If I want something more edgy, I use that. There are a lot of those late '70s preamps and EQs around, but the Neve is the most aggressive one I've used. If I want something extra, some more expressive EQ or compression, then I use other stuff. It's hard to fail when you're recording with that kind of stuff. The main room at Gula, the Mothership, is built around a Neve 8014 with 16 x 1066 modules.
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So it's more about trying to find some working model of how to capture it." But with a band like Franz Ferdinand, they come to the studio with the songs and they can play them and they have their sound. "Working with the Cardigans had been different because they're very much a studio band, so they come in without having played the songs at all and develop their music in the studio. But I didn't realise that until we started to mix and I had to mute quite a few tracks because it felt overproduced. "My first feeling was 'I have to make sure that I don't overproduce this.' But I did! It took some time and actually it took some help from them to get into thinking indie again, to get thinking that the important thing is to get this band sounding right as a band and not to go wild in the studio and start recording a lot of vibraphones and backing vocals and things. The album is just kind of a luxury version of that.
"The demos had been recorded very simply in rehearsal rooms and kitchens," Johansson explains, "so they were very rough, but they worked well. The producer was first sent the Franz Ferdinand demos in the spring of 2003 and says he was immediately impressed by the artful energy of the songs, no matter how makeshift the actual recordings were. "When you go into studios for whole albums, 30 or 40 days," he points out, "natural light is so important. More than anything else, the producer credits this working environment for helping him to regain his enthusiasm for studio recording. Gula - Swedish for 'yellow' - is bright and airy with plenty of natural light. On his return to Malmo, Johansson began working in a new sister facility of Tambourine, Gula Studion, which had been recently built in an old printing factory.
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I had no idea how many people were sitting out there with Pro Tools doing fantastic demos of fantastic songs with fantastic singers." But then when I came to England and started to write, I hadn't realised that the competition was so tough. "I was actually fed up of working in studios with bands. But despite moderate successes with Mel C and Sophie-Ellis Bextor, he says he didn't much enjoy the experience. Johansson then relocated to England for a year, writing and producing pop tracks on a Pro Tools setup from his home in Sussex. So my first five years actually working as a producer, that was very much developing and growing up together with the Cardigans." Natural Light, Natural Sound Every time we started on a new album, we sat down and listened to the old album and we decided what we liked about it and what we didn't like about it and what direction the new album should go in. "When we started out, I was very inexperienced and we kind of grew up together. Most of these albums were recorded at his now-defunct Tambourine studio in Malmo, and Johansson admits that having to negotiate the group's stylistic diversions down the years really helped to expand his repertoire as a producer. In other ways, of course, Johansson was the perfect man for the job, having guided the Cardigans through five albums, from the jangling guitars of 1996's First Band On The Moon, through the pristine electronic pop of Gran Turismo in 2002 to the polished country-rock of last year's Long Gone Before Daylight. Normally I reach for '60s and '70s records when I'm in the studio, so it was a change to bring out those old synthesizers instead of the Hammond organ."įranz Ferdinand, taking more than their musical influences from the early '80s.
"But I thought that was what was fresh about Franz Ferdinand, the fact that they made reference to these early '80s records.
"I didn't get into the post-punk stuff at the time," he says. He admits to having only a sketchy knowledge of the scratchy early-'80s guitar bands like Orange Juice and Josef K that the group list as their main influences. But when Malmo-based producer Tore Johansson was first approached to work with the Scottish quartet, he might have easily been forgiven for thinking their record company had the wrong man. With UK sales of 300,000 and rising, Franz Ferdinand's debut album is the surprise indie-to-mainstream hit of the year, thanks in no small part to their angular guitar-funk single 'Take Me Out' making the top 10 back in February. Cardigans producer Tore Johansson was thrown into unfamiliar musical territory when asked to produce the debut album by Scottish guitar band Franz Ferdinand, but the result was a commercial and artistic triumph.
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