To separate from all and play 100%

Last time Saybia gave a big interview in GAFFA was in 2004, when the band released their 2nd album “These Are The Days”. The band had written rock history 2 years before, by being the first debuting band ever to go directly in 1 place on the album hit chart, with the debut “The Second You Sleep”. With the sudden success, personal conflicts and internal unrest came, which pressurized the bands existence. But when GAFFA in 2004 met the band, the crisis mood where replaced with more positive tones and a band, telling how they were got out on the other side. This wasn’t just the truth. Further 3 years have been gone, and we are now going to do a balance sheet over the time from the debut in 2000 to Saybia anno 2007. A band who later this month releases their 3rd album, the most ambitious to date.

– It’s fun; this interview in mind, I found the GAFFA from 2004 and studied it, to see what exactly we were saying back then. We actually say, that we have moved on to the other side, and the give the impression that we were much clarified. But looking back, at that time we were no way clarified. The clarification came later on. The reason to that statement, was a expression for a wish for that the things were so, we didn’t want to keep on carrying it around any more, opens the lead singer Søren Huus.

– The interview was made just before the release, and afterwards we hit the roads all over the world again, and we did actually come further around than after the debut, it comes from the keyboard player Jess Jensen. The Bands drummer Palle Sørensen supplements: – Already the week after the release, we started in Ireland, took all the way through England, and then all the way to south Europe. That was tough.   .

The sensation Saybia
Under the interview in 2004 Søren Huus openhearted told about his problems with the fact of being a celebrity from one day to other, without building a shield against the public opinion. Today this shield is less necessary, it comes from Søren.

– It simply decreased, because the funny thing about this concept is, that as soon a new face appears on the sky, those who were interesting 2 years ago, suddenly isn’t any more. And 3 months before we released the “These Are The Days”-record, Nephew came with USADSB, which had a massive success, and Simon Kvamm were suddenly the new face. This kind of took the pressure. The guitar player Sebastian Sandstrøm explains further:

– It properly won’t be the sensation as with the first album again. Actually we prefer a place in the music environment instead of being a sensation. But it didn’t come as something new, then we had our debut. The established, such as DAD and Tim Christensen, had released records, but there hasn’t been any new stuff in many years.

The new in 2002, came from Saybia, who end up selling 300.000 examples of the debut, and even if the course of the sudden success perhaps come from the bands ability to write melodious pop-pearls, the 5 guys willingly admit that this alone explain it.

There was happening a lot in that period. We finished recording our debut record September 11th 2001, and were driving home from Sweden the same day the towers collapsed. So it was a giant breaking time. It was also the period with the hysterical idol-worship in Popstars. Boogie-tv was new, and the numbers who got most air-play, was Eye-Q and Saybia. Perhaps that is why we got connected to that. The big difference was just, that we had toured on the small Danish stages for 5 years and been a part of the underground for a long time.

I think that perhaps we didn’t feel everybody could see and respect that. In the same time we missed all those who actually saw the difference. It was also the reason why we made our stunt on Roskilde (Saybia played in 2004 their whole forthcoming album from start to finish red.), because we felt, that we had to show who we were now. It was awesome to do, but perhaps not as necessary as we thought, Søren tells.

The necessary disagreement
It seems like a balanced Saybia today, GAFFA meets in the sofa at the record company EMI. The band has discovered that they have a loyal fan crowd, who follows them and make the basis for a success, and at the same time accepted, that harmony can be overrated, and internal disputes a necessary part of the creative common-project.

– We haven’t the same taste of music at all in the band. The music we share is that we make together. That shows when we are about to make the music. There is a temperament on, and everyone is passionate about it. Such a period, where we makes a record, pulls teeth out, because it’s a war on opinions, Søren tells and continues:

– Our producer Rune Nielsen (Tim Christensen, Rasmus Nørh, red.) said it really nice: “One has to move in coexistence and interaction with other people. Especially if you care for them”. We grows in different stages, after where we are in our lives outside Saybia. One takes it with inside, and then some conflicts starts, which ends by one moves on and grows together.

