Thanks so much to Johan once again! A few months ago we did an interview about one his first band, the brilliant Théhuset. Today is time for the band he is more well known for, Able, from the city of Uppsala. Able released albums both in Sweden and in Japan and are back to playing live and recording songs. This is very exciting times for them! So it was of course a good chance to talk about Able on the blog!

++ Hi Johan! Thanks again for being for another interview! You played some gigs with Able for the first time in a while not so long ago. How was that?

Thanks to you, Roque! It’s pretty amazing how you can go more than ten years without it (raising kids, etc.), and when you go back it’s as natural as could be, like no time had passed. Able performed as a duo until 2008, but to all intents and purposes the band was on hiatus from 2004. Playing together again in 2018, so much time later, could have been a total disaster. But thankfully it was quite the opposite. We had our first gig in April, and now in the fall we are playing some more shows around Uppsala and Stockholm.

++ Able is still going on to this day, well after a long hiatus. What made you restart Able? And how easy or hard was to convince the rest to start playing again?

It was part coincidence, and part circumstance. Jonas Olsson, who plays guitars, harmonica and sings harmony in Able, had a party last year, where every band he’d been in was to perform, which meant that Able was to resurrect, if only for one night. But playing those songs again with Jonas made me realize how much I’d missed writing and playing, and with the kids a bit older I actually had time for it, so in the weeks and months after that I started writing songs again, in part from all the “worktapes” I had left from the 90’s. Turned out there was a lot of stuff there that I could draw on, and pretty soon I had 13 songs ready. There was no real plan at that point, but I talked a lot to my old friend Mattias Jonsson (The Seashells) about it, who was very supportive and had some really good ideas. And being a bass player, it made perfect sense that he would be involved. At that point, I was quite convinced that we were recording songs for a new band, but as the songs took shape it became obvious to the three of us that this was Able, after all. We’re a four-piece band now that we are fortunate enough to have Malkolm Bonander on drums and backing vocals.

++ You have a new song “Screaming Heart” which you say is a work in progress. I wonder then, what’s coming up from the band? What are you working on?

Hehe. Quite a lot, to be honest. We had an album ready for release in 2002, which never saw the light of day due to many reasons (that album is the stuff of a movie, or a novel, or at least a Netflix documentary!), and now we’re making it ready for release in the fall. A first song will be released in September. But primarily we’re working on new songs for an album to be released in the spring. “Screaming Heart” is one of them (but the end result will probably differ a bit), and there are a few other snippets on our Youtube channel as well. Apart from Jonas, Mattias and me, there are quite a few guest appearences on the recordings, including ex-member Lotta on some harmonies and my dad on accordion.

++ I know you had been in Théhuset, Barking Up The Wrong Pyramid and Projekt Byrån. But what about the other band members, had any of them been involved with other bands prior to Able?

In the original line-up, Lotta and me came from Théhuset. I knew Dante Algstrand (drums) from Borlänge, where he’d been playing in punk bands (such as Små gröna as). Bo Larses (bass) had also played in bands, but I’m not sure which. Anders Zaine (guitar) had mostly played by himself. Around 1995, Erik Hellström joined on clarinet and lap steel guitar – he’d been playing and singing in bands in Västervik (Poodle, among others).

++ When and how did the band start? How did you all meet? How was the recruiting process?

After Théhuset split up towards the end of 1992, Lotta and I put up ads in student houses in Uppsala, looking for a drummer and a bass player. I don’t remember if there were a lot of replies, but when Dante and Bo presented themselves we had a band, and then we found Anders at a concert. By the summer, we had recorded our first demo, in September we had our first gig, and then we kept going.

++ You went to Uppsala university to study Spanish, right? I wonder if you like any Spanish language indiepop perhaps? Were the rest of the band also students in university? What did they study?

Correct! I listen to a lot of Spanish and Latin American music, not only pop, but also a lot of singer-songwriter (Silvio Rodríguez and Caetano Veloso, for instance, or Juan Quintero for a more modern reference). I’m not that good at finding indiepop, though, or perhaps I’ve been looking in the wrong places, but I have a playlist with some tracks by Spanish artists such as The New Raemon, La Bien Querida, El Chico con la Espina en el Costado, that I listen to every now and then… I would love to find more Latin American artists and groups. We’re actually recording a couple of songs in Spanish for the fourth album!

