Alexander Bard: The “King Midas” of Scandipop?
If you are a chart pop lover, it is likely that in your guilty pleasure playlist and in your country’s national music charts, there is at least one song that has been crafted by a Scandinavian music producer and creator. The names of Max Martin, RedOne, Rami Yacoub, and Shellback are now familiar to many, and perhaps you are aware of their music — sung by the likes of Katy Perry, Jessie J, Nicki Minaj and Lady Gaga. While these producers and creators (and of course many others) are constantly churning out pop hits, there is an underrated pop genius who is contented with his musical hub in Stockholm. The producer in question is, Alexander Bard who started his musical career in the 1980s, found success in the 1990s, and has always been in demand in the industry and media, such as being a Pop Idol judge in Sweden. While Bard mostly co-produce music, he also performs, and perhaps is best known for his 1990s pop-electro act The Army of Lovers. Just like the other (un)acclaimed Scandinavian (or indeed Nordic) producers out there, Bard can also craft the perfect pop song. Besides composing fashionable songs that contain memorable hooks and lyrics, Bard adds sparkle by crafting sugary and eccentric music twisted with Abba-esque anthems. Although some of these pop song ingredients may be perceived as typical, we are becoming more aware on the role of the producer, particularly in the current digital and celebrity cultures that we live in. While these Scandinavian producers may prefer to keep out of the limelight, other significant creators such as Bruno Mars, Ryan Tedder, Calvin Harris, David Guetta, are now part of the pop package — they are also the artists and performers of their creations. If this kind of musical display appears to be exclusive, it is important to realize that the notion of the producer as superstar is not unusual. Bard has always been involved in this pop realm, and today he is one step ahead of the others as he stretches his talents further as an entrepreneur and philosopher. Taking that on board, it is essential to understand the background and significance of Bard as a relevant figure in current popular music and culture.
Bard’s early works have been musically shaped by his involvement in the Nordik Beat scene since the late 1980s. This electro-pop scene contributed to the development of Bard’s music catalogue, which mainly entails the genres of dance and electronica. As part of his creations, Bard has collaborated with fellow Swedish producers such as Ola Håkansson, Anders Wollbeck, Anders Hansson, and Henrik Wikström and has performed his songs with various groups.
Presently, Bard is juggling multiple careers as a producer, songwriter, performer, philosopher, writer, speaker, and lecturer. The interest of such subjects originated from his education at the Stockholm School of Economics during the 1980s, and it is evident that the majority of his philosophical interests lies within his music. His first taste of musical success was as a solo artist, Barbie, before forming the Army of Lovers, and his co-owned independent record label Stockholm Records (which was later bought by Universal Music). Other projects include Vacuum, and the creation of popular Eurodance group Alcazar (← click, I dare you . . .You’re welcome!).
Musical interests aside, Bard is focused on his writing activities, which has resulted in book publications such as Netocracy: The New Power Elite and Life after Capitalism, co-authored with theorist Jan Söderqvist. This is perhaps their most provocative and sought-after book. Inspired by the likes of Charles Darwin, Gilles Deleuze, Friedrich Nietzsche and Georg Hegel, the term “Netocracy” refers to the digital culture and presence of virtual communities in cyberspace. These communities consist of consumers/users that confidently have socio-networking skills; control and power in sharing and distributing information on the Internet. Cyberactivism would be an example of how netizens (Internet citizens) can seize power on the Internet, such as the ‘Grey Protest’ in 2004 when supporters of Danger Mouse’s The Grey Album protested against EMI or cyber attacks on government websites with the activists, Anonymous, being an example. Bard and Söderqvist do argue, however, that there are class hierarchies of Internet users. The “Netocrats” (an amalgamation of the Internet and aristocrats) are considered to be the elite as they have the knowledge and networking skills when using the Internet. The “Consumtariats,” are the non-participants or observers. As Netocrats serve the function of freely sharing and distributing information, and gain more associates from any location in the world, there are obvious concerns about challenging the discourses of authorities and governments, although this often results in the users being unafraid of the consequences. Undeniably, interesting theories such as Netocracy are certain to be challenged or opposed (for example cultural theorist Slavoj Žižek, objects to their idea that Netocracy may eventually overtake capitalism). However, some predictions have been validated by Bard and Söderqvist — you’ll have to read the book to find out.
With several Internet commerce and networks under his belt, Bard is in a quandary when discussing digital technology’s impact on the music industry. The critics may argue that Bard is contradicting himself in his support of Internet users having easy access to music online but, at the same time, deploring the repercussions it may have on the music business — after all, he is one of the key figures in the Swedish music industry. Bard argues that the industry and Internet are connected by creativity, and that piracy in music results in cutbacks in music production budgets. Consumers, however, can organize their virtual music collection and music mobility in the same way as they can choose how to consume music. Bard believes that to consolidate both the industry and consumers is to make music digitally accessible (streaming) and affordable.
