:48:55,080 --> 00:48:58,600
{\an1}But what do you like?
for gigs really?
555
00:48:58,760 --> 00:49:03,960
{\an1}You like culture too
because it cracks.
556
00:49:05,680 --> 00:49:09,000
{\an1}I think that's how it is
and that's who we are–
557
00:49:09,160 --> 00:49:12,040
{\an1}–and it will be so.
558
00:49:12,200 --> 00:49:14,680
{\an1}It is an uncomfortable life–
559
00:49:14,840 --> 00:49:19,760
{\an1}–but it paves the way for possibility
to a genuine beauty too.
560
00:49:19,920 --> 00:49:24,440
{\an1}We have decided to
to live this uncomfortable life–
561
00:49:24,600 --> 00:49:26,800
{\an1}–for the sake of beauty.
562
00:49:26,960 --> 00:49:30,280
{\an1}Unfortunately is often live
a situation we just find ourselves in.
563
00:49:30,440 --> 00:49:33,760
{\an1}For many artists it is
a way to meet your audience–
564
00:49:33,920 --> 00:49:36,080
{\an1}–recreating their songs and such.
565
00:49:36,240 --> 00:49:40,760
{\an1}But we think all the time
on the innovative.
566
00:50:02,520 --> 00:50:07,680
{\an1}Service consisted of lying down
at the forefront and constantly challenging.
567
00:50:07,840 --> 00:50:13,440
{\an1}It was very idea-based.
But you can do that for a certain time.
568
00:50:14,440 --> 00:50:20,720
{\an1}A limited company has a business idea
which must be maintained over time–
569
00:50:20,880 --> 00:50:25,760
{\an1}–but a vibrant cultural scene
takes on a different form after a while.
570
00:50:25,920 --> 00:50:28,280
{\an1}So it was with Service.
571
00:50:30,160 --> 00:50:34,880
{\an1}Tough Alliance had shut down,
Studio transferred to own company.
572
00:50:35,040 --> 00:50:39,840
{\an1}It was just about time
to change direction there.
573
00:50:43,080 --> 00:50:45,280
{\an1}That's what's great about Embassy.
574
00:50:45,440 --> 00:50:48,480
{\an1}It's probably the only band
which has not been dated–
575
00:50:48,640 --> 00:50:51,400
{\an1}–of those who operated in the 00s.
576
00:50:51,560 --> 00:50:55,720
{\an1}It's cruel
that they are still good.
577
00:50:55,880 --> 00:51:00,600
{\an1}Tough Alliance were cruel,
but how long was it? Three years?
578
00:51:00,760 --> 00:51:07,120
{\an1}Service was a pop company after all, and
pop music is by nature commercial.
579
00:51:07,280 --> 00:51:10,880
{\an1}Popular music wants to reach out
and be on top lists.
580
00:51:11,040 --> 00:51:14,680
{\an1}At Service and many indie artists
there is a resistance.
581
00:51:14,840 --> 00:51:17,800
{\an1}It would rather
be secretive.
582
00:51:17,960 --> 00:51:22,400
{\an1}The idea that something is destroyed when
too many people like it.
583
00:51:22,560 --> 00:51:27,680
{\an1}I have not understood that Embassy
have striven to become great.
584
00:51:27,840 --> 00:51:32,560
{\an1}I absolutely believe that they deliberately
have set hooks for themselves–
585
00:51:32,720 --> 00:51:35,160
{\an1}–to break through widely.
586
00:51:35,320 --> 00:51:41,920
{\an1}It feels like it had the opposite
everything they've ever stood for.
587
00:51:43,160 --> 00:51:48,160
{\an1}We would appreciate if
It never entered my mind–
588
00:51:48,320 --> 00:51:50,800
{\an1}–had been a giant hit?
589
00:51:50,960 --> 00:51:54,560
{\an1}I thought for a period
that they neglected the songs–
590
00:51:54,720 --> 00:51:59,960
{\an1}–but I understand now that there was
a thought behind neglecting it.
591
00:52:00,120 --> 00:52:03,800
{\an1}It is a bit in the nature of things–
592
00:52:03,960 --> 00:52:08,040
{\an1}–to be able to say they should be
the world's biggest pop band.
593
00:52:08,200 --> 00:52:14,560
{\an1}So why agree to the rules of how
do you have to behave to be great?
594
00:52:14,720 --> 00:52:17,200
{\an1}The Embassy was a pop theorist...
595
00:52:17,360 --> 00:52:22,080
{\an1}The Embassy is meant to be
relatively narrow documentary film.
596
00:52:22,240 --> 00:52:24,840
{\an1}They don't have the ability to...
597
00:52:25,000 --> 00:52:29,120
{\an1}My concern is
that you are defined.
598
00:52:29,280 --> 00:52:35,360
{\an1}What if we get painted into a corner?
Now we become THAT band.
599
00:52:37,480 --> 00:52:40,400
{\an1}That is why you may become evasive–
600
00:52:40,560 --> 00:52:45,840
{\an1}–so that no one can stamp one
and say "that's how you are".
