This is it! The final episode of our A Song A Week series. Are you still waiting for the twist? Sorry, there won’t be one ;)
Dandelion Puff is an instrumental track, and the last song on the Nuclear Princess cassette. I actually don’t remember much about it. It’s mostly a collage of samples, with a windy loop being the foundation. The spoken samples were recorded with a microphone in front of Jonas television. It’s not like we searched for the perfect sample, the cartoon just happened to be running at the moment. Turned out fine, didn’t it?
Since there were no lyrics, the naming of the track was an open question. I was always on the lookout for good-sounding English phrases, and this one came from the name of a Winnie the Pooh drawing. Quite wimpy for a synth band that wanted to be cool, it was originally intended for the indie band I also played in.
So the Song A Week series stops here, but we might have more stuff from the archives waiting in line… Until then, have a great summer!
Another personal favourite from In Fact, this track has some nice features that show that we were getting better and better at writing and producing songs. First of all, we used the fact that Olle could also sing really well. It is he who sings the backing vocals in the choruses, which probably means that we used all four tracks available for once.
Second, the middle-8 part is really good and serves its purpose. There are some nice chord changes and melodies (including a nice FM bell from the Yamaha V50). If we would have been even better at producing we would have cut the last verse after the middle-8 and gone straight for some finishing choruses. The song feels a bit long now.
The chord sequence in the verse is sort of an extended 12 bar blues, which works pretty good with Måns’ pseudo-bluesy vocals. I don’t know where we got this influence from, maybe from Yazoo who at least I listened to a lot during this period. This song was probably written mostly by Måns, so maybe he also did.
Finally, the intro and ending, or outtro as we used to call it (still do actually). The intro was once again some kind of field recording sound, in this case Fröken Ur, the national speaking clock. I don’t think there was any thought behind this selecting, it was just one of the few things available to record. The outtro is, just like the middle-8, a bit more elaborate than usually for this period. I think the fast arpeggio was recorded using the V50 step sequencer.
Overall, this song is an indication towards a more mature style and expression (if you can say that about 15-year-olds) that was more developed on the second cassette Nowadays.