Lo-fi shoegaze from Sweden? There’s a a description we don’t often use. But Logh are a different kind of band; musically and personally. Sometimes there’s a language barrier and sometimes we’re just clueless. Either way, this is beautiful, ethereal mood music to make your heart swim in a sea of desperation. Listen, read, decipher and report back to us…
TDOA: You’ve self-produced all of your albums. Can you discuss why you haven’t used an outside producer on any of your records?
Mattias: We’ve always been broke. And we can be really horrible in that environment. I would never want an outsider to see me like that. I’m really thankful the rest of the band still speak to me after we’ve recorded stuff. And they’re really horrible too. Grumpy and stubborn and lazy. They should be really happy I still want to speak to them too.
Karl: There are more than enough opinions and wills between ourselves. I dread the idea, trying to fit one further more. And in spite of traumatizing recording sessions we’re still friends and still want to go back to the studio.
Mathias: We’re too stubborn and by the way, a mule is the offspring of a donkeyman and a horsewoman.
TDOA: Pelle Gunnerfeldt has mixed several of your albums. Can you talk about working with him and describe his contribution to your sound?
Mattias: He is the bringer of balance. And polish. He goes: Wax on, wax off. He’s Mr Miyagi and we’re Daniel San.
Karl: Pelle is more grumpy than all of us together. What he doesn’t know in the studio isn’t worth knowing. A genius
TDOA: Can you talk about the video for ‘Death to my Hometown’ and your general feelings about making videos
Mattias: Hehe. No, I’m not at liberty to talk about that video. It is awesome somehow. Videos are cool when they add something to the song, not the other way around.
Karl: As to everything else you’ll get six contrary answers. The video to Death to my Hometown is kind of provoking. Making a video is definitely provoking.
Mathias: Making videos is not hip. The latest trend is making babies. Trust me, I’m from Sweden.
TDOA: Critics seem to struggle with the overall mood that your lyrics try to convey. Is this intentional? Our feeling is that you are trying to convey a sense of despair, mixed with a determination to carry on? Is that accurate?
Mattias: I mostly focus on the carry-on part. I see all kinds of shit as hopeful. You always can. You might call it delusional and maybe it is but it’s just a way of getting through life. Same thing as believing in other crazy shit to help you through; like Santa or God or democracy.
TDOA: North was originally released in 2007, but is just getting it’s U.S. release in 2009. Is it frustrating to continue to promote an album that you recorded almost 3 years ago?
Mattias: No, we actually took a two-year break so to us it’s just amazing that there are people out there that still care. And it’s cool being able to say that you’re already working on the next album when you have one that’s just out…
TDOA: Obviously there’s been changes in personnel over the years, but can you talk about how you think the band has changed over the years?
Mattias: We’re like really bad chefs. We just add and add and add. We grow like an evil organism. It’s getting harder and harder to stick by the minimalist idea of production we started off with. But now we’ve come to a point where Logh wouldn’t work without all 6 of us. We’ll have to start dismembering soon. Like the knights who say NI! And musically challenged we’ll find our way back to our minimalist outset.
Karl: The change over the years and albums comes out of renewing, making up new sets of challenges before recording or touring.
Mathias: Three young boys start playing in the sandpit, building a sandcastle. After a while they realize that they need a new friend that can hit hard with spades on the buckets. So they search the neighborhood and find a dude that can do that. This dude is later replaced by a smaller dude, and after that this new dude is replaced by an even smaller dude that hits the buckets very hard. At this point the boys start fighting and wrestle around in the sandpit getting all dirty. Because of this they call on two other boys from another sandpit next to theirs. One that is very good at keeping them from wrestling and one that is very funny, so that they laugh instead of argue. The sandcastle is built and torn down four times, getting bigger and bigger for each time. At the moment, they are setting the grounds for the fifth one, and that one will be enormous!
TDOA: The atmospheres that you build in each of these songs are beautiful. Do your songs generally start with vocal melodies and then grow from there or is there a different process?
Mattias: Most often starts with a melody line and some chords, yes. Then you make very many of those and see which pieces fit together. Most common method in pop music I think. Getting the atmosphere though… Here’s the secret ingredient. Or, not very secret. Any half-wit could figure it out. Restrain. To fill stuff with empty space. And let things take their time. Unfortunately this thinking affects us in daily life. We’re horribly slow.
TDOA: Is it true that Sunset Panorama was recorded in a single day, with the whole thing documented for DVD? If so, what led you to attempt this daunting project?
Mattias: It is almost true.
Karl: Mr Miyagi, wasn’t it?
Mathias: Boredom. provocation. stupidity.
TDOA: Can you talk about your musical influences?
Mattias: Yes. My biggest by far are Badalamenti and Morricone.
Karl: Most recent plays in iTunes; Cocteau Twins, Clint Mansell (The
Fountain), Rachel’s, Roy Orbison, El Perro Del Mar, Radiohead.
Mathias: Grungerock from the early 90s
TDOA: Can you tell us about the recent shows in the U.S. and the Mattias solo shows?
Mattias: They were all solo shows. I was on holiday and figured why not play a few shows? We hope to come over, all of us soon. But I guess we’ve been saying that for 8 years…