Björn Yttling, a key member of the acclaimed Swedish band Peter Bjorn and John, is deeply engrossed with a Moog synthesizer in a recording studio. Despite initial challenges with the vintage Realistic MG-1, his determination is palpable as he navigates through the electronic textures, searching for the perfect melody. In a matter of moments, the synthesizer yields a beautiful sound, a testament to Yttling’s musical prowess. Peter Bjorn and John, comprised of Peter Morén, Björn Yttling, and John Eriksson, are in Los Angeles, using this time to rehearse and create demos for their upcoming album. This creative period follows their extensive two-year tour supporting their breakthrough record, Writer’s Block, the album that featured the globally recognized hit, “Young Folks,” with its unforgettable whistle. The studio space is filled with a diverse collection of instruments – keyboards, drum machines, drums, and amplifiers, creating a vibrant and dynamic atmosphere. Even the piano is connected to the PA system, enhanced with generous reverb. The band is in the process of refining their song arrangements, exploring various tempos, instrumentation, and sonic textures. Yttling’s meticulous approach involves examining the songs from multiple perspectives, emphasizing thorough rehearsal as a crucial part of their pre-production process. He expresses his enthusiasm for working in Los Angeles, where the time difference provides a distraction-free environment conducive to focused creative work.
Björn Yttling’s influence extends far beyond Peter Bjorn and John. He is a highly accomplished keyboardist and arranger who has played a pivotal role in numerous prominent Swedish musical projects. His extensive resume includes collaborations and tours with bands like The Caesars, Nicolai Dunger, and Dungen. Furthermore, Yttling has made significant contributions as a producer for notable artists such as The Concretes, Shout Out Louds, Robyn, and Lykke Li. His exceptional musical intuition allows him to craft songs that possess a timeless quality while often incorporating innovative and otherworldly sonic elements. Yttling’s arrangements are characterized by their deceptive simplicity, built upon strong hooks that can unexpectedly shift into experimental territories, reminiscent of Sun Ra’s avant-garde jazz. This adventurous spirit is also evident in Yttling Jazz, his side project, which blends the playful energy of Raymond Scott with the complex rhythms of Mingus.
During their time in Los Angeles, amidst Björn’s adventures including an eventful night at the Knitting Factory and a less successful encounter at Steve Aoki’s DJ night, a conversation unfolded in a more relaxed setting – the dining room. This interview delves into Björn Yttling’s journey into recording and music production.
When did your journey into recording begin? Were you part of a band at that time?
My first foray into recording was quite unconventional. As a child, I participated in a Jeopardy-style TV quiz show and won a trip to Copenhagen. Instead of the trip, I opted for a 4-track cassette recorder.
They allowed you to exchange the trip for recording equipment?
Yes, and I also acquired a pair of high-quality AKG headphones. It was a Fostex cassette recorder, although I had prior experience with a Tascam Portastudio at music school.
You attended music school during your high school years?
Actually, it was even before high school. When I was around 12 or 13, my school had an Atari 1040ST computer and a Tascam Portastudio. Later, they added a Roland D-50 synthesizer, which became my initial playground for musical experimentation. Subsequently, I obtained my own 4-track recorder, a microphone, and began experimenting with tape-to-tape recording techniques, embracing a non-digital workflow.
How old are you currently?
I am 33.
So, unlike many of your contemporaries, you have hands-on experience with tape recording?
Yes, my early musical interests were rooted in synth music. The advent of MIDI technology was a significant advancement, enabling more intricate musical arrangements. I utilized MIDI with Atari or Commodore computers, syncing them with tape recordings to layer vocals and other elements. Later, in high school, I connected with Peter [Morén], and my explorations in 4-track recording continued.
Initially, were you primarily recording your own music?
Yes, initially it was just myself and a friend, working on original songs that we composed together.
How did you transition into recording and producing music for other artists?
Moving to Stockholm provided greater opportunities to connect with other musicians. I joined Nicolai Dunger’s band, which was my first professional musical engagement. Concurrently, I worked as a session keyboard player in various studios for producers like Pele [Almqvist], known for his work with The Hives, and Jari [Haapalainen], who produced Ed Harcourt. This studio experience revealed my inclination towards production rather than constant touring. Observing these producers, I realized that production was a path I could pursue. I started co-producing with Jari, learning the intricacies of production and contributing arrangements, including strings and horns, as I had prior experience writing sheet music. My production journey began with Peter Bjorn and John’s debut album in 2002, followed by Marit Bergman’s record, which marked my first solo production. Marit’s album achieved significant success in Sweden, breaking into the charts at a time when indie rock was less mainstream. Initially, budgets were limited, but I persisted, often producing bands for free to gain experience and offset studio costs. During this period, I also played with The Caesars, which provided financial stability through touring in the US and Europe. My collaborations with Jari continued, leading to commercially successful projects, including several gold records in Sweden. By 2002-2003, music production became my primary focus, allowing me to leave behind part-time jobs like teaching piano.
How crucial is pre-production in your process? Do you dedicate significant time to it?
While I generally avoid extensive demo recording before entering the studio, I place great emphasis on rehearsals. Pre-rehearsals, in particular, are vital. This involves finalizing song structures and determining appropriate keys for vocalists, often in informal settings like a living room, without the pressure of a formal rehearsal space.
