A Quote by Kristoffer Rygg
I always wanted to make a cover album consisting of obscure psychedelic music from the 1960s - all re-shaped and customized, Ulver style.
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What I wanted was just to make music, and so, originally I just wanted to hide behind the album cover of the last record, and I wanted it to be almost anonymous.
Some of the albums I like best in the whole world are considered psychedelic albums. A psychedelic album is an album that when you put it on, if you listen to both sides, when it's over, your perceptions have been changed and I think that our record can do that.
Psy Free was a trio consisting of guitar, organ and drums. I was the drummer. We did what the name suggests: psychedelic, free music.
From the beginning, with our first album, we wanted to make the music that maybe was lacking around us - the music that we wanted to hear.
I didn't want to make a record that's just drones or completely experimental. A lot of the time bands that make this psychedelic style of music are just a bunch of dudes hanging out together and jamming.
I'm influenced by the music of the '60s. It's a mishmash of everything. To me, psychedelic can be all the way to a DJ. House music can be very psychedelic. 'Flying Lotus' is very psychedelic. Even though it's urban and technological, it's also mind-expanding, anything-can-go mishmash.
I wanted to reexamine the idea of the album for generations of people who are not my age, who love music or learning about music or are finding this band called R.E.M. or have just previously heard "Losing My Religion" and "Everybody Hurts" as their elevator music. I wanted to present an idea of what an album could be in the age of YouTube and the Internet.
Imagine a music business where all the music press talked about, all day long, was cover bands of old rock and pop groups. Beatles cover bands, Rolling Stones cover bands, The Who cover bands, Led Zeppelin cover bands. Cover bands, cover bands, everywhere you go.
If I weren't making music, I'd be the kid who writes into the magazines and says, "why don't you guys ever cover anything that's different? Hip hop is so much of the same thing over and over again." I love hip hop, so I wanted to make an album from that standpoint, 'cause that's who I am.
Live we're a lot louder and noisier on the album. I think for the album we took a lot of time for the songwriting and we wanted to make good pop music, and I think there's plus and minuses to doing pop music and noise.
I've always dreamed of having an album. The problem is that it's just very difficult to make an album nowadays because through technology, music shifts so fast, especially electronic music. Once you make five songs, the first one you did is already old and you wished you would have put it out right away. So that's kind of the difficult part.
Every Shania Twain interview ends with someone asking, 'Which Beatles album have you always wanted to cover, given the chance?'
I always wanted to make an album, but I knew that I didn't want it to be a musical theater album. It's not that I don't love them - I own every musical theater album ever made - but it just didn't seem right for me.
I thought I'd go away and make one album, but it was extended. The album did so well, and they wanted another album. I was on a high. You make hay while the sun shines, and I was doing it, and you think about yourself; that's what you do.
Ever since I was a kid, I always wanted to play music that I liked, and even when I was in cover bands when I was a teenager we only played cover tunes that we liked. That was the simple morality that I grew up with.
When I made Illmatic, I was trying to make the perfect album. It comes from the days of Wild Style. I was trying to make you experience my life. I wanted you to look at hip-hop differently. I wanted you to feel that hip-hop was changing and becoming something more real.
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