And yeah, most of the other members studied at university. Lotta and I met while studying Spanish, and she went on to study Psychology. Bosse studied to be a landscaper, Erik studied different things, ethnology among them.

++ And what happened to Lotta? I notice on the later promo photos she is not there anymore. Were there many lineup changes?

After “Lost Love Songs”, Lotta moved to Stockholm and quit the band. It was quite logical in a sense – we’d been in a relationship since the Théhuset days, and when that ended I think it made sense for her to leave the band. But I’m really glad she stayed for “Lost Love Songs”. As for lineups, there have been quite a few changes over the years, especially on drums. It seemed to us that we had some sort of curse on us: we couldn’t keep a drummer. A Spinal Tap kinda thing. I think there have been eight or nine different drummers in the band, a few of them for a long time, others quite short. But if we go chronologically, the first lineup with Lotta, Anders, Bosse, Dante and me lasted a couple of years, then Erik came in on clarinet and lap steel, and then Rickard Henley replaced Dante on drums. Anders left the band after the first album, when we were moving more towards singer-songwriter and more “classic” pop. The lineup for the second album included Jakob Frodell on drums, until he moved to Gothenburg to study. With Lotta and Jakob gone, the next lineup is a bit like Able 2.0, and we played together for almost four years until we disbanded in 2004. New members then were Jonas Olsson and Hans Mattsson (drums). And now, Able 3.0 is a four-piece group with Jonas, Mattias, me and Malkolm Bonander. So, summing up, I guess you’d have to come to the conclusion that yes, there have been many lineup changes!

++ What’s the story behind the name Able? Or is it aBle?

I don’t remember all the details, but I remember two reasons for choosing that particular name:

1) Appearing in the beginning of the record bins, probably right after Abba.
2) We wanted to be really good at writing and playing music, and didn’t really agree with the slacker attitude in indie pop and rock at the time.

The writing aBLe was something the first drummer Dante came up with. He was (and is!) very skilled at graphic design.

++ How was the creative process for you? Where did you usually practice?

The creative process would usually be me writing songs, or snippets of songs, at home, piecing them together to something that resembled a song, take it to rehearsal. Lotta would chip in at home as well, and also write songs. We had a place just about 100 yards from where I lived in central Uppsala – quite a luxury. I wrote a lot, but just a fraction would get to the band. Thankfully, I recorded everything on a tape deck, the good ideas and the bad. There are about seven hours’ worth of snippets on those cassettes. The arrangement of the songs would be quite democratic, at least until “Lost Love Songs”, Everyone would have their say, and it’s clear from the earlier recordings that it’s a group effort. Which I like, though the end result sometimes would have been better with one firm hand leading the way.

++ Who would you say were influences in the sound of the band?

Some influences have been constant: Brian Wilson, Paddy McAloon of Prefab Sprout, Dusty Springfield, the songwriting of Goffin/King… Other things have changed. When we started the band, the Lemonheads were a big thing for us, as were Juliana Hatfield and Liz Phair. A couple of years later, by “Lost Love Songs”, the big things were rather artists like Townes Van Zandt and Joni Mitchell.

++ I interviewed you about your previous band, Théhuset, and was I’m curious to know what would you say were differences and similarities between both bands?

Different language. 😉

It’s a tricky question, actually. My idea for both bands was more or less the same, relative to where I was at the time. I’ve always been trying to do the same thing, really. But I changed over time, obviously. The main difference was probably the different people involved in the different bands; that’s the main thing. It’s always an organic process when you’re a band. The other difference would be that I gradually got better at writing songs, and with the experience we had, we all got better at arranging and performing them.

++ Before releasing some records on label you put out some tapes on your own. I’m checking now to the 1994 tape “Strolling for Olives” that had 6 songs. I’m quite curious to know if these tapes were demos and how did it work for you self-releasing tapes?

I’d say we just simply recorded demo tapes to send to record companies, magazines and clubs, but we had a laugh pretending to be a record company, so we put “Pimiento Rec.” on the tapes. Eventually, we began receiving some demos to the label, and by then the joke was on us. We sold some copies of the tapes to people who had read about them in magazines like Sound Affects, but that’s about it. But we’re sticking to the label name in these times of self-production. The “lost” third album will be PIM10 when it’s released.

++ The second tape I found has the enigmatic name “The Gin, The Tonic and the Damned Malaria”. I’m very curious where does this name come from?!

