Jens Lekman

I went to Legoland in Denmark when I was five, I think, but I went to Germany when I was 17 to have a little adventure after graduation.

In the past, I used to rely on the randomness of working with samples, which was a good way because it threw you in a completely different direction. You just thought, 'What if I take this samba drum and combined it with an '80s synth line or something from this record?'

Of the times that I've been able to overcome a fear, it's been by making it something that I can understand, that I can hold on to - just something that's more tangible.

There's so much nostalgia for music from the past.

My old songs used to take place in Gothenburg; then, when I lived in Melbourne, the songs just naturally took place more in Melbourne.

I've never felt at home in Kortedala, or in Gothenburg, so I always felt like I needed to go somewhere and find some kind of perspective on things.

Older men in my family - back to my grandpa - were basically completely bald.

I've established a certain voice over my albums. It can be an obstacle, but in the end, I think it's a strength, because I can build upon that voice, which is ultimately very much mine.

I wanted to write songs about other people because I was sick of myself, basically. I didn't like myself very much. 'Ghostwriting' became an outlet for that. And then I could get back to get Jens Lekman again.

I grew up in the '90s and remember the lyrics back then were so abstract and open to interpretation. That always drove me crazy.

For me, it's sort of like a cultural democracy or musical socialism to take a stand and get out of the major cities if you can.

Some very silly songs can have an almost melancholy feeling when you put it in a different perspective.