Press release

Stockholm, August 20, 2008.

If past mistakes thought us one thing, it's that we'll end up making new ones. To me, that's the beauty of a process. There is always something to rectify. It never stops. It may grind to a sudden halt. It may slow down for a brief period. But it never stops. You just wait and see.

Everything started at Krausnickstrasse in Berlin - sometime during October 2006 - and continued at Husemannstrasse. Several songs came together. Some sentences. I recorded demos of every single little idea, and 9 months later - much like giving birth to a long awaited third child - I turned up at the studio with 10 finished songs. No more, no less. The track list was set. The words were all there. All I needed now was some structure - a mental grid if you will - to start mending it all together. So, an ordinary day in the studio began around 9 AM, took a short break around 1 PM for lunch and ended between 5 and 6 PM. The studio; Matching Heads, its proprietor; Rolf Klinth - my partner in music production for the past ten years. Together we recorded 'A Partial Print', on an average of two days per week over a span of 7 months. We drank nothing but coffee, water and an occasional light beer. We ate either Italian, Thai or Greek cuisine. Neither of us smoked.

My search for a suitable person for mixing 'A Patrial Print', took us to L.A. and one Sean Beavan, who's prior work includes NIN and Marilyn Manson. It took him about two hours to make it abundantly clear that he knew exactly how to work the songs. And about two hours for me to fall head over heels in love with Laurel Canyon and its surroundings. We finished mixing in a mere 10 days and it broke my heart having to leave. Mainly because it meant that the record was done. And once it is - in my eyes - it dies. It has filled it's purpose. It is no longer mine. It is inevitably and ultimately yours. Something new. Something exciting. Something spectacular.