This is, as Anders just told me, possibly the “best production” we ever did. This song has a long build, from the slow intro all the way to the massive end, complete with choirs, strings and all.
I wrote the song based on an idea of singing around just one note for the whole song, and then branching out towards the end. I think it “opens up” the song in a nice way when you finally get to that sweet moment where the chords change.
The lyrics are OK too, I can picture myself as a teenager in my room trying to go to sleep but finding my head too full of thoughts, listening to the cars outside my window and the TV my parents had on in the living room. The ending is almost like a prayer, a plea for help with “sleep”, this mythical figure.
Nice build, nice tune, nice lyrics. We used our full arsenal at the time – I hear our Ensoniq EPS in the strings and the choir, I hear the Roland S-330 in the samples, I hear the Roland Juno 106 in the bass pad, I hear the Roland Juno-1 in the bassline and some of the other sounds.
Is this the best song from “The Nuclear Princess” then? Possibly so. I still like it today, and there are not many songs from TNP I can listen to without shaking my head. :)
So what can we possibly say about this little ditty? Clocking in at about 45s it is probably the shortest of all Art Fact tracks. As you know by now, we were really inspired by Depeche Mode, and just like them we wanted to have some shorter instrumental tracks between the regular pop songs.
I’m not sure, but I think this track was mainly created using the Roland S-330 sampler. Jonas’ brother Johan bought this for a considerable amount of money from a (then rather unknown) Swedish musician called Wille Craaford. During this period his backing band was called Pondus (I think he was doing some sort of Bruce Springsteen-like music, and wanted his own E Street Band), and we had lots of disks with “Pondus” written on them. Later, Craaford would change style and was a part of Sweden’s answer to Beastie Boys: Just D.
At the time, the S-330 was really impressive. Although not as cool as the Akai S1000, it still was 16 bit 12 bit (sorry!) and also ran its own editor in a green glowing monochrome monitor. With this and Opcode Vision running on a Macintosh, we probably had better equipment than the median Swedish synth band at the time. And what did we make of it? A loop with three samples!