The double EP is a mildly esoteric format, but it makes perfect sense as to why the Copenhagen-based artist GB chose to use rock with it for his new release, Ressed / Falter. On the two EPs, the artist bisects his different modes as a songwriter. Ressed is three artful pop rock tunes that at times recall a contemporary version of Arthur Russell’s underrated power pop band The Necessaries. Falter is a different story altogether. In a blog post a few months ago, we called the eight instrumental tunes “damaged and diaphanous guitar music.” Together, they present an expansive vision, one that seems to have major potential for synthesis in the future. We sent some questions over to GB. Give our interview a read and listen to the double EP below. 

What prompted you to make a double EP versus making an album?

GB: For me, making an album is usually an attempt at creating something coherent or conceptual—paradoxically, it often ends up being the result of so many different intentions. The two sides of this release, call them EPs, materialised separately, each with their own concept. Ressed is me trying to chug out some more upbeat, ultimately uplifting songs back in January. Falter is a collection of instrumentals cut out from improvisations that I recorded this past year. It was made by accident in a way, just collaging together these few bits and pieces that we’re piling up on my hard drive and in the back of my mind. 

I guess aesthetically these Falter instrumentals relate back to Gusse Music and the songs on Ressed point to a new interest in melody and rhythm. Being interested in creating a sense of progression or change. Making music sounds different most days and I wanted to share these two different sides together, hoping they’ll compliment each other. It all made sense when the visuals came together. The blazing sun under a city at night time on one side and the drawing of a serpent-like creature coming out of a torso on the other side. It's Frederik Tøt Godsk's drawing, we work together a lot. See: the vid for “New Planes.”

Do you have any personal favorite double EPs? How about double LPs?

I have a copy of Electric Wizard’s Dopethrone, which is two LPs. I think I bought it almost 15 years ago and I’ve kept coming back to that album and some other doom and stoner classics, like [Sleep’s] Dopesmoker, another double LP, actually. It brings me a sense of comfort, it’s meditative and brutal simultaneously. The down-tuned guitars, the monotonous vocals, the mixing. On the cover it’s a devil smoking a bong. 

What is “Fiction Memory” about?

I had this phase where I’d make sure to pick up the London Metro paper and cut it up and turn it into a lyric everyday. That’s how “Fiction Memory” came around. To me, it’s about time and perspective, but also these characters: the baddie, Spiderman, and Jesus Christ in Northeast London. It's also about challenging myself. Previously I’ve been into repetition and monotony, stretching and looping moments, this melancholy. So much trendy music right now also seems to be based on “ethereal vibes” or whatever, but I find it a bit formulaic. With these songs, I wanted to navigate with an element of fun or humor and try new directions. Making “Fiction Memory,” the lyrics, the Mark Knopfler-style guitar theme, it just felt great and I wanted to let that impulse validate my ideas.

Who are some vocalists that inspire you?

Arthur Russell, his music has changed my approach to singing and composing in general. It's almost like the physicality of my voice has changed from listening so much to his tunes, the way I make sound and its timbre. There’s something so earnest and genuine about his songs that I really gravitate towards ... Jonathan Richman with his imperfect vocal delivery as well.

This is maybe a bit of an absurd question, but stay with me here: Do you consider yourself to be a rock and roller? What does rock and roll mean to you?

Maybe rock and roll implies guitars and also the feeling of risk or spontaneity. As in a concert that feels as if it can fail or collapse any minute. When music carries that kind of urgency, that’s where I connect emotionally. I think you often need an element of risk to achieve that, which is why bands performing live with these dense backing tracks often feels underwhelming—or I just lose interest quickly. 

Who are some of your favorite new bands right now and why are you rocking with them? 

Alba Akvama, the female vocalist in a lot of my songs. She’s got some beautiful tunes using open tuned Hejira-style guitars mixed with orchestral MIDI arrangements. Hopefully, she’ll release some in the near future. There’s also this Danish/German/Latvian trio Treen. Improvised music with saxophone, piano, and drumming, all incredible musicians. Jan Philipp, who’s drumming in my band as well, once explained that he’s approaching drumming like a rolling egg, that really makes sense to me listening to Treen. Bending Backwards is another new Danish trio—downtuned guitar, drums, and expressive singing. Frederik Vuust, the vocalist, he's a jazz pianist and a really clever composer and you kind of hear that in his baritone singing and melodies, it’s intricate but flows so effortlessly. Like Alba, they don’t have any music out yet, but there are two unreleased tracks in this NTS mix. 

What prompted that Cure interpolation? How did it come together?

I like to sample physical records because happy accidents happen. Originally another version of this song “Lovesong” was going on the album. That version was just a loop of the actual The Cure song with me singing on top. I’ve always liked The Cure, it’s colorful and playful, yet so mournful, strange. I felt like taking that “I will always love you” line and repeating it infinitely. Eventually, on the night before turning in the masters, I decided to re-create the sample with my own playing and Alba’s singing. The original version still went on the 12” though—someone digitized it and put it on YouTube.

If you could dictate the context that listeners consume your music within, what would it be?

However people like to consume their music. It's just nice if it resonates with anybody. Personally I’ve been trying recently to not listen to music as this sort of secondary activity—while cycling, reading, being online, etc. I feel like there’s enough noise in the world and in my head already. Sitting down in front of my speakers and just listening through an album, absorbing it, every now and then can be really enjoyable. I hope some people will do the same with my music.