You hail from Stockholm, but you’re currently based in Berlin. How does the electronic music scene in Stockholm differ from other cities worldwide, and what elements of Swedish music have influenced your sound?
When I lived there, the electronic music scene was just about to become what most of the people are into today. So at that time, it was a bit more underground and not as big as it is now. There was also a very good experimental electronic music scene that’s been around since the ‘50s in Stockholm because of electronic music studio (EMS). As it grew quite mainstream however, that style became a bit lost. Lately I’ve been noticing that it’s a bit more balanced and back to that old style again. There are a lot of small parties in the woods, experimental electronics and so on. You can definitely feel the influence from Berlin in Stockholm.
It’s been noted you were heavily influenced by punk rock in your formative years, mainly playing guitar and drums. What triggered the jump from punk into electronic, and do you ever see the two genres merging within your music?
The only way I see them connected is probably through my way of producing music. The mentality of making punk music is that I keep mistakes rather than redo it and make it perfect. You lose feeling by doing that.
I became curious with electronic music when I heard Plastikman and The Orb on late night MTV, but at that time, as a teen and belonging to a certain group, I was a bit sensitive. So I kept it for myself. It was when I heard Daft Punk in 1996 that I realised I wanted to make electronic music; I was completely sold.
You work heavily with samples, particularly splendid pop numbers, and you’ll often journey back through musical catalogues and rediscover mountains of music from the past. Tell us about some of your best musical discoveries of recent times.
I’ve been in to a lot of French music lately. France feels like they are a bit forgotten in the era of electronic music from the ‘60s-‘70s, so it’s very fun to explore that scene. It’s been a lot of Ariel Kalma and Hector Zazou lately.
You first visited Australia way back in 2010, when you played Meredith Music Festival and a host of shows around the country. Tell us about your experiences with Australian audiences, and how has your live set developed over the past five years.
I had a great time in Australia and the audience seemed very nice; they were really into it. Since then there have been some changes and the biggest is that nowadays I’m back to being solo. Now my music is a bit too clubby for venues. Before it was a bit more of a venue set up.
This time around, you’ll be performing at Melbourne Festival, with a much larger discography under your belt. How does The Field’s live music experience differ to your recorded material? What onstage configuration will we see at your Melbourne Festival show?
It’s alike but I’m always pushing it a bit more live – how far can I take things? As I said, it’s a bit more for the clubs, so a bit more banging and it’s really danceable. It’s going to incorporate samplers, drum machines and effects.
THE FIELD plays Foxtel Festival Hub on Friday October 23 as part of Melbourne Festival.