Eyes On The Highway
Saybia releases the result of the groups latest common development on August 27th, Eyes On The Highway, which has been recorded over 8 months in the bands studio on Southseeland.

As heard on the first single “Angel”, the style is defiantly Saybia, who instead of finding a new musical direction, chose to try making that they are best at, even better:

– One of the thing we did, was to challenge our selves. We would out and feel our self as musicians, and be touched. There should be played all out, and we didn’t stop until all in the room could feel it. That demanded really hard work, and that was the challenge we gave each other, Søren tells.

– It has really been the chills-sessions. I mean that “Does this work for me, do I get Goosebumps on my arm?” this has been the essence of it all. Therefor I think, we have found out who we are as a band. This music is what works for us. I also believe that you can hear, that it’s really comprehensive record, and after my opinion the most complete album, we ever made, Jess evaluates, Søren takes over again:

– There is a clarification over the album, but also a sadness in some of the songs, where the melancholic has been substituted with something darker. With all what we have gone through, we have discovered a room, which is very dark, and that is on the record. And here are we further than melancholic, we are out in desperation, and in some sorrow.

The firm convicted song writing
The desperation in Saybias music, is perhaps the connection to big part of the dominating rock-landscape, which with the tendency to synth-rock and post-rock in its sound, lies far from the 5 guys.

– I think its cold, Søren spontaneous exclaim, as a reaction to the question on, how Saybia interpret the sound of 2007. – But somehow music has to reflect, what happens around the world, and I think that the world is quite chilly and cynical at the moment, and I really mean that the music reflects that pretty well. But as I hear it, there exist plenty of beautiful fragments of melodies every where, and somehow they managed cutting them together to a song. I’m just not from there, and none of us is. We come from good song writing on acoustic guitar and piano – you know band music, not copy-paste.

Bedwetter-rock og not?
Saybia has managed selling records, but at the same time got a black cloud with the name bedwetter-rock hanging above the head, throughout most of their career. Not surprisingly a phrase that doesn’t gets the band cheering:
– It been getting a bit annoying not to read any reviews without “Bedwetter-rock” – “What is it” Sebastian wonders? Søren supplements:

– We are sensitive guys! And that can’t chose cynical men handle; “Buy some bigger shoes”. But okay, hearing James Blunt, one can perhaps believe in something, perhaps called bedwetter-pop. Because he’s defiantly all out there, but what the heck, he’s also a sensitive man. And I’m sure that he does, what he likes, and that gives him all my respect.

– But it’s someone like you, who come up with such words, it comes with a smile from Jess and points at GAFFAs reporter. It’s You guys who sit and write the articles. It ain’t the musicians! Søren rounds up:

– I‘ll go as far to say, that I hope it’s a temporary phenomenon, because I actually find it otter disrespectful. But other than that, it isn’t something which influences us or our career. We have now played for over 1.000.000 people, and sold over 450.000 records, and looking at that, we can’t complain at all.

Something indicates that “Whining-rock”, Crying-rock” or “Bedwetter-rock”, or perhaps melodious melancholic is here to stay regardless what it’s called.

Author

Rasmus Ardahl (GAFFA)

Original Danish version

Sidst, Saybia gav et større interview til GAFFA, var i 2004, da bandet udsendte deres andet album, “These Are The Days”. To år tidligere havde gruppen skrevet dansk rockhistorie ved som det første debuterende band nogensinde at gå direkte ind som nummer 1 på albumhitlisten, med debuten “The Second You Sleep”. Med den pludselig succes fulgte dog personlige konflikter og intern uro, der truede bandets eksistens.

Men da GAFFA i 2004 mødte bandet, var krisestemningen afløst af mere positive toner og et band, der fortalte, hvordan de var kommet ud på den anden side. Det passede bare ikke. Endnu tre år er gået, og vi gør nu status over tiden fra debuten i 2000 frem til Saybia anno 2007. Et band, der senere på måneden udsender deres tredje og til dato mest ambitiøse album.

