We interviewed singer Adne Meisfjord from Norwegian band 120 Days about their new self-titled album (out in the states next week on Vice Records!) and tried to get the skinny on the story behind their synthy synth rock goodness. He was very Scandanivian. After the jump, check out what we pried out of him.
I read that when the band started you lived in a trailer, how was that?
That whole thing is a bit blown out of proportion. It wasn’t really when we started out, it was when we moved to Oslo. We couldn’t afford to get a real place to live in and we just had to live in the trailer. It was a nice experiment, I wouldn’t go back though.
Did all your synthesizers fit in the trailer?
We had some guitars in the trailer and all the vintage synthesizers were somewhere else, I have to admit. But almost everything we brought into that trailer was stolen.
I’m assuming that’s why you moved out.
Yeah, but it was a nice experiment because you get very close to one another.
Why did you guys change your name from Beautiful People to 120 Days?
We were called Beautiful People in Norway and we released two EPs, but we couldn’t use that name anywhere else in the world because there was a very crappy trance act in the ’90s that were called the Beautiful People. They released an album called If ’60s Were ’90s, like trance music with Jimi Hendrix loops. So that’s why.
Was it a conscious decision to avoid using guitars much on the new album?
It’s not something you decide upon, it’s really like, “Oh I bought a new synthesizer…” Music is always developing and this time we decided to go with more synthesizers.
Do you plan on ever using digital synthesizers, or do you prefer the analog sound?
It’s not that conscious of a choice. Well, I have to say, the feeling you get when you play an analog synthesizer is something else. They feel more physical in a way, more organic in sound of course, and also I think that maybe the best electronic music was made with that equipment, so that it gives you certain associations to class.
You guys self-produced the album, right?
We’ve always done that. One time we tried to work with some guy that wanted to be our producer, but that didn’t work out and I really feel best when I know that everything is going to be the way we want it to be. A lot of people wanted us to go with big shot producers and we wanted to do it ourselves. In the end we did and now everybody’s happy.
Who were some of the producers?
They aren’t big shot producers in America, but some fairly known names in Norway, I guess big shot producer was the wrong term.