Interview: Peter Morén, the Breakout Solo Act from Peter Bjorn and John

By Ali Trachta in Arts & Entertainment on Apr 24, 2008 4:30PM

Peter Morén, who makes up one third of the Swedish pop-rock sensation Peter Bjorn and John, is taking a hiatus from the trio. He just released his first solo album, The Last Tycoon, this month on Chicago's own Touch n Go Records and kicked off his first American tour, which makes an early stop in Chicago at Schubas this Saturday.

Fans are likely used to the catchy, upbeat tunes that PB&J cranks out, characterized by their sleeper hit “Young Folks,” which has been heavily downloaded, sampled and soundtracked since its release in June 2006 (yes, the whistling was THAT popular). But Morén offers something different as an artist on his own. His folkier songs, many of which feature acoustic instruments and soft, poetic lyrics, allow him to create a more intimate experience for the listener than he’s been able to do in the past as part of a group. Here at Chicagoist, we’re all for getting intimate. Let's go deep with Peter.

Chicagoist: Considering the recent success Peter Bjorn and John has enjoyed, how did it come about that you decided to go out on your own?

Peter Morén: Well actually I came to that decision a bit before we had success. I started to record this album in early 2006 before Writer’s Block came out, so it’s been on and off for quite a long time.

And the reason I did it was basically because I have a lot of songs that I’ve written, and in the band we are three different writers, and a had a couple of songs that I wanted to take in sort of a more low-key, like homey, folky direction. So that’s what I did on the side. Simple as that.

C: Some of these songs had been written many years ago and some more recently. What is it that you think ties them all together for this album?

PM: The theme that kind of started the recording in a way was the the song, “Le Petit Coeur.” We rehearsed that with the band and the other guys wanted to play it very different from what I heard. It kind of gave me the urge to start the recording of this record. And then I dug up a couple of older songs that have sort of a finger-picking thing to them. I knew I wanted to do something in that way, and those were the songs that I never got around to recording because they never seemed to fit in.

And that after that I kind of wrote a couple of new songs that were the same way. You know, you write a lot of songs and then afterwards maybe you think “this should go here” and “that should go there.” And I think part of the reason the ones that are on there ended up on the album is because they were so arranged, or contained, in the guitar, so I felt they didn’t need a lot of drums and stuff because they have the rhythm and the riffs in the guitar.

But then of course I added different instrumentation afterwards, but it comes from the vocal on the guitar rather than a band sound. So it’s a different way of approaching recording and arrangement.

C: In the past you’ve described your songwriting as very personal. Does the same apply to this album?

PM: Yeah sure. 90% of our songs are kind of about personal experience. Some of the songs are maybe more direct and other songs are more...metaphorical I guess you could say.

But when I write the song maybe the initial inspiration comes from other things like a line in a book, or a movie or whatever. But then when I write the song I go back to myself so, I would definitely say it goes for this record. And maybe even more so since it’s all my songs.

C: The title of the album, The Last Tycoon, apparently is taken from F. Scott Fitzgerald’s unfinished novel. What do you consider your connection to that story to be?

PM: It’s not in any way some sort of concept album or anything. To be honest, at first it was just that I saw the movie adaptation maybe six years ago and I kept that title in my head because I thought it sounded so good. And knowing that this album was going to be very like European and homey and intimate, I thought it kind of funny to have a title that was very grandiose and almost pretentious. It becomes sort of like an ironic, funny touch to it. I would say that was the main reason. But then of course there are themes like “the end of an era” and trying to combine the career with personal extras and stuff like that. So sure there are some connections.

C: This show you have in Chicago on Saturday is at Schubas, which is just a bit smaller than the Empty Bottle, where PB&J played about a year ago. What are your feelings about smaller venues?

PM: I prefer to play small places actually. We played New York yesterday. We played the Mercury Lounge, and that’s like 250 people, but it’s perfect for this show I would say.

C: What makes you prefer to play small places?

PM: I like playing bigger shows too, but especially with this solo thing, it’s kind of more intimate and more focused on the lyrics. You kind of get an intimate atmosphere in the room and it’s very spontaneous. We go into covers and people shout out songs to the musicians, and we maybe haven’t rehearsed everything.

Like yesterday we went into this African jam at the end! It fits a small place I think rather than...I mean there isn’t lighting like in a proper rock show, which I enjoy myself when I see shows, but this is more of a smaller gig.

C: So do you feel like that’s one of the things you get to do as a solo artist that maybe you can’t do with a group? Like do you feel there are opportunities you’re getting now as a solo act that maybe you were missing out on?

PM: Yeah definitely, it’s liberating. Like on the songwriting side, to be able to make your own decisions all the way. But also the live performances. When you see that a show is going not-so-well, you can’t blame anyone so it’s kind of scary in a way. But when a show goes well it’s almost more fun in a way. So it swings both ways. [Laughs]

C: How have the audiences been so far?

PM: Yesterday New York was amazing. London was really good, Paris was really good. So I’d say the big cities have been really, really good so far. We had a couple of sort of sleepier shows, but most have been really good.

C: Well hopefully Chicago will be just as good. We’ll be supportive.

PM: [Laughs] Yeah, I think so.

C: Recently Peter Bjorn & John recorded an instrumental album, and that you’ll begin working on another one starting next month. So can PB&J fans be confident you’re not pulling a Justin Timberlake?

PM: No, definitely no.

C: But do you think you’ll continue the solo act as a side project?

PM: Yeah, I think I will. When PBJ is putting out the next pop record we [note: "we," as in Peter’s band] might do one or two shows only so that might be a problem. But when we put out the next pop record I’m going to concentrate on PBJ. But I really find this a fun and good thing to do for me so hopefully I will make more solo things later on. Maybe I’ll make a punk rock record next time. [Laughs].

C: Oh really? It’s also been said you’re interested in doing a children’s album.

PM: Yeah that’s the plan...I have a lot of plans.

Peter Morén plays Saturday, April 26 at Schubas, 3159 N. Southport. Doors at 7:00 p.m.

Photo courtesy of Morén's Myspace page. Also check out his MP3s here.