You prefer to work on song keys in a casual setting like someone’s home?
Yes, because vocal performance can differ significantly when using a microphone. Singers often tend to raise the key in a rehearsal setting due to monitoring challenges. However, in a relaxed environment, it becomes clearer if a song suits a different key. I also prioritize working closely with drummers, focusing on the rhythmic foundation of the songs. Establishing the drum patterns and beats early on is crucial for building the bass and other instrumental layers. The vocal and drum elements form the core, followed by band rehearsals to further refine the arrangements.
How do you decide whether a song should have an acoustic or electronic direction, especially concerning drums?
I typically lean away from exclusively electronic drums. Soft synths and samplers are also not my usual tools. I aim for a sound where the instrument’s origin is less defined, often manipulating acoustic sounds and processing electronic sounds through amplifiers.
Your drum grooves often sound incredibly precise, suggesting the use of drum machines.
While I occasionally incorporate electronic elements, I prefer to layer them with unexpected textures. For instance, adopting a hip-hop technique by adding a wooden clap to the snare, or using unconventional percussive sounds by damping guitar strings, hitting walls, or ceilings. Synthesizers might be used for brief accents or textures.
So, you’re not typically creating programmed sequences?
Sometimes I do employ sample manipulation and chopping techniques. The flexibility of digital audio workstations in rearranging and manipulating audio is valuable.
You aim to capture as much as possible on tape initially before transferring to digital?
That’s generally my preferred approach, depending on the specific project. Peter Bjorn and John’s album was recorded digitally due to the studio setup and our intention for a direct, dry sound, preserving the immediacy of the tracks. Tape can sometimes soften the transients. Recently, I acquired a Universal Audio LA-3A compressor. Previously, I hadn’t found a compressor I liked in my studio, so I often avoided using compression, preferring to manually ride the faders during recording.
You adjust levels manually while recording?
Yes, during the take itself. For instance, reducing the level during a chorus. I’m not a big fan of compression. It can initially sound appealing, but it doesn’t always add genuine depth to the sound.
How essential is your home studio to your creative process? Is it a part of every project you undertake?
Yes, my home studio is integral to my workflow, particularly for listening and editing after initial tracking sessions. Critical listening with the band is crucial for aligning everyone’s vision for a project. It helps in making collective decisions about overdubs and the overall direction of the songs, preventing unnecessary additions like excessive strings or guitars. In a smaller studio environment, experimentation and improvisation are more fluid. Quick setup changes and ease of access to various instruments foster creativity. My studio, equipped with a range of synthesizers, offers both speed and intimacy compared to larger commercial studios. The focus shifts towards the creative process rather than being dominated by gear. While troubleshooting minor technical issues like monitor buzz can be part of the process, the studio’s environment is conducive to focused work. I don’t typically take on mixing projects for others, but I appreciate remixing my own recordings as it allows me to revisit and refine the original elements.
If bands bring in demos, do you utilize them or prefer to start from scratch?
It depends. If a demo has a unique sonic quality, especially with electronic elements, I might incorporate parts of it. However, I usually aim for a cohesive album sound, so recording in a unified space is preferred. I often select a limited set of instruments for each project to create a defined sonic palette. This framework helps to streamline the creative process. Sometimes, I might also decide to exclude certain instruments – “no Hammond organ,” “no electric guitar,” or “no Spanish guitar.” Imposing such limitations can paradoxically enhance creativity. For example, deciding “this is a maracas record, not a tambourine record!” helps to focus the sonic direction.
It seems like setting aesthetic limitations is an important part of your approach.
Yes, because you can often achieve similar sonic textures using unexpected instruments. If synthesizers are off-limits for a project, a distorted marimba can evoke an 8-bit synth sound. Finding alternative approaches to achieve familiar sonic textures is where the creative excitement lies.
Before this interview, we discussed the distinction between “good” and “crappy” gear. You requested smaller amps, “crappy” drum machines, and keyboards, yet emphasized the importance of a good piano. Considering drums, for example, is precise tuning crucial?
Not necessarily. Sometimes, for a specific full, jazzy Gretsch tom sound, I might seek assistance with tuning, as it’s not my expertise. But generally, I’m open to using any instrument that produces an interesting sound. If a sound sparks an idea, I can build a song around it and potentially use it across multiple tracks on an album. The sound source itself is less critical; it could even be a “crappy” piano. We often find ourselves drawn to instruments that are not perfectly tuned or pristine. There’s a unique charm in combining “crappy” sounds to create something compelling. Achieving technically perfect recordings with high-end instruments is relatively straightforward. The intriguing aspect lies in those subtle, unexpected sounds within a recording. These sonic anomalies often enhance a track, adding depth and character. It’s the unusual elements that often make a recording stand out. It’s disappointing when a song starts with a captivating, raw intro, only to be overwhelmed by a conventional, polished full band sound. Sometimes, maintaining the rawness of the intro throughout would elevate the song. Think of bands like Young Marble Giants – their understated, unconventional sound is captivating. I prefer to prioritize these unique sonic elements as the foundation of a song, with more conventional elements serving to support and structure them. Adding sub-bass or synthesizers is comparatively simple. I prefer not to begin with polished, conventional sounds and then try to incorporate unusual elements. That’s not my preferred creative method.
