"A Passionate Trip"
Interview with Peter Lindahl, simply a formidable artist
you tell us on "Dryad", the
third album of In The Labyrinth?
A lot of the songs on "Dryad" have the same origin as the ones on "Walking on Clouds". These compositions were meant to be part of an album which was scrapped a long time ago. The title of this long lost item was The Lord of Mushrooms.
One aspect of how I put the In The Labyrinth albums together is I try to connect the tracks into a long suite. Each track can give the others a sort of feedback if you put them in the right order.
The recording process is always fast in the beginning when I cut a sort of rough basic version of the song using my old Atari computor. Then I layer instruments on top of oneanother and make up the arrangement as I go along, sometimes even changing the composition itself. Then it all tends to slow down and get more complicated as it draws nearer to the mix down. And that is when things sometimes come to a complete stand still. I have to get the balance right between instruments and find the most suitable ambience or echo for each little sound. Ocassionaly I remix my songs up to forty or fifty times.
The most interesting part of recording "Dryad" was probably when the Assyrian Turk Ismet Demirhan added his oriental woodwinds to the track called "Jabberwocky". Everything was done by chance, the least to say! Very improvised. But I managed to make him fit in somehow.
I should also mention that this track once used to be a tag at the end of one of the songs on "Walking on Clouds", our second CD. That's why it's a bit short.
Another adventurous incident was when we worked on the last part of "Catch a Cloud" where Håkan and I didn't know for quite some time if we were playing at a five to four beat or a ten to nine. It was crazy! But it all worked out in the end. This song was initially a heavy rocker until Håkan advised me to make it more mellow.
The tenth track being "Night of the Baskerville Killer" was a risky experiment in the way that this is a more pop oriented sort of a song and somewhat lacking in ties with the In The Labyrinth concept. It first appeared in 1980 when my late brother Niklas came up with the cords, then I developed it further and even later further still by Håkan and me as we worked on a semi oriental arrangement including among many other instruments the Indian sitar.
"Deep Saffron" was in the beginning two seperate yet similar instrumentals which I combined together by the initiative of Håkan. I rember Helena and I having a hard time getting the harmonies in the second half right. I had to reedit our choir a thousand times on the hard disc to make it work. And mentioning the hard disc I should maybe explain that most of the material on "Dryad" was recorded on a tape recorder and then bounced over to digital format before continuing to overdub more instruments. Our previous albums were, however, both recorded and mixed using analogue equipment to a hundred percent.
What have you achieved with this new disk, in comparison with the previous ones?
managed to integrate some Celtic and Nordic features in with
the rest of the styles, anyhow a bit more clearly than
on the previous ones. I think I've also succeeded in assembling a
certain kind of lyrics. It's nearly like a fairytale theme running
through the album. There are lines hinting at danger on the way,
on captivity under drugs or even Mammon. I wanted lyrics that
would go well with the folky touch of some of the melodies. One
exception, however, is "Deep Saffron", a poem which was narrated
by Stefan Ottman in the mid section of the track with the same name.
This text, I would say, is more spiritual.
retrospect, What opinion do you
have today on each one of the albums that you have published? How would
you describe to each one of them?
Peter, which is the goal that you have intended to reach as artist?
I have no other goal than to continue being creative and to make as good albums as possible. Along side of In the labyrinth I have several other projects with which I hope to continue. I'm optimistic about eventually getting out some of my more rock oriented songs as well as music for relaxation and meditation. All depends if I can find the right label or on how things develop with TAP.
opinion do you have of the
current musical scene?
Thank you for your time. Do you want to add something more?
It was very nice answering to your questions Sergio and I hope some of the progsters in Buenos Aires will find an interest in my replies and that this may deepen their insite into the music of my band/project!