It’s a perfectly legitimate question. 🙂 To me, those words conjure up an image of an Englishman in India, blaming his sorry condition on the malaria – the G&T just being a means to avoid catching a fever…

++ This tape has two of my favourite songs by Able, “Fa Fa Fa Fa” and “The Boy With the Starry Eyes”, they are so poppy and cheery, was wondering if you could tell me the story behind them?

Well, thank you! This was when we had been invited to contribute two tracks to a compilation album to be put out by H. Lime Records (their very first release). As these songs were going to be on an actual CD, I wanted to do something special. We had the songs (“April Sky” and “Fa, Fa, Fa, Fa”), the question was the arrangements. I didn’t want those songs to sound like the live version of us. Rather, I wanted to somehow bring out what the songs had within them. Sorry if this makes no sense. Anyway, I managed to find people who played the flute, the French horn and the clarinet, arranged scores for them, rehearsed with them. Maria on the flute was the sister of our guitarist Anders, and the guy on the clarinet ended up being a member of the band: Erik Hellström. We recorded three songs – two of them ended up on the compilation, while the third track (“The Boy with the Starry Eyes”) remains unreleased. The two songs you mention are in a way similar, as they are upbeat and cheery, but deep down deal with some very difficult issues: a childhood of alienation (“Fa, Fa…”), and mental illness (“The Boy…”).

++ Your next tape, “Prestigeless Lovesounds”, was recorded at Toodle Recordings Studio by Jörgen Wärnström of Cloudberry Jam fame. How was that? How was working with him and what did he add to the band’s sound?

In the liner notes to “Lost Love Songs” we expressed our gratitude to our “perfect angel friend” Jörgen. I can’t even imagine what that demo and the subsequent albums would be without him. To cut it short: we got along very well, we understood each other, we trusted each other. May not sound like much, but it goes a really long way. And Jörgen was and is obviously really, really good at what he’s doing. I’m thrilled that Jörgen accepted to master the “lost” third album.

++ This tape wasn’t recorded in Uppsala but in Linköping at Toodle Recordings. Why did you went all the way there?

It was because of Jörgen. I honestly can’t remember how and when it was decided that we should go there, but I met Jörgen at Kalmar Nation in Uppsala when he was there with Cloudberry Jam, and I guess it evolved from there.

++ Your first album came out on the Harry Lime label from Sweden a year after. I know very little about them aside that they put out a bunch of fabulous releases. Who were they? Where were they based? How did you sign up with them?

I think we sent them one of our demos, they liked it and asked us to be on the first record the label would release, the “In the Limelight” compilation. After that, we were offered a deal to record two albums for them. I really don’t know that much about the label apart that it was based in Eskilstuna, and was run by pop enthusiasts. After the chaos surrounding “Lost Love Songs”, when the label suddenly more or less disappeared, we were less than happy with them, obviously (but more on that later).

++ And why does the album has the same name as the 1995 tape?

The title is from a line in the song “…And a Way to End This Life”. I think we sort of identified with that at the time. Still do, I must confess. Prestigeless sounds of love, that can’t be a bad thing, right? And as the cassette wasn’t meant for general consumption, we figured we could use it again.

++ There is also a Japanese version for this album released by Columbia Japan! That must have been great. I suppose thanks to this you got many Japanese fans, perhaps got invited to Japan or not? And do tell me, this album version has two extra songs. Where do they come from? From the same recording session?

Yeah, H Lime scored a licensing deal with Denon/Nippon Columbia for parts of their catalogue including our album. The album did pretty well in Asia, though they censored parts of the lyrics in the booklet which referenced sexual activity in a roundabout way. The extra songs were from the H Lime compilation, straight off.

++ It is by this time that you sign with North of No South, no? And then what happened? Why weren’t there any releases with them?

No, there are no discussions with NONS at this point. We were signed to H Lime, and things were going pretty well, both in Sweden and Asia. But around this time we got to know the people running NONS. I clearly remember an after party at my flat in Uppsala after a Puffin gig, when one of the NONS heads insisted on making a leek omelett at 2 in the morning.

++ “Mainstream Daydream” was your second album and was released on tape by Pimiento Recordings. Who were Pimiento Recordings? And why was it released on tape? That was kind of unusual during the late 90s, no?

