It’s here! The very last Art Fact album ever just arrived from the press, and we are sending the pre-ordered copies out now. If you want to order it after its general release on June 3rd, head over to our bandcamp page, where we will also sell the vinyl record.
The release party will be held at Synth After-Work in Stockholm on June 3rd. For more info on that, head over to the Facebook event page.
Art Fact – Closure will be released on vinyl in a very limited (250 copies only) vinyl edition, and contains the songs we re-recorded for our live shows during the last year. New and great versions of Art Fact classic songs such as Building and Rain in the South are on there.
Building was the first song of ours that made it on to an official release, when we sent it in to a brand new label called Memento Materia. We were very excited when Building was selected to be on a compilation CD called Illuminative, which today is something of a classic in the Swedish synth scene. Later, when Memento Materia turned 20 years, the song was once again on a compilation of theirs, this time for a “best of” called Get Electrofied, which again made us very proud.
Building is a song built around two main things. First of all, the heavy timpani drum sound from the Roland D-20 which is prominent already in the intro, and then throughout the song. It really sounds great: a heavy, thundering boom to set the mood. Together with the thin metal beats it creates an almost industrial feel to the song, which probably made us name the song “Building” even though the lyrics have nothing to do with construction. :)
The other thing is the brilliant synth melody in the break. Anders wrote that, and if memory serves me right, this particular melody was initially written for DKW, but when Anders was trying to write a melody for Building, he thought that the one he came up with would be better in DKW, so they switched places. Today, it’s hard to imagine the two melodies switched back.
I think Building is a pretty good song today, but it is suffering a bit from our heavy-handed approach. It’s got a good melody, and an actual chorus, but the vocals are a bit sour and boring. When we reunited Art Fact last year to perform live for the first time in 20 years, Building was on the shortlist but didn’t make it to the live show, much to the dismay of some fans.
Here is at least something which sounds a lot more like a classic synth pop song on this cassette! We were working so hard to make ourselves sound “harder”, but here we have a nice tune that we managed to squeak through anyway.
We’ve got an unidentified synth doing the bass line, it could be the trusty ole Juno-106, but it doesn’t sound like it. The Juno is definitely there though in the pads. Also, the S-330 sampler is working hard again with both sound effects and drum patches.
For once, we also made the second verse something else than a cut-and-paste of verse one, at least in the soundsphere. We’ve got a nice arpeggio which sounds like another Juno-106, adding some texture and movement to the song there.
The vocals are nothing to be happy about today, I sound totally crappy, and without emotion. This was definitely by design, but it was one of those choices we made back then that I wish I could go back and change. We wanted to be cool, but ended up taking away a lot of the “soul” in our music that had made Art Fact what was different.
Lyrics are forgettable as well. The “blocked by fear” line is ripped off from the Front 242 song “Gripped By Fear”. Oh well.
Leading off the “B-side” of the cassette we have the track which gave its name to our compilation vinyl released by Dödsdans Rekords a couple of years ago. I don’t know why the nice guys at the label decided on that name, but I quite like the title actually. Somehow it lends a nice atmosphere to the song, and it goes well with the sound.
We start off a bassline I don’t remember which synth it cam from. It doesn’t actually sound like any of our regular sounds, but it might have been the Roland Juno-1, since we were using that a lot during this time. During our The Nuclear Princess era we experimented a lot with sampling, and the intro has a submarine sonar sample going during the bass line. Then we immediately go into the beat and the very narrow pad, again I don’t really know what synth that is.
During the verse, I can hear a weird reverse-pad that is most definately a Juno-106. And we’ve got a slow verse which finishes in a hilarious turn which I know Anders hates and I am fond of. :) We only had one effect unit to use for the vocals, an Alesis Microverb. Since we really wanted the reverb in the chorus to be as large as possible, but we wanted a shorter reverb during the verse, we had to manually switch the effect during mastering, which makes the reverb “die” at the end of the first verse and start over in the chorus. It sounds weird, but somehow I think it just adds to the relative minimalism of the track.
