1. The new album is called Life Will See You Now. It will be out february 17th.
2. These are the songs on it:
To Know Your Mission
Hotwire The Ferriswheel
What’s That Perfume That You Wear?
Our First Fight
Wedding in Finistère
How We Met, The Long Version
How Can I Tell Him
Postcard # 17
3. The artwork was made by artist Klara Wiksten who made my favourite graphic novel of this year called Hjärnan Darrar (The Brain Trembles). A collection of stories about those who can’t seem to adjust to society. Her characters are these very human humans, in all their ugliness and beauty. We discussed Sonic Youth covers and she ended up making portraits that we connected to individual songs. It feels grungey, not at all like the album sounds but I love that. I love the contrast, to the music and to my previous more designed covers.
4. The title came last second before deadline. I was panicking about that and I had a conversation about it with my girlfriend. She said “just describe to me what the album is about” and I said “well, it’s about these people and it’s like they’re sitting in a waitingroom waiting for life to start and then the nurse comes out and says “life will see you now””. Then we looked at each other and smiled and that was that.
5. I’ll tell you what I’ve been up to since my last album. That album, I Know What Love Isn’t came out sept 2012. I went on tour and it was tough because that album was delicate and sad and understandbly not as popular as Night Falls Over Kortedala. So going on tour and playing that album live was tough. A lot of shows were half-full and some nights it just felt like everyone was waiting to hear the old songs. I thought it didn’t affect me much but I became sick over and over on those tours. And it continued when I came home, just feeling sick and worrying about being sick. Hypochondria and anxiety. But I started writing and felt inspired at first. Decided to not write about myself anymore, I was sick of Jens Lekman, I wanted to write myself out my songs. I invented the rule that I could only write about male characters to see what would happen, since I had written so much about female characters before. I started writing about masculinity, about a friend who did steroids when I grew up, about the feelings that bubbled up after being threatened with violence by some guys, about the inability to express emotions and being vulnerable around other men. It got dark, it filled me with shame, it had no direction, there was no light in the end of that particular tunnel, I abandoned that idea to some extent. Gave it a rest. We’ll get back to that later.
6. 2013 was mostly weird, worrying about being sick and trying to write to keep myself calm. Playing weddings to support myself. In 2014 I sent what I felt was an almost finished record to my label and some friends and was devastated when no one really believed in it. You see, I often feel like my music is all I have, when things go well for my music everything’s great. When things go less well I am nothing. So that fall I just went around and felt worthless. I at least managed to put out a mixtape with three new songs called The WWJD Mixtape. “What’s That Perfume” was on that mix. By the end of the year I knew I had to make some drastic choices to keep going.
7. Late 2014 I got the idea for Postcards – to write, record and release a song for every week of 2015. It was like signing a contract with the world so that it would keep me accountable to keep writing. I liked the idea because I had been longing to write songs without the pressure that comes when you make a record, that it should sell and be the best you’ve ever done and all that. I wanted to write about whatever was on my mind at the time, whatever was in the news, whatever happened on my way to work, whatever was important that week but may be completely insignificant the week after. The first weeks it freaked me out, I sat for days trying to make the songs as good as possible. But I got into the groove of it and a few months in I was writing the songs in my head as I was biking to work. I’ll admit a bunch of the songs from Postcards are not more than decent, there’s a lot of songs about walking for example. I like walking, but I think one song about walking is really enough, haha. But then there were other songs that felt brilliant that I have no idea where they came from, that felt like songs I wouldn’t have been able to write if it wasn’t for the freedom that Postcards allowed me. And two songs (Postcard # 17 and How We Met, The Long Version) ended up on the album.
8. Because I was making Postcards I caught the attention of Cincinnati Art Center and subsequently The Gothenburg Biennial who offered me to do a project with them. I had at that time been trying to write myself out of my songs for quite a while but felt like maybe that wasn’t the right way to go. My trustable friends who heard the songs pointed out how when I removed myself from the songs it was much harder to feel emotionally invested in them. They had a good point. Still, the idea to remove myself from my songs came also from a longing to tell other people’s stories. Something that had been in my mind since I started releasing music and people had started sending me very personal stories from their lives. I came up with the project Ghostwriting where I collected stories from people, interviewed them in person and then turned them into songs. At the end of 2015 I performed these songs at one show in Cincinnati and one show in Gothenburg.