Well, as I said earlier, Pimiento Recordings really wasn’t anything, it was just our joke of a record label. At that time, we were going through a period of great inspiration, me and Lotta (and Erik) writing songs by the dozen. Before we went into the studio to record “Lost Love Songs”, we had about 80 songs. Part of that process is reflected on “Mainstream Daydream”. You can tell that we’re a pretty tight band, having a lot of fun. A month or so later, I finally bought an electro-acoustic guitar so that we could play the songs the way they were meant to be played. And about the “release”: yeah, we made some copies of it, but didn’t exactly work our butts off promoting them. A few months ago, I dug up the tapes and released “Mainstream Daydream” digitally. There are some good songs on there, and you can tell we were having a lot of fun playing together.

++ This album has a song called “Fuck You, Fuck You, Fuck You”. Would be interesting to know what inspired you to write that song!

I’ve been informed that I’ve been giving misleading information on this song. Apparently, the lyrics are inspired by certain music critics.

++ Afterwards you put out a 7″ EP on the US label Blackbean And Placenta Tape Club titled “The Seasons and the Moods EP”. The first thing that caught my attention is the photo used on the sleeve. It is very evocative. Who took that photo or where did you get it?

The photo is from a family album and dates from the 40’s. The girl in the photo was called Märta. It’s a great photo, especially considering it’s taken from a normal family album. The EP was released in conjunction with the album (Lost Love Songs), and was also a way for us to release some tracks that wouldn’t get on the album. I’m really glad that “Hope in Hell” and “Regressing to Sixteen” could be released that way. That leaves just “She’s All Mine” and “Mary” unreleased from those sessions. In 2017, a remastered (Jörgen Wärnström at the knobs) version of the EP was released digitally.

++ And how did the contact with this US label happen? Did you ever meet with the people running it?

Well, we sent the tape all around, and got all kinds of replies, none of them positive, though, until a fan in the Midwest pointed us towards Blackbean & Placenta, and that was it. The album itself was probably worthy of a slightly larger label, but Mike Landucci at Blackbean was great. I just wish the idea of a split 7″ with My Morning Jacket had happened. And no, we never met in person, unfortunately.

++ Your last released album was “Lost Love Songs” in 1999. I read on Allmusic that there were many delays for you to release this album. What were these delays? What happened?

Well, it’s a long story, but I won’t bore you with the details. We had a deal with H Lime for two albums, and the relative success of the first album (in Sweden and Asia) meant that we had a slightly bigger budget this time around. And we were ready to use it! I arranged for a string quartet to cut parts, for instance, However, by the time we were finished, the people at H Lime were almost impossible to get in touch with. Eventually, they told us they were out of money and couldn’t release the album. We probably could have fought that, but we didn’t, and had to come up with the money for the recordings ourselves, After that, we shopped the tape around, We were more than a little proud of it, and right away NONS said they wanted to release it. And immediately went into bankruptcy, It was like we were cursed. We shopped the album around some more, receiving all kinds of replies (“you need to cut that country crap”, “you should do more of that country stuff”, “you’re too big for us” (yes, really!), until we landed at Blackbean & Placenta.

++ You said that this album and the 7″ EP are the most representative for you of the Able sound. Why is that?

Well, I think that’s when we found our sound – more acoustic and dynamic, less edgy and distorted, the vocals pushed more to the front. In short: more focus on the songs themselves, and less on the band. The recording wasn’t as “democratic” as the first album, it was more me producing together with Jörgen. I really think we were on to something there, but then Lotta and Jakob left and we had to start over again.

++ The album and the EP were actually co-releases by Blackbean and Placenta and Pimiento Recordings. How did that work for you? Did you split costs? Or did the pressing plant send half of the copies to different countries? Was it an easy workflow?

We split the costs in the sense that we paid for the recordings (see above 😉 ) and Mike paid for pressing the CD:s. After that, we split the copies between us. Really simple.

++ You mentioned to me that in 2001 you recorded an album that remains unreleased. Tell me about it! Did it have a name? How many songs were recorded? Was it recorded at the same place with Jörgen? Why wasn’t it released?

We recorded 17 songs there in the summer and fall of 2001 for an album to be titled “Sweetest Wind”, and there were two record companies who wanted to release it (one in Asia, one in the US). There were some really good songs on there, and some great recordings, but it was a bit too varied, and at times didn’t really sound like Able, so the release fell through. At that point, I was just fed up with chasing a record company. And I had just finished my PhD thesis. I simply didn’t have the energy. On top of that, there was some internal personal turmoil in the band, which meant that we stopped rehearsing and playing for a while. So the album went on the shelf. Until now. With Mattias Jonsson’s help, we’ve pulled 10 songs from those sessions that actually make a cohesive album and sound like Able, Jörgen has mastered them, and in October the album will be out, titled simply “Third”. A first track will be out on Spotify etc on September 7.