601
00:52:54,000 --> 00:52:58,280
{\an1}Easy times for lodish people
602
00:52:58,440 --> 00:53:02,560
{\an1}Rules are written for you folks
603
00:53:02,720 --> 00:53:07,080
{\an1}I estimate I'll get it even
604
00:53:07,240 --> 00:53:11,280
{\an1}My chance is none
605
00:53:11,440 --> 00:53:16,320
{\an1}I gave to you my lines,
my ambitions, my hopes
606
00:53:16,480 --> 00:53:19,920
{\an1}and some love of course
607
00:53:20,080 --> 00:53:24,880
{\an1}If that is what you're waiting for
608
00:53:25,040 --> 00:53:30,320
{\an1}now take it, it's yours
609
00:53:36,800 --> 00:53:43,760
{\an1}I thought that if we only speak up
maybe you would get the words
610
00:53:43,920 --> 00:53:51,240
{\an1}I thought that if you come and see us
you would return
611
00:53:51,400 --> 00:53:55,400
{\an1}I gave to you my lines,
my ambitions, my hopes
612
00:53:55,560 --> 00:53:58,600
{\an1}and love, and of course
613
00:53:58,760 --> 00:54:05,920
{\an1}if that is what you're waiting for,
now take it, it's yours
614
00:54:10,600 --> 00:54:13,360
{\an1}Asbra!
615
00:54:13,520 --> 00:54:20,320
{\an1}The atmosphere was absolutely perfect.
You felt perfect.
616
00:54:20,480 --> 00:54:26,880
{\an1}And then they started playing the new song,
which is unreleased.
617
00:54:27,040 --> 00:54:30,120
{\an1}I don't know
how to describe it.
618
00:54:31,640 --> 00:54:34,440
{\an1}So damn fat.
619
00:54:34,600 --> 00:54:38,360
{\an1}I don't wanna mess with you
620
00:54:38,520 --> 00:54:42,160
{\an1}but that's the only thing I do
621
00:54:44,200 --> 00:54:46,280
{\an1}Oh, come on
622
00:54:50,760 --> 00:54:54,880
{\an1}Gimme, gimme, gimme a break
623
00:54:56,160 --> 00:54:58,160
{\an1}Oh, come on
624
00:54:58,320 --> 00:55:02,000
{\an1}The great strength
and the most interesting thing about Embassy–
625
00:55:02,160 --> 00:55:08,840
{\an1}–is that both are in Embassy
because it will be hard in life.
626
00:55:09,000 --> 00:55:13,720
{\an1}Because you do NOT want to
it must be a joke, as people say.
627
00:55:13,880 --> 00:55:15,880
{\an1}Everybody wants that shit all the time.
628
00:55:16,040 --> 00:55:19,080
{\an1}“I got this job.
It's so fucking stupid."
629
00:55:19,240 --> 00:55:21,840
{\an1}"It's close to where I live. So nope."
630
00:55:22,000 --> 00:55:25,120
{\an1}"Damn it, I got the apartment
for a cheap price."
631
00:55:25,280 --> 00:55:31,880
{\an1}"Now the apartments have gone up in price
in this crappy residential area."
632
00:55:32,040 --> 00:55:35,000
{\an1}"So life sucks."
633
00:55:37,000 --> 00:55:40,400
{\an1}It is so incredibly important
that there is a band like Embassy–
634
00:55:40,560 --> 00:55:46,600
{\an1}–as from day one to day one thousand
is onajs.
635
00:55:46,760 --> 00:55:51,600
{\an1}Because in the times we live in
is it a work of art–
636
00:55:51,760 --> 00:55:56,560
{\an1}–to be an inconvenient
and hard fucking band.
637
00:55:56,720 --> 00:56:02,480
{\an1}That is where the greatness lies, that it
requires something. That's what I love.
638
00:56:02,640 --> 00:56:08,280
{\an1}She was so hard to handle
in my life
639
00:56:11,680 --> 00:56:17,240
{\an1}Always a handful
in my life
640
00:56:19,280 --> 00:56:25,360
{\an1}I take no for an answer,
I don't mind
641
00:56:28,400 --> 00:56:33,800
{\an1}Always a handful
in my life
642
00:56:53,600 --> 00:56:57,080
{\an1}We are not really anything.
643
00:56:57,240 --> 00:57:03,360
{\an1}We are a long gap, and late
an explosion in a creative process.
644
00:57:03,520 --> 00:57:08,480
{\an1}It is difficult to make music, or
even talk about music, with someone else–
645
00:57:08,640 --> 00:57:13,520
{\an1}–when you have found someone
which is so intertwined with one's self.
646
00:57:14,960 --> 00:57:19,960
{\an1}Closing the Embassy
I have a hard time imagining.
647
00:57:20,120 --> 00:57:23,560
{\an1}We are transformed quite a lot.
648
00:57:23,720 --> 00:57:29,160
{\an1}We don't feel like doing this
the way, then we do it in another way.
649
00:57:31,280 --> 00:57:35,640
{\an1}The end of Embassy could be
that we feel such resignation–
650
00:57:35,800 --> 00:57:40,240
{\an1}–over that dream like
no longer exists.
651
00:57:42,160 --> 00:57:45,600
{\an1}And there is nothing more
to add to the dream.
652
00:57:47,040 --> 00:57:49,960
{\an1}So the end of the dream, then.
653
00:58:02,200 --> 00:58:06,400
{\an1}No, no
You won't go wrong, no
654
00:58:10,800 --> 00:58:14,680
{\an1}Oh, no
It pays to belong
655
00:58:21,480 --> 00:58:24,480
Subtitles: Jens Jakobsson
Swedish media text for SVT
656
00:58:24,640 --> 00:58:27,760
Translation: Dan Olsson
Swedish media text for SVT