9. Postcards and Ghostwriting helped me a lot. They worked like input and output. Postcards offering inspiration and Ghostwriting offering a break from myself. By the end of 2015 I started putting together a plan to finish a new album. I got in touch with producer Ewan Pearson who I had worked with when I was singing on Tracey Thorn’s album, I knew he had a good knowledge of electronic instruments and rhythms, two things I was working with on this album. I also liked him as a person and felt some sort of trust, which was important because I’ve worked with producers before and it’s always been a disaster. Mainly because I want control. This is the first album where I let go of control.
10. I was just in Paris doing press for this album. A couple of journalists thought the album was – get this – too happy! I couldn’t believe my ears when I heard that but after talking to some other french journalists and discussing this it struck me that musically it is quite a colourful and happy album. Even the saddest stories are accompanied with discobeats, calypso samples and gospelsingers. My hope is that you will dance to this first, then listen to the lyrics. But it’s ok if you want to do it the other way around too. Just know that there is a flipside to this coin, I’ve always written my sad songs in major keys, and my happy songs in minor keys.
11. I think the record could’ve been called Either / Or if it wasn’t for the fact that Elliot Smith had already borrowed that title from the danish philosopher Sören Kierkegaard. Because it’s really an album about that transition from what Kierkegaard called the aesthetic to the ethical. It’s an album of stories about people coming face to face with their fears and with the choices they’ve made and have to make. From being a dandelion seed, blaming the wind for where it takes you, to saying the name of your fear three times in front of the mirror. Maybe this is an album about taking responsibility. How sexy isn’t that?
12. I love growing old with my listeners because hopefully that means I can be your parallell twin that you can check in with to catch a glimpse of yourself and the path you’ve taken. I’m 35 now. I don’t want to be any other age really. Or maybe sometimes I do. Sometimes I wish I was older, sometimes I wish I was through with this transitional phase. Being in your thirties is like your teenage years, but without all the cool rolemodels. When you were a teenager you had the Ramones. When you’re in your thirties you have the characters from Seinfeld. But anyway, as I said, I’m 35 now. So I should be writing about that.
13. I wrote about being close to someone who’s seriously ill but not knowing exactly how close you are. About that first big fight in a relationship. About a wedding I once played where I had to do some last minute counseling. About choosing who you want to be with. About a perfume that’s been haunting me for years and the memory attached to this perfume. About a mormon missionary I once met. About figuring out why you’re here on earth. About the bridges you cross and how they burn behind you.
14. And that’s all I can say about this right now. I’m still in the process of trying to figure out what it is I’ve done. If you could help me with that I’d be very grateful. These songs are yours now, take good care of them.
A Message From Jens Announcing His Spring 2020 Tour
After completing his previous projects Postcards and Ghostwriting , Jens Lekman came up with a new idea. He asked fellow Swedish songwriter Annika Norlin (Hello Saferide, Säkert!) to join him. The idea was that throughout the year of 2018, the two of them would correspond through music.
Jens Lekman has shared the official video for his new single “How We Met, the Long Version.” In the video, Jens dances, sings and strums his guitar in front of a backdrop of the galaxy. Its fitting for a song where Lekman sings about “A Cambrian explosion,” likening it to love at first sight.
“…he’s made the journey from spindly, insular indiepop to glorious, primary-coloured music, explicitly referencing 80s chart hits, soul, funk and disco. The contrast with Lekman.s mordant lyrics “How I prayed that I could stop the pain / When the pain needed more than ibuprofen,” he sings on “Evening Prayer,” a joyous disco stomper.
Fete Lounge, Providence (RI)
Space Ballroom, New Haven (CT)
Music Hall of Williamsburg, Brooklyn (NY)
Union Transfer, Philadelphia (PA)
Lincoln Theater, Washington, DC ()
Kings, Raleigh (NC)