Billboard Magazine's Spotlight on Sweden

Billboard, October 12, 2003 European Quarterly #3: Sweden Remains Relevant By Jeffrey de Hart

STOCKHOLM - Trends in music change and players come and go, but Sweden remains one of the top markets in the world in exporting musical creativity.

How? It delivers songs—in abundance.

Yet despite the multitude of talent and top-selling albums by such mainstays as the Cardigans, Roxette's Per Gessle and Tomas Ledin, Sweden's business of late has suffered along with the rest of the global music industry.

During the first six months of this year, Swedish consumers bought 10.9 million units of music worth 560.6 million kroner ($70.2 million), a 14.8% decline over the same period the year before, according to Grammofonleverantörernas Förening (GLF), the local affiliate of the International Federation of the Phonographic Industry.

In contrast, as recently as three years ago, for the full year of 2000, Swedes snapped up 28.8 million units of music worth 1.64 billion kronor ($165 million), according to the GLF.

As a result of the downturn, labels have shaken up their operations and executives. Universal Music replaced Gert Holmfred with Mårten Aglander. MusicNetWork Records Group (MNW) slashed its staff from 100-plus employees to eight and dropped its entire distribution arm.

But some bright spots remain. Holmfred has started an independent artist management and consultancy company. Former Warner Music Sweden chief Sanji Tandan has launched s56 Recordings. Bonnier Amigo Music Group and Border Music Distribution have picked up some of MNW's slack. And the Melodifestival, the Swedish pre-selection heat for the Eurovision Song Contest, retains its popularity, providing the industry with a promotional window between run-off event and Eurovision.

But as the marketplace changes, so does the musical landscape. What's next from the mystical land that gave the world ABBA and Roxette and Cheiron Studio hits from Ace of Base, Backstreet Boys and Britney Spears?

ROCK LOOKS PROMISING

Industry observers point to continued success in Europe and abroad by such acts as the Cardigans, Robyn, A*Teens, the Ark, Alcazar, Mando Diao, Lutricia McNeal, Eskobar, Jay-Jay Johanson and Robert Wells. In addition, acts like Kent, Moneybrother and Fireside have had Scandinavian success.

But the great noise on the international scene in recent years is coming from Swedish rock acts, most notably the Hives, but also such promising contenders as Soundtrack of Our Lives, Sahara Hotnights and the Sounds.

Tandan, managing director of s56 Recordings with two rock acts—Her Majesty and Thomas Rusiak—on his newly founded label, says that such rock acts as the Hives "are spearheading what could be the next wave of Swedish export."

Tandan says the U.S. music industry is impressed by the quality of these acts and their long-term potential.

"The more the other artists grow and the more successful they are, the more aware international A&R executives are of Swedish music," he says.

Some claim this generation of young rockers are the tip of the proverbial iceberg. "You can go out every single night in Stockholm, Malmö or Gothenburg and see a good rock band," says Leif Käck, senior VP/director of A&R for Sony Music Nordic.

He points to two new bands in particular: the 21st Century Noise, recently signed by Sony, and Sugarplum Fairy.

Sugarplum Fairy, according to Murlyn Songs managing director Pelle Lidell, is the subject of a bidding war in the U.K.

"The band is absolutely destined for big things," he says. "First and foremost, they can write songs, they know how to perform, they're young and [they] look fantastic." Lidell describes the band as the Hives with a Ramones-like attitude meets Oasis and the Beatles.

Käck says another trend is that now U.K. industry figures come to him with Swedish demos they have received.

"That is happening more now," he says. "They're going to London and New York to present new stuff and getting direct deals. It's harder to break out if you are signed to a major in a small territory than if you are on an independent label or get direct contract with a major [label in the U.K. or the U.S.]"

Martin Ingeström, managing director/VP or Nordic countries for Universal Music Publishing, sees the logic. "It's better to be free and sign to another label, or if you signed to a major, have the freedom to sign with another label. Everyone is understanding the importance of an escape clause."

Case in point: Soundtrack of Our Lives. "They are with Warner, and in the U.S. Warner didn't pick it up, so Universal did. When they couldn't get to Warner, we took it together with their management to see what we could do in the States," Ingeström says.

Another local band successfully breaking out into the larger world is Lambretta. Hans Desmond, managing director of Warner/ Chappell Music Scandinavia, points to this Universal act that scored big in Germany. A new album is due this fall with a major push in that country.

"Interscope is part of the project right now, and they have heard the demos, met the band and they're really enthusiastic, but they haven't committed yet," Desmond says.

The new Lambretta album, like its predecessor, will feature two tracks by hit maker Max Martin.