– Det er sjovt; i og med at vi skulle lave det her interview, så tog jeg faktisk GAFFA fra 2004 og læste forleden. For at se, hvad det var, vi egentlig havde sagt dengang. Og vi udtaler jo faktisk, at vi er kommet ud på den anden side, og vi virker sådan meget afklarede. Men når man ser tilbage, så var vi ikke spor afklarede på det tidspunkt. Afklaringen er først kommet senere. At vi sagde det, var udtryk for et ønske om, at tingene var sådan, for vi gad ikke slæbe rundt på det mere, åbner forsanger Søren Huss.

– Det interview var jo lavet lige inden release, og efterfølgende røg vi på landevejen igen over hele verden, og kom i virkeligheden mere vidt omkring end efter debuten, kommer det fra keyboardspiller Jess Jensen. Bandets trommeslager, Palle Sørensen supplerer: – Det var allerede ugen efter release, at vi startede i Irland, tog hele vejen ned gennem England, og så hele vejen til Sydeuropa i tourbus. Det var hårdt.

– Men vi har så også haft så usandsynligt mange oplevelser, som, hvis man læser det interview, slet ikke kommer til udtryk. Og det er jeg lidt ærgerlig over; at der ikke står, hvor fantastisk en tid det også var, selv om det var hårdt, lyder det fra Søren.

Sensationen Saybia
Under interviewet i 2004 fortalte netop Søren Huss åbenhjertigt om sine problemer med at blive kendt fra den ene dag til den næste, uden at have opbygget et skjold imod offentlighedens meninger. I dag er det skjold i mindre grad nødvendigt.

– Det aftog simpelthen, for det stenede ved det koncept er jo, at lige så snart der kommer et nyt ansigt på himlen, så er det, der var interessant for to år siden, pludselig ikke så interessant længere. Og et halvt år, før vi udgav “These Are The Days”-pladen, dér kom Nephew med USADSB, som hittede kæmpestort, og hvor Simon Kvamm pludselig blev det nye ansigt. Og det tog ligesom trykket. Guitarist Sebastian Sandstrøm perspektiverer yderligere:

– Den form for sensation fra den første plade bliver det nok heller ikke igen. Vi vil egentlig også hellere have vores plads i musikmiljøet i stedet for at være en sensation. Men der kom jo ikke noget nyt, dengang vi debuterede. De etablerede, som D-A-D og Tim Christensen, havde udsendt plader, men der havde ikke været noget nyt i mange år.

Det nye i 2002 kom fra Saybia, der endte med at sælge 300.000 eksemplarer af debuten, og selv om årsagen til den pludselige succes måske først og fremmest findes i bandets evne til at skrive melodiske popperler, indrømmer de fem medlemmer gerne, at det ikke alene forklarer det.

– Der skete helt vildt meget i den tid dér. Vi blev færdige med at indspille vores debutplade 11. september 2001 og kørte hjem fra Sverige den dag, tårnene faldt. Så det var jo en kæmpe brydningstid. Og så var der den dér meget hysteriske idoldyrkelse i Popstars.
Boogie-tv var lige startet, og det, der fik mest airplay, det var Eye-Q og Saybia. Så det er måske klart nok, at vi blev sat i forbindelse med
det.

– Forskellen var bare, at vi havde turneret på de små danske spillesteder i fem år forinden og været del af undergrunden i lang tid. Og det tror jeg måske, vi følte, at der var nogle, der ikke kunne se og ikke respekterede. Og samtidig overså vi alle dem, der godt kunne se det. Og det var også årsagen til, at vi lavede vores stunt på Roskilde (hvor Saybia i 2004 spillede hele deres kommende album fra ende til anden, red.), fordi vi følte, vi blev nødt til at vise, hvem vi var nu. Det var fedt at gøre, men måske ikke helt så nødvendigt, som vi troede, det var, fortæller Søren.

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