When discussing his musicianship, Bard has had a major input in assessing his own creativity. His achievements can relate to a music article in The Musical Times (1939), which describes the past and present of Western Art music in Sweden. With the past praised for its cheery melodies blended with traditional folk music, the present took a dramatic turn in composition by following the “international style” during the Second World War. Swedish composers were influenced by atonality (the musical sounds of which may be unpleasant to some listeners) pioneered by the likes of Arnold Schoenberg. In The Musical Times, the author and British musician Graham Carritt fondly reflects on the once ideal Swedish composer, poet, and daring performer Carl Bellman (1740–1795), who he describes as “the Swedish genius . . . [the] care-free spirit.” Carritt’s description of Bellman brings an instant reminder of Bard: they love to entertain, collect and feature tales, histories and philosophies in popular music. Bard, the modern equivalent to Bellman, breaks the boundaries of a song by blurring the distinction of high and low art, style-blending, and fusing the past and present. In many of Bard’s works, references to his own and other familiar songs are evident in hooks or lyrics. Now, before anyone accuses Bard of plagiarizing, or starts comparing him with Oasis’s emulation of the Beatles, these accusations are hyped misunderstandings. Bard is following the language of pop music: the elements of form and structure, chord progression and melodic patterns. The musical process in Bard’s works does not only pay homage to past sources, but also modernizes existing sounds into new gems. To synchronize with the creation, attention is given to the choice of song topics, projects, and visuals that all enhance Bard’s surreal artistry in music. This brings out more pop than pop — “hyperpop” — as seen and heard in the following projects:
Army of Lovers
Army of Lovers (Bard, fashionista Jean-Pierre Barda, lascivious model Camilla Henemark and feisty Dominika Peczynski) were no ordinary pop outfit. The group’s name is influenced by Plato’s Symposium and a 1979 German documentary (The Army of Lovers). The Army of Lovers finds liberation through surreal displays of passion, erotica, glamour and unity. Perhaps more known for their 1991 hit “Crucified,” the group certainly knew how to revel from whirling a persuasive hymn-like song into a Eurodance smash. Along with a church organ, sequential strings, choir and an imitation of Duane Eddy’s guitar twang, Barda’s merciful sermon and chorus that references Christianity reveals that the powerful song is indeed about a crucifixion — and could work well as a hymn in the BBC’s Songs of Praise on a Sunday evening — until you watch the video and hear the lyrics (see above). The song’s concept magically changes into what seems a shocking glamorous music video. The group are performing in a castle and are over saturated with costumes of aristocratic decadent regalia with splashes of Bo Peep/Elvis/Napoleon/straightjacket/panache/bondage and a representation of a Sir Anthony Van Dyck painting. Images of the art-historical past (such as the renaissance and rococo) acts as the main stylistic foundations of the group with the exception of the 1996 song, “King Midas.”
“King Midas” is a classic Eurodisco track that has Boney M written all over it. The blend of 1990’s dance and 1970’s disco is written by Bard and Joker (Ace of Base) and, incidentally, includes backing vocals from a certain Max Martin. The song’s opening employs Jean-Pierre Barda narrating an updated version of the famous myth, “King Midas,” and is musically supported with gospel-style vocals that reminisces Boney M’s “Rivers of Babylon.” When the upbeat introduction steps in, a synth-melodic combination of Boney M’s “Ma Baker” and “Rasputin,” and Eastern European folk music such as “Doroga Dinnoyu” and “Katyusha,” are exploited into the catchy reoccurring hook in the song. After this memorable hook, the chorus enters where the lyrics are simple, catchy and very anthem-like. The chorus references other songs such as Dead or Alive’s “You Spin Me” and the Pointer Sister’s “Automatic” which helps to intensify the topic slightly by fusing the story with gambling in Las Vegas. Barda invites King Midas to a town where he can make his dreams come true and in return he can present the “golden touch of the disco beat” — a discreet reference to the pioneer of French disco music, Cerrone. The town where King Midas can make his dreams come true is of course Las Vegas as confirmed by the Abba-esque singers’ response to Barda’s invitation in the bridge section (“we’re the gamblers of Nevada”). The singers directly tell King Midas the expectations of gambling: “the winner takes it all” (a reference to an Abba song). The song later paves the way for the break, which is vocalized by Peczynski. Here, she seductively uses her accent to express her desire to love King Midas (and his money). The presence of this teasing lyric brings a reminder to the listener of what the Army of Lovers are capable of: bringing seriousness and fun into pop.
If you are expecting a visual adaptation of the story then think again. The video features Barda as a leatherman, and Henemark dressed as a sadistic cop. They are surrounded by Bard and Peczynski who both appear as exploited workers of a seedy club managed by Barda. Scandalous scenes of Barda urinating over his boots, Henemark trying to harass Bard, Peczynski stripping, and girl on girl action may prove just a bit too much (or too little) for some viewers. At first, Bard appears to be a frustrated bartender and is later seen blissfully performing the song in S+M gear with his companions. In the world of the Army of Lovers, pop artistry and flamboyancy is taken to another level. Expect the unexpected — especially when Bard is involved.