During the break we take an actual break, and listen to sea gulls. Yep. That’s the kind of stuff we were into. I don’t remember why, or how, but the sea gulls are all alone on this track for a good 15 seconds and I guess we wanted to make the listener feel something. Do you?
All in all, not a very memorable song, and I think it could have been a lot better. The bass line is very nice, and the vocals are pretty good, but the drum beats are too monotonous and boring.
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. :)
Oh, we are well into the nineties now. This is the first track on this demo that really departs from the classic Art Fact formula in that it doesn’t have anything resembling a catchy tune, or even a chorus. It’s more a collection of “cool” sounds resulting from the fact that we now had samplers to work with.
In the intro we have a pitched-down breathing sound, a coin rolling to a stop on a glass surface, and another breathing sound. Add a couple of more samples and a lonely Juno-106 droning on, and that’s almost the whole track.
I remember that we wanted to have the vocals recorded over a phone line, and this being before cell phones I walked to a payphone nearby and called the house where the boys played the song over the phone and held a microphone to their end while I tried to sing in the phone booth. This ended up not working at all, so in the end we just treated the vocals with EQ to make it sound “phone-like”.
All in all, I guess this is a pretty boring track, and it’s certainly nothing we ever considered playing live or submitting to compilations, etc. Around this time we started having more ideas about what we should sound like rather than focus on writing great songs. This was a mistake, but we were so caught up in wanting to be cool. Too bad.
All right, with last week’s depressing “Wasted Minds” we are done with our cassette Nowadays and move on to our last “real” demo, “The Nuclear Princess”.
I don’t remember how much time passed between finishing “Nowadays” and starting on the songs for this demo. Something that is obvious right from the start is that we had a bunch of new equipment. We had started working more on a regular basis out of Jonas’ home where his brother had a studio set up with more stuff for us to borrow.
On this first track from TNP, we are using almost the full battery of new equipment. We have a slightly-out-of-tune (we didn’t hear that it was sour until after mastering) Roland Alpha Juno-1 playing a whining pad in the intro, and we were also using a Roland S-330 sampler, together with an Ensoniq EPS and our trusty Roland Juno 106.
We were also using a computer with sequencer software for the first time. A version of Opcode Vision made it easier for us to make our songs more complexed and layered, but it also made it easier for us to get bogged down into details.
The opening track then. “A New Book” continues on the anti-religion theme from “Nowadays” with lyrics condemning people following the letter of the bible. I don’t know why we chose this song as the opener, but it kind of sets the tone for the whole demo and new sound of Art Fact. Slower, darker and supposedly deeper. At least that’s what we thought at the time.
This song is not one of my favorites, but it’s not the worst either. It has a couple of nice melodies and cool reverse sampled speeches. My vocals are OK, doing the job but void of most of the emotion present on our earlier songs. This was very much the idea at the time, but now I think that was a bad choice. We had more of a unique sound going on when we had my “blues-y” vocals on top of the electronic sounds than when we tried hard to sound more like every other Swedish synth act at the time.
We have arrived at the last track on what was probably our best effort, our cassette demo “Nowadays”. And it’s a treat, because this song is one of my favorites. From its slow, sweeping sound over the intro through the strong chorus this is a very good showcase of what made Art Fact good.
The lyrics for this song came to be when I was watching the news on TV. I can’t remember exactly what it was that got me thinking about it, but something was so grueling that I wanted to look away, but couldn’t. Nothing to deep here, but a couple of nice phrases came out of this, especially the title, “Please turn my face away” which I still think is great.
Anders had written and produced the whole song on the Roland D-20, and I think we just completed it with a new bass sound from the Yamaha V-50. The breathing sounds in the extremely short “break” was just me and a microphone.
I think what really makes this song for me is the wonderful intro which sets the mood instantly. Once the drums start, we also have a nice little melody from the D-20 going on. The verse is a little boring, but every time we come back to the chorus, the song really opens up and becomes larger and better.