Shoegaze may have been a short-lived affair in early 90’s Britain, but its influence is no less representative in today’s burgeoning indie scene. Certainly helped along by indie pop behemoths Field Mice, shoegazy indie-pop has certainly become more of a creative and diverse genre than a fad. Danish group epo-555 illustrates this wonderfully melodic taste of retro-pop as they delve into electronica, indie-pop, shoegaze, and folk. Mikkel Max Hansen, one of the masterminds behind the Danish group, enlightens with his diligent, yet carefree approach to his craft, embracing the little things about music that so often become overshadowed. Joining Mikkel in his endeavor are Ebbe Frej, Hans Emil Hansen, and Tine. As the Nordic countries seem set to explode musically, one of its humble denizens reveals his secrets and his ambitions, not forgetting to share his blunt opinions and whimsical humor and wisdom along the way.
The Danish music scene has seemed to flourish of late. Is this more a result of music purveyors outside of Denmark noticing the scene there, or the sudden outburst of young and creative talent, like yourself, Figurines, Mew, and Kashmir?
I’m quite sure that it’s a fine blend of the two, and they certainly interact. For a long while Danish music was commonly associated with idiotic lightweighters Aqua, if noticed at all. It’s been a real battle to turn the ship and many great bands have given up on the way. But it feels like we, the bands mentioned and others like Under Byen are now slowly spearheading into the ears and minds of the few dedicated, and hopefully this should give the next wave some leverage and a whole lot of positive synergy. I think that I can speak for most of the alternative Danish scene when saying that we’ve been yearning so much to be heard, to be appreciated and to be accepted that we’re pumped full of adrenaline. Now that people do listen, the outburst of new musical ideas is both sudden and explosive but also long lasting and honest.
epo-555’s sound, though very diverse, using electronica, shoegaze, indie-pop, and ambience, seems to always be based on basic pop melodies…never allowing the experimentalism of the music to stray too far from accessibility. Is this intentional, or rather a fine result of the music process?
Oh yes, it’s very intentional. To me, melody is what makes noise magical; and quelling it is just daft. We strive to create contrasts in which the melody can float like the Colorado River through Grand Canyon. When writing music I pick the melodies from my dreams like apples from a tree but I test them in numerous musical environments. If they work all over, they’ll last longer than me, and that’s the point.
Personally, Mikkel, what has most inspired your music, and particularly, what influences (there seems to be a diverse range) motivate your music?
Indeed there must be, and I can recognize many styles from the Beatles to Dat Politics in our music, but when creating the basic tune I never think. The melodies fall right into my lap. I can’t force a melody through trying to focus on a particular style or band. Instead my surroundings inspire me: The sound of a bus going by with a faint touch of the Dobbler-effect. The engine of a ferry working like a monkey to get me back on shore. Water filling a pan. The songs are enticed and come crawling from the back of my head like ants stumbling upon fierce resistance from my control-freak of a brain, thus shaping the song. It’s quite cool. I can’t ever really remember actually making the song. I know it takes time, but all of a sudden, there it is.
Recording the song is a whole different story. Ebbe and I are adversaries and companions and we take a looooong time to shape the song in our little studio. We play like little boys with Lego and we hardly ever end up with the song that we started with. What is most inspiring in that process is - I believe - the other person.
Are all the band members diverse, musically? What unique aspects does each member bring to the group, both musically and personally?
Yes, very diverse. Ebbe plays just about every single instrument on this earth really, really well. He’s technically, theoretically and intuitionally skilled and he also has an ego the size of a big watermelon. Hans Emil is like Ebbe, only very uneducated musically but nonetheless extremely wide spanning in his musical conceptions. A very big ego with a touch of rock n’ roll die hard attitude. I too have an oversized ego but I can’t play any instruments as well as the others and I never wanted to. If I could I’d be hiding behind something pretty large when we’re playing, but instead I’ve ended up in the foreground. The three of us are like roosters in the same yard, and I don’t think we’d survive 4 minutes without Tine and our sound engineer Jesper to grease the engine. They have all the social skills that we lack. Brilliant in their musical field and brilliant people.
What in your opinion is the most enjoyable aspect of not only making music, but also being in a band?
For me it’s the feeling that we’re walking where no man’s foot has set a print before. Like an adventurer has the globe or an astronaut has deep space I honestly feel highly privileged to be able to explore the hitherto infinite world of music. I feel like a pioneer, like an outlaw, like a fresh new leaf on a tree that is as old as humanity itself. That’s why my time in the studio with old machines, plastic toys and amazing computers is like the best time I’ve ever had - every time!
Do you prefer the camaraderie of the band, or do you savor working alone? What sort of advantages are there to each, in your opinion?
Churchill once said that democracy is the worst of all ways of governance - except for all the others. Sometimes I just wish that I could roast Ebbe in the flames of hell for demanding changes to my initial dream, but I know that were I to sit down and do the tune myself, the result would be meager, and a faint shadow of what I’d heard drizzling through my brain only minutes ago. Working alone is very quick and sometimes very good, but mostly music only makes sense when you’re more than one. Yes. It is just like having sex. You have to trust the other person. Otherwise it’s creepy.
What plans does the band have as they continue to record and perform?
We’re determined now to let business be a friend that we don’t worry about, and to focus on making the best tunes we’ve ever made. That’s our plan. No more administration. Just music. And lot’s of it.
What sort of exposure has the band experienced recently outside Denmark? Have you been touring around Europe, and do you plan to come to North America…to the delight of American and Canadian fans?
Oh me oh my, we have been to North America. Many times. The last times we went were in late June where we played NY, NJ and MA. We are crazy about Austin. While most of our touring gets done in Germany and Europe I think that Canada and the West Coast is on our wish list for December or spring 2008!
Finally, what has been the difference between recording/writing Dexter Fox and Mafia? Though similar, each album has its own distinct quality. What inspired each album, if different?
I’m so glad that you noticed! Dexter Fox was a process of getting to know ourselves as a band with our own sound. Like a story, a fight and a test without a goal other than that of making the songs exist in audible reality. That is reflected in the songs and the lyrics that personify the band with an outlaw fighting for justice with a bottle in his hand and a fine, yet sad lady by his side. We had finished the album when we were signed by Crunchy Frog. Mafia on the other hand was made with a clear vision and a strong focus on the clash between inevitability and coincidence. It is stricter and more clear-cut. We were playful as ever when recording but we were also more confident of our strong sides. All the lyrics point to different scientific theories working as metaphors for the clashes in love and politics.
Dexter Fox was honk for peace and for getting rid of bad, bad presidents, and Mafia is an acceptance of the inevitable cycle of humanity’s idiocy; we apparently cannot learn from the past and must go through times of religious mumbo-jumbo, nationalism and egoism to be able to appreciate the values of humanity. You’re getting there in the states, and that is good. Our country will follow in your footsteps years from now.
In the meantime epo-555 is in the studio making music that will walk where no man has set his print!
--Wes Barker
Photo: Niclas Jessen
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Mafia is available now through Crunchy Frog/Rykodisc Records.
http://www.epo-555.dk
