During the early stages of writing the script for 30 Grader i Februari (30 Degrees in February), I listened to ASS and Tape a great deal but hadn't given much thought at the time as to who was to compose the soundtrack.
With four different directors, three photographers, and a number of episode writers, it quickly became clear that music would have an extremely significant role in creating the continuity we were after; a collision between East and West, Thailand and Sweden, heat, humour and tragedy.
I was thrilled that Andreas Söderström and Johan Berthling were keen to compose the soundtrack to the drama series. We talked early on about creating a suitable atmosphere that landed somewhere between Thai Luuk Thung and Swedish folk music. It was also important that the music contributed to moving things forward, right through to the approaching storm at the end.
In a film setting, where music is often created with the synths and the occasional electric guitar, it was amazing to experience Johan and Andreas' music, which was composed exclusively using acoustic instruments, some of them home made, others imported from Southeast Asia.
When things fall into place, you tend to see it much later. This time was no exception. The hours we spent in the studio have been some of my happiest and most fulfilling moments during the two and a half years of work on 30 Grader i Februari.