Melody Pro­chet’s search for a place of grace


What im­pact did Swe­den have on the al­bum?

I had been on a sort of pil­grim­age for a few years, try­ing to find a place of grace and gen­tle­ness to re­lease my cre­ativ­ity, and sim­ply breathe. When I met and heard Dun­gen’s mu­sic, I guessed Swe­den might have nour­ished their mu­sic from the root. I felt this aura of kind­ness and pu­rity of the heart; I sensed rough­ness and cold, too. I was at­tracted by the north­ern sea­sons’ con­trast and their mod­ern civil­i­sa­tion liv­ing at peace and need­ing na­ture.

How did the break­down in “Cross My Heart” de­velop?

I re­mem­ber start­ing with this Brazil­ian flow in­spired by Mar­cos Valle, then it turned into lis­ten­ing to Todd Rund­gren, Todd Terje, Stere­o­lab, and watch­ing Dis­ney Fan­ta­sia clips. I cre­ated this very long space for Reine and Swahn to have fun and ex­plore – they jammed for a cou­ple of hours. Then I sculpted my way into it and had a lot of fun with sam­ples. I’m very proud of this song.

A few years ago you said you were keen to work on string ar­range­ments – I as­sume they are yours on Bon Voy­age?

I went back to Stock­holm to mix, and Reine and I ended up pick­ing Swahn’s mother’s three-string old folk vi­olin, and record­ing our own ar­range­ments spon­ta­neously with­out writ­ing any­thing down. Only in­tu­ition and emo­tion. It was a very old wish of mine to play vi­olin to my mu­sic and be sat­is­fied with it.

We hope your re­cov­ery is go­ing well – have you thought about be­gin­ning to make mu­sic again?

Thank you. Right now I’m fo­cus­ing on keep­ing things as sim­ple as they can be in my life, mak­ing mu­sic is not so sim­ple for me. I think I’ll travel life dif­fer­ently for a while un­til…

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