Can’t Stop the Music Jocke Åhlund’s multiple bands and projects and Blenda’s genre-defying tracks and burgeoning label are only some indication of their creative output. The Forumist caught up with them to talk about their ambition, artistry and drive
Words by Austin Maloney Photography by Felix Swensson Styling by Natalie Olenheim Special thanks to Fred Perry Over the past few decades we have witnessed a stream of fascinating subcultures, whose styles and cultural significance have come to influence the music we listen to, the food we eat and the clothes we wear. Often based around a sharp eye for fashion and style, well-dressed groups such as mods and Britpop aficionados have created their own lifestyles and ways of dressing, building a sense of belonging and affinity among them. Through their now-iconic looks, these groups have made stylish polo shirts, well-fitting jeans and impeccable boots staples in many wardrobes around the world. And one brand has been the uniting force for them all: Fred Perry. Having appeared on daring artists and celebrated groups such as Oasis, Paul Weller and Amy Winehouse, Fred Perry and its instantly recognisable laurel wreath logo is, to this day, an emblem of unity. The connection to music has always been strong, and artists from all over the world have embraced the originality and stylishness that Fred Perry has come to symbolise. And to celebrate the fantastic originality and creativity of the Swedish music landscape today, The Forumist met with two artists who don’t shy away from expressing themselves, and who, through their abundant and varied creativity, have generated their own identity, inspiring others around them to generate their own style and way of life, regardless of who they are and where they come from.
Jocke Åhlund Even if the name Jocke Åhlund doesn’t ring any bells for you immediately, you’re bound to be familiar with his work. The musician, producer and music-video director makes music at almost factory-output levels of consistency, all stamped with his unique sound. And his more than 20 years in the rock game have produced some memorable songs, from the manic rock funk of Teddybears’ Cobrastyle (a song later covered by Robyn) to the motorcycle growl of Caesars’ Jerk It Out. Last year, most of Åhlund’s attention was taken up by another of his bands, Les Big Byrd, who released 08
Iran Iraq IKEA, their first studio album in four years. Les Big Byrd’s soaring krautrock is another reminder of Åhlund’s ability to span genres – between all his bands, his creative energy leads him to explore a vast range of sounds. Iran Iraq IKEA had a difficult gestation, but the response to the record proved to Åhlund it was all worthwhile. “I feel like it was definitely worth the hard labour – if I’d left the album unfinished, it would have been a big failure, but I’m really happy with how it all came out, and that is the most important thing to me,” he says. “And then, of course, it doesn’t hurt that we got great reviews in both the Swedish and international press, and got nominated for Swedish Grammis both for the rock album of the year and me for producer of the year.” Åhlund’s way of working, with multiple projects always in play, means you can never take your eye off him and assume he’s limited himself to one project at any one time. Not long after Iran Iraq IKEA was announced, he dropped the bomb that Caesars were also on the way back to the live scene, with a slot at Stockholm’s Popaganda festival followed by more dates around Sweden. “That was more of a coincidence,” says Åhlund. “Frans, the bass player from Les Big Byrd, booked Caesars for a private Christmas gig at the bar where he works, so we got everyone back together and did that. That was meant to be just a one-off thing, but someone saw it and offered us a spot to headline the main stage at Popaganda in Stockholm last August. We all felt like that was super-fun to do, so when we were offered a couple of other really good gigs, we accepted those as well. But as far as recording plans go, there are none at the moment. But I guess you never can tell for sure.” Even though his relentless creativity in music would be more than enough to occupy most artists, Åhlund also directs his energies into the non-musical aspects of his bands, with the striking cover art chosen for Iran Iraq IKEA, taken from an image by the artist Gunnar Thorén, being a powerful introduction to the album. “The visual side of things is super-important, of course,” he says. “I’m trying to create more than just music as an artist. I think that everything you do is part of a world that you are trying to build around the project, and the visual aspect as well as what you say in interviews, and what you wear, is a part of how you project yourself as a band or an artist. I don’t feel you can ignore any of those elements or let other people do them for you. I grew up with the DIY ideals of punk rock, so it’s always been pretty natural to me. Plus, of course, if you can’t afford to let other people do stuff for you, you’re kind of forced to do them yourself. But that doesn’t mean that I do everything
myself – I collaborate with a lot of very talented people, such as Gunnar Thorén.” The Jocke Åhlund factory is already running at full speed as we move further into 2019. “I’ve got so much stuff I want to do. I’m in the midst of starting my own label, Chimp Limbs, and through that I’ll start putting out even more stuff this year. Plus, more stuff with me and [the Swedish artist] Jockum Nordström – we have three albums out now and we’ve already come quite far in making the fourth. Plus, more stuff with Les Big Byrd, of course. We’re not done touring yet, but on days off, we have started making material for the next album. I’ve been touring a little bit with mine and Jockum’s band, too, plus Teddybears, so it’s kind of hectic actually. But I like to stay busy, I guess – it gives you less time to think about death and Armageddon.” @jockeahlund