"Max Martin was in a hard rock band before he went to do pop music," Käck comments. He says that Swedish production/songwriting powerhouses "can change, do different stuff; that's their strength."

To some, it is obvious that the pop-based work for ex-Cheiron and Cheiron-inspired producer/songwriters is drying up. To others, those producer/writers are moving on. Tandan observes the teams are not as busy this year as last. Ingeström claims the trend is shifting away from pop, and Desmond says they will focus more on Europe.

'NOT STUCK IN SPECIFIC GENRES'

Lars Karlsson, managing director of BMG Music Publishing Scandinavia, says, "Swedish songwriters and producers are very skilled in creating melody-driven songs dressed in different styles. They are not stuck in specific genres."

Lidell of Murlyn Songs says the lull isn't affecting his business.

"My phone still rings with major labels wanting our songs," he explains. "We're in very good shape, and we intend to grow, just like we've done over the last four years. We haven't felt a decline basically because we don't involve ourselves too deeply into the teen thing. If I look at an old forecast, we had a record-breaking year last year, and we're 25% ahead of our budget estimate this year."

Murlyn has a massive team of songwriters; Anders Bagge is at the top of the heap.

Andreas Carlsson, co-founder of the Location, has been in Los Angeles writing with Paul Stanley for a solo album. Carlsson also worked with Bon Jovi on the band's last and upcoming sets, met with Gene Simmons for ideas on a new album and has the next Clay Aiken single, "Invisible."

Anders Hansson of Eclectic Studios has Cher's "A Different Kind of Love Song" on her hits album, as well as four tracks on Alcazar's recent set and hits with other artists in Germany, Holland and France. He is working on a project with Alexander Bard—the brainchild behind Army of Lovers and Alcazar—called BWO (Buttocks Without Organs).

"There was a time when a lot of people were producing following a format invented by Cheiron—by Denniz Pop and Max Martin—and a lot of people, including us, copied that format. You can't do that anymore," Hansson says.

"The business itself is going through a little bit of trauma and reorganization, and everybody is confused about what's happening. But I feel it's an exciting period. People are looking for adventurous and new ideas. I'm happy with it now. I don't know if the money is the same, but I was never in it for the money anyway."

Generally speaking, however, more and more Swedish acts are choosing to record in their native tongue. "If you look at the climate in Sweden now, it's dominated by local-language product," Käck says. "That's common for all of Europe."

A major exception to the trend will be a new album from former ABBA star Agnetha Fältskog, due out early next year.

Still, Hans Desmond comments, "Now there is a lot of focus on local talent. If you look at the Swedish chart, 65% is Swedish-oriented material, it's not international. I think it's the same thing in many countries right now. I also honestly believe that we have had the peak of the Cheiron-/Max Martin-type of situation."

Sanji Tandan observes: "Music is a cyclical industry, and this is one of the many cycles. But what it is, is a good hook irrespective of musical genres, and that's what is going to thrust Swedish production teams and songwriters moving forward. Pop is reinventing itself constantly, and it has to. The good thing about pop is it's a song—a hook—and a voice, and that's what it's always going to be about."

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Billboard, October 12, 2003 European Quarterly #3: ExMS Hits 10 Years By Jeffrey de Hart

It is celebrating its 10th year of operation, but Export Music Sweden (ExMS) nonetheless faces an uphill battle in its mission to promote the nation's popular music abroad.

The brainchild of Roland Sandberg, executive director of the Swedish Music Information Centre (part of the Swedish performing-rights society STIM) and former music executive Jonas Sjöström, ExMS initially took charge of such annual industry trade fairs and events as Midem, Popkomm and South by Southwest.

It also published quarterly promotional newsletters and provided the local industry with opportunities to export music and the international community with the means to access the music itself—tasks that continue today.

Under its managing director, industry veteran Christer Lundblad, ExMS is basically a one-man operation. Yet it has earned a good reputation for its promotional savvy, which includes running music seminars with panel discussions and hosting festivals featuring Swedish bands in the U.S., U.K., Japan, France, Canada and at home.

The ExMS fall schedule, available at exms.com, includes a seminar/showcase Oct. 18 in Tokyo with Swedish bands Melody Club, the Whyte Seeds and Ceasars and a seminar Oct. 28 in New York in conjunction with Johan Brunkvist, the Swedish consulate in New York, hosted by Billboard contributor Fred Bronson and featuring performances by to-be-announced bands.

On Nov. 26-27, an event called Access All Areas will be hosted in Stockholm with the British Council, including performances by 17 Swedish acts.

"This is the best that Sweden can offer right now," Lundblad says. "Many are unsigned bands that can be picked up by anyone."