BwO
Another example of Bard adding hyper into pop was his collaboration with his friend Marina Schiptjenko and former contestant of Swedish Popstars, Martin Rolinski. BwO otherwise known as Bodies without Organs (the group’s name is based on a theory by philosophers Gilles Deleuze and Félix Guattari), was a successful radio-friendly band in Sweden and Eastern Europe throughout the noughties, and was described as the missing link between Abba and Kraftwerk. For example, “Lay Your Love on Me” (2008) is a synth-disco track coated with memorable hooks that push listeners to think of Abba (for instance, the title is similar to Abba’s “Lay All Your Love on Me”). A fierce hook at the introduction acts as the reoccurring theme of the song that resembles “In the Night” (Pet Shop Boys) followed by electronic and disco sounds similar to Abba’s “Gimme Gimme Gimme” and Madonna’s “Hung Up”. Rolinksi displays dancing-mood lyrics and escorts the song to another timeless anthem in the chorus. Here, the melodic structure carries the introduction’s motif and musically mirrors the chorus of Madonna’s “Hung Up”. The references to “Take a chance on me” (Abba) and “Bourgeoisie” (as heard in Madonna’s “Hey Mr DJ”) is supported with Abba-style harmonies. There are more lyrical references to Madonna (“You’ll confess it on the dance floor”) and tense string sections as heard in many of Abba’s songs and British ’80’s pop. This is an outstanding approach to pop song creativity influenced by and paying homage to other pop greats.
Gravitonas
Another example of Bard’s project is a collaboration with punk-rock musician, Andreas Öhrn. The musical direction has changed by blending styles of electronica and rock that result in darker tones of pop. The melancholic sounds of Gravitonas may at first be a surprise to hardcore Bard followers. Even so, you obtain access to an extended repertoire of his productions: expect to hear sinister tales of horror, magic, and religion supported with lamenting tones of synth melodies, edgy guitar riffs, and the atmospheric vocals of Öhrn. Additionally, Bard puts his Netocratic views into place as Gravitonas are active in the digital culture. Their agenda is not to release physical material (CD) but to release their music as digital EPs. Bard justifies this procedure: it is for the audience to have instant access to digital albums (EPs) rather than wait ages for an album to be released; and for the audience to have an input on the group’s music, whether it is uploading on to blogs, deciding on a future single, or to offer a remix.
Another experiment they engaged in was to create the theme song for Swedish author Fredrik Härén’s 2011 book, De Icke-synliga. This suspense tale about invisible people and doubts about the differentiation of reality and fantasy is represented by the song “Lucky Star.” The opening of the song displays an interlocking classical strings motif supported with a strumming guitar part and a prominent beat that all builds up and quickly diminishes when Öhrn enters. The soft, smooth vocals of Öhrn, are decorated with a textural build up of instruments (guitar, bass, drums) and internal hooks (synths). Ascending strings lead Öhrn to the bridge which quietly harmonizes his alluring message “the greatest secret never told, the rainbow gold.” The feel of pop hasn’t been lost in the chorus section: multiple harmonies and compressed leading melodies supply the main hook of the song, and are all sung by Öhrn. The catchy lyrics however are darker, bearing in mind that the song portrays the book’s theme, especially when Öhrn gently articulates its key words “I’m invisible, visible . . .” — with each word hauntingly highlighted with echoes. Later, Öhrn hypnotizes the listener with the crucial affirmation: “Our greatest secret never told are the invisible”. A round of emotionally-charged choruses completes the song.
The visuals, as always, are unpredictable when Bard is involved. The terror themes of the novel are enriched with postmodern luxury of steampunk, magic, gothic and supernatural. Set in a gorgeous location in Södermanland (Sweden), viewers are confronted with grotesque imagery of beauty and horror that implies dark and surreal times are ahead. Dressed in Victorian gothic gear and über-platform boots, Bard and Öhrn are encircled by elements of steampunk technology and a random shot of an Avant 218 loader. A mansion where paranormal activity is taking place (moving chairs, flickering lights, ghosts, levitation) leaves Öhrn and Bard unimpressed when a soothsayer concocts a spell, regurgitates an egg and dies. The soothsayer reincarnates into a jesting narrator and is ‘invisible’ to the group. A scene of Bard’s determination to catch a black butterfly signifies Öhrn’s rebirth as he pops up in the lake. A haunting ritual of burning furniture in the closing scene brings a reminder of Alessandro Mendini’s Lassù Chair which suggests ripping the past apart and starting afresh — it also indicates Öhrn’s (musical) rebirth. Expect similar productions with similar themes. Bard successfully creates the dark side of pop.
“Welcome King Midas”
As seen with the above examples, Bard adds the hyper into pop by not being afraid to experiment in music. Bard not only crafts classic, intellectual and dark pop — he performs it. People will either question or admire Bard’s songs but ultimately, he gathers creativity, inspiration, philosophy and pop musical language together impressively. Just like the superstar producers, Bard has a talent for creating the memorable hook that features in almost every line and instrumental part of any song. His works will indeed get the listener ‘hooked’ every seven seconds, and will prevent them from instantly resorting to switching to or searching for another song. The musical elements of Bard’s productions make him very much part of popular music and culture, particularly in the digital era. Everything Bard musically touches turns to gold: welcome King Midas of Scandipop.
*Originally written and published in 2012 in shararambarran.com & Popmatters
©️ Shara Rambarran