++ You appeared on many compilations! The one I’m curious about is one tape called “Popangelov #3” that has no label but seems to be a third volume of a series. A bunch of good bands appear here like Cloudberry Jam or Red Sleeping Beauty. What was this tape about, do you remember?

Popangelov was a fanzine in Eskilstuna/Uppsala. I think Mattias Axelsson was involved in it. They interviewed us for one of their issues, and included a song on the cassette that went with the issue.

++ You know I discovered Théhuset thanks to my friend Roger Gunnarsson’s blog and now I see that he released some of your songs on compilations on his label Dorian Records. Do you remember how he got in touch? Did you ever meet in person?

Roger’s done a lot to promote Swedish pop – a great guy! I don’t think we met, but we spoke on the phone. I think he was living in Halmstad at the time. Our friends in Fanscene also had a song on a Dorian compilation.

++ Then there are a couple of compilations from the early 2000s like the one called “Ockra – Ljudbild Uppsala” which I suppose was an Uppsala bands showcase? Was the band still going at that time? Or when did Able stop?

Yeah, the “Ockra” CD is a compilation of bands from Uppsala, or with some connection to Uppsala. Our dear friends in Alma, who are also on that CD, actually lived in Stockholm, but parts of Able were their backing band, so they would come to Uppsala to rehearse, and record. Able was still going at this stage, but not very fast. We had a side project, the Lightning Band, that performed at weddings, parties, and such things. By 2002, I think we were doing that more than having gigs with Able. Towards the end of the year, my first son was born. Life changed, for the better, obviously. We had our last proper Able gig in 2004. Jonas and I had some shows after that, but as a band, Able went into standstill in 2004. Alma was a part in resurrecting Able, as they sang backing vocals on Jonas’ party last year, and did it beautifully. They are a distinctive part of the fourth album.

++ And after the band splitting, what did you all do afterwards? Did you all continue involved with music?

++ And after the band splitting, what did you all do afterwards? Did you all continue involved with music?

Jonas continued playing with Alma, but I’m not sure of the others. I wrote songs on and off (off. mostly), and performed a few times as a solo artist, sometimes with Mattias Jonsson on bass, and sometimes Fredrik Sandgren would join in on euphonium. And Jonas was there at times as well, until he moved to Turkey with his family. I had been following our local soccer team, IK Sirius, and by 2003 I was running their website along with a friend. As time went on, I was communications director for the club, and doing all sorts of other things as well, even including scouting players.

++ And aside from that album, are there more unreleased songs by the band?

Well, let’s see. 10 of the “Third” session songs will be released in the fall, so that leaves seven unreleased from those sessions. And there are 11 or 12 songs that remain unreleased from other sessions, plus about 18-19 tracks from the demo years. And there are a few live recordings as well. So, yeah, there’s quite a lot of unreleased stuff. Some of it should probably remain unreleased…

++ You wrote so many songs with Able, I wonder if you would do a top five of the songs you wrote for the band, what would it be and why?

Oh, wow, that’s probably the toughest questions I’ve ever had! Especially since I’m still writing and recording. It’s almost impossible to judge them equally, but ok, I’ll give it a try. Without ranking them. And if I made this list tomorrow, it’s quite likely it would be different.

– We Might Never Meet Again
From “Lost Love Songs”. This is the only song I’ve written where it all just came to me, without me having to work at it. All the other songs are like drawing water from a stone. I wrote the lyrics first, in a hotel room in Buenos Aires, and the words more or less just poured onto the page. There are no rhymes, and it shouldn’t have been a lyric. But when I got back home to Uppsala, I picked up the guitar and started playing to those words, and the chords and the melody were just there almost from the beginning. I might be romanticising this a bit, but not that much. But this was the only time songwriting has been like that for me.

– Screaming Heart
From the batch of songs we’re recording for our fourth album (which should be out in the spring or summer of next year). When I started writing again last year, I was really nervous about the lyrics. What do you write lyrics about now? Turns out there are a lot of things. For one, there are some of those things you used to write about (love, loneliness, anxiety, etc.), and there’s a whole new package of themes that you had no idea about when you were 20-25. The lyrics to this one is one example.

