THE CARDIGANS - SUPER EXTRA GRAVITYIf The Cardigans’ previous album was majestic and mature, “Super Extra Gravity” is an unruly and spectacular album. Still, there are similarities. The band succeeds in retaining everything that was good about ”Long Gone Before Daylight” while, at the same time, rebelling against it. Continuity and reaction in one.That the last album marked the beginning of a new chapter in the Swedish band’s history was obvious. However, as their composer/guitarist Peter Svensson puts it, ”it just wouldn’t be The Cardigans if we went in and made the same album again”.So, what was the inspiration this time around?– We wanted to make an album that was ”strange and good”, says singer/lyricist Nina Persson. The idea was that each song should contain something twisted and spectacular.Both Nina and Peter independently mention The Pixies as an inspiration.– Not surprisingly, we don’t sound like them at all, Peter smiles.The new album was made after a period of extensive touring. It all began two years ago, with festivals around Europe and Britain. A European club tour in the autumn of 2003 was followed by a short break, during which the band found time to record a bonus track for the American version of the album. The North American tour lasted from May through to September.– Looking back, it feels like the last tour gave us a great foundation as a live band. It started out a bit shaky, but when we got going we were able to stretch out and relax in a way we hadn’t previously been able to.Work commenced almost instantly on “Super Extra Gravity”, the band working with Tore Johansson in Gula Studion in Malmö.Since both Peter, keyboard player Lasse Johansson and drummer Bengt Lagerberg have become fathers, the sessions had to be carefully planned. 12 days in the studio were followed by eight days off. During the latter, Peter posted two demos of new songs for Nina to write lyrics to – often together with her husband, renowned American film music composer Nathan Larson. During the next 12 days the two finished tracks were recorded. Sounds like an old-fashioned hit factory?– Yes, Nina nods, we just had to be more disciplined. Sooner or later these things are bound to happen if you want to combine your rock band with a life. The advantage of this procedure was that every band member has been very involved in all aspects and phases of the album.This was it an asset for both composer, lyricist and band.– We were forced to be more constructive, Peter explains. On earlier albums there was this tendency to avoid working when things didn’t feel a hundred per cent, which turned the making of the last album into a drawn-out affair. This time around, there just wasn’t time. Decisions had to be made, which has given the album a more spontaneous feel.If anyone fears that the pragmatic approach to writing and recording has resulted in a very controlled album, they are mistaken. The timeless, organic and mature album had already been made with “Long Gone Before Daylight”.– Every stroke of the brush, every sound and every lyric had a similar feel, which was both a strength and a weakness, Peter explains. Looking back, it can feel a bit too homogenous and nice. But that was what we were after when we made it, and we’re still very proud of it.A lot of the things that were good about “Long Gone…” can be found on this album: the interplay between members, Nina’s vocal presence, the strong melodies. But the strife for perfection and making a ”well-produced” album of a timeless quality have been exchanged for a, wilder, less predictable sound. The songs are shorter and more to the point.– Compared to our mature last album this is an obnoxious teenager, says Nina. I think our extensive touring resulted in us taking greater liberties and sprawling in different directions.The fact that Tore Johansson, who was absent last time around, is back at the producer’