– Best Regret
From the “Third” album. It’s a pretty complex song, but I somehow managed to get everything in place and run smoothly. And even though it includes a line I inadvertently stole from Ron Sexsmith (I realize this as I was doing a soundcheck in front of – you guessed it – Ron Sexsmith! He was very gracious about it: “Oh, they’re all very common words.”)

– Thrill
From “Lost Love Songs”. When people say that we play some sort of country music, I try like a fool to tell them they’re wrong (no disrespect to country music – there’s a lot of it I love). Ok, the music starts out as some sort of singer-songwriter pop, with influences from indie, twee, folk, soul and country. But country is just one part of it. And “Thrill” is exhibit A. It’s probably one of the songs that go over best when we play gigs, even to this day. And it’s a hell of a lot of fun playing.

– Construction Workers
From the “Third” album. I spend some time in Spain, and quite often you walk over bridges where there’s not a drop of water underneath. There used to be a river there, but there isn’t one anymore, and the bridge still stands there, as if nothing had changed. I thought it was an excellent metaphor for a relationship that’s died.

++ Was there any interest other labels? Perhaps a big one?

There was a bit of a buzz after the first album, that did really well, especially in Asia. I was invited to write some songs for a young Japanese singer, and there was talk of a tour in Japan, etc. Some of that went through H. Lime, and when they fell apart, so did our connections with Denon/Nippon Columbia.

++ What about gigs? Which were the best ones and why?

We played a lot in Uppsala, and some in Stockholm and Linköping. But in all honesty we weren’t that good at getting gigs, and neither were the people who volunteered to help us. One of the more interesting ones was in Luleå. where we played at a festival on the university campus. Luleå is almost 1000 kms from Uppsala, and we travelled by train with our friends in Blake Carringtons. I don’t think we slept very much…

++ I suppose you played all over Sweden? Any other countries?

Not yet, unfortunately, it’s been all Sweden. It would be pretty special to play in a Spanish-speaking country.

++ And were there any bad gigs at all? Any anecdotes you could share?

As far as I can remember, there were no complete disasters. We somehow always managed to work our way through any difficulties. For some reason, our bass player always had trouble when we played in Linköping. On one of the gigs (at Herrgårn) he broke a string, so we improvised acoustic versions of songs while he fixed that, and another time he actually broke the neck of the bass against a pillar. It just went straight off. And without us asking, someone in the audience ran home, fetched his bass and lent it to us.

++ Did you get much attention from the radio or press? What about TV?

We did interviews with the local press in Uppsala, as well as with papers in Dalarna, Hälsingland and Småland (parts of the band were from those areas). We did interviews with fanzines such as Fozzie and Popangelov. And some radio interviews, and in 2008 we played live on Radio Uppland (the national radio in our region). No TV, though.

++ Were there any promo video clips for the band? I read there might be one for the song “Plain Life”, is that true? Will they ever surface on Youtube?

That’s right! There was a video made for “Plain Life”, and there were at least three copies made. Two of them went to ZTV (an independent music channel at the time), and we got one copy. But where any of those copies are is a complete mystery. I would love to get my hands on one so I could transfer it to Youtube. I think I’ve seen it just once or twice.

++ I noticed on your Facebook that you made Able t-shirts. I guess these were sold at gigs, right? Were there many designs perhaps? What other merch did the band produce back in the day?

Again, we’ve been absolutely horrible at marketing all along. We really need help for that. It’s true we made t-shirts, but we only made five of them, one for each member of the band. When we had them on and lined up next to each other, we would read A B L E ! I believe there are pictures of it, but I don’t have any. And we didn’t produce any other kind of merch back then. It’s way beyond me.

++ Looking back, for Able, what was the biggest highlight for the band?

Part of me is thinking that the best is yet to come. And it’s not just wishful thinking. In many ways, it’s so much easier to make good music now – less anxiety and nervousness, more experience, less ambition (in terms of making a career out of it; in terms of musical quality the ambitions are definitely higher now). For me personally, one of the highs thus far was opening for Ron Sexsmith (despite that incident where I stole his lyrics…). And all the people we’ve come to know through playing with Able can’t really be expressed in words. It’s changed us all. The sessions with Jörgen for “Lost Love Songs” are a memory I treasure dearly – it was a really special time.

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Listen
Able – Fa Fa Fa Fa