LORO_DROP

-How did you two meet and decide that you need to make music together?

KR: The first time we met was a long time ago. Povel isn’t just a musician; he’s a producer too. At that time, my band was looking for a new producer, and that’s how we first connected. Since then, we’ve been working together - pretty intensively - for about 10 years.

PO: Yeah, I was contacted to produce for BrainStorm, and we clicked immediately. It was fun to share ideas in a very playful way without worrying about what others might think. We could send each other pretty bad ideas and not feel judged. I think that’s what made it work so well - that openness and trust.

KR: Over the years, Povel even joined BrainStorm on tour, playing live with us. Those gigs were always so much fun. As we kept talking, we realized we both loved electronic music and share the same passion for it. It became clear that we had something special. I’m more intuitive and visual when it comes to creating songs, while Povel has these amazing production skills. It’s like we complete each other - making this “perfect storm”.

-As musicians with strong ties to visual media - Povel as a producer for commercials and film music, and Kaspars as a movie director - do you think about how your music translates visually or fits within a film? Is there a specific visual project you’d love to create a soundtrack for with this project?

PO: Definitely. The music we’re making now is very cinematic. Whenever I send demos to Kaspars, he sends them back with video clips attached - testing how the music fits different visuals. It’s a great way to dive deeper into the mood of the song and see how it works with imagery.

KR: Yeah, we made a video for our song “Dust of Love.” It’s independent and looks really cool! It’s fun to experiment that way.

PO: And we’ve talked a lot about doing film scores. I could absolutely see us transitioning this project into that realm. It feels like a natural next step.

-Let’s talk about your individual musical backgrounds. How did you both get started in music?

PO: I grew up in a musical family. My parents were touring musicians, so my sister and I spent our childhoods on the road, surrounded by artists. I had a great drum teacher early on, which helped me build solid skills quickly, and that made it so much more fun to keep going. Later, I went to a music-focused high school and then joined a two-year music program in Sweden. It wasn’t a formal university - it was more about playing and experimenting with other musicians, just hanging out in the forest with 30 other like minded nerds. So it's not like a university. That’s where I started learning recording and audio engineering, just by trial and error. This was pre-COVID, and the focus was entirely on music. During those two years, the skill level went up really fast because all you did was jam. For me, it was all about jazz - I played jazz drums non-stop for two years. The place had a studio, but no one was running it. So, I kind of took it upon myself. I’d drag my friends into the live room to jam, set up microphones, and figure out how to record them the hard way. Everyone wanted to hear what they played, so I learned how to mic up a drum kit and do basic audio engineering on my own. After that, I went to the Stockholm Royal College of Music, which was a natural step into the music scene in Stockholm. All the artists live there, and they always need musicians. At that point, I was leaning more into rock and pop than jazz, so in my early twenties I was already playing a lot with different artists as a drummer.

KR: My story is pretty different. When I was in kindergarten, music teachers came to test kids, and I sang a simple melody. That’s how I got into music school. I wanted to play guitar, but there weren’t any guitar teachers, so I ended up with drums. But my teacher was always touring, so he’d just give me the key to the drum room and say, “There’s the drum set - you go and play.” If you don’t know the basics, it doesn’t work that way. It was hard and this was before YouTube - when you couldn’t just watch online lessons or take master classes. Eventually, my parents pulled me out of music school because my grades in regular school weren’t great. But my father said, “To keep you off the streets, you need to pick one instrument and learn it.” There weren’t any private teachers available, except one who taught accordion. So, for six years, I was forced to play the accordion. I didn’t like it - it was heavy, and I had to carry it a long distance to the culture house where lessons were taking place. That’s what I remember most: that heavy accordion case. Then I found a connection with some classmates - other kids who weren’t into academic subjects. Together, we formed a band. That band is still active today, and we do it professionally now. [i.e., BrainStorm nowadays is the most popular pop/rock band in Baltics] It’s a strange and unusual story in the music business, but it’s special to me. Imagine a group of boys from one class starting a band at 16 years old and actually making it work. It’s kind of like U2, right? That’s how it started for us.

I also learned to play drums slowly by watching others and figuring it out myself. Over time, I realized that the feeling we now have with Loro Drop was always hidden somewhere in me, everything feels so natural. Composing with Povel just happens - there’s : spark, this excitement that you rarely get after being in the industry for so long. Routine can make you bored and lazy, but this project feels fresh and inspiring. It’s the same with modular synthesizers. They’re completely new to me - Povel knows a lot more - but for me it was such a surprise to discover how you can create analog sounds just by patching the cables and twisting knobs. It’s amazing!

-This project leans heavily on electronic instruments, which wasn’t always the case for either of you. What’s your journey from acoustic to electronic been like?

PO: For me, it’s always been about tweaking sounds - it’s meditative and inspiring at the same time. Right now, we’re pretty much all electronic, but I’m leaning towards incorporating more acoustic elements, definitely. I really like the mix. I like playing acoustic elements and running them through modular setups or effect pedals, tweaking the sounds as much as possible. I think we’ll get there soon, but for now, I think the workflow has its advantages. In some ways, it’s faster. None of us are, like, super picky about the exact sound - even though I’m a producer. I’m more into the feeling. If a sound captures the right vibe for the song, I just go with it and don’t overthink. I’m not the guy who tweaks every little nuance endlessly. Take the Bassline DB-01, for example - it’s raw and gnarly, kind of unpredictable. But that’s what makes it fun. It’s like a little monster - cute, in its way. I don’t try to tame it; I just keep it as it is.

KR: For me, it started during COVID time. The band couldn’t meet for the first time in 30 years. Suddenly, there was all this free time, and I thought, "What now?" Sure, you can drink wine for a day or two, but eventually, you think, "What else?" So, I decided to learn something new - Logic Pro on my computer. I discovered how entertaining and interesting the process was. You don’t need to be super educated, which is good in the start because I wouldn’t consider myself well-educated in this area. But it was so exciting that now I can’t imagine my life without composing. Working alone at home, it naturally evolved to electronic music. Everything you need is right there on your desk - drums, guitars, keys, whatever. That’s how it started.

Then, of course, it was clear that I needed to develop this further. Povel was on the same page - he said, “Let’s do it.” So, we did. I call him my master because I’ve learned so much from him - how to work, how to create. I see a super bright future for us in this field. It’s just the beginning. Our first live gig as this project, at Erica Synths Garage, was so inspiring. It was actually our first live performance ever, ever. We came together just one day before the gig and had a rehearsal. Everything before that had been on computers, sending files back and forth. So playing live for the first time was an incredible experience. I loved it.

-What are your roles within this project?

KR: We both compose and write, but when it comes to the final product, Povel handles the production. I focus on the visuals - how it looks live or in music videos. But we’re always honest with each other. If something doesn’t work, we don’t waste time pretending it does.

-On a more technical note, what’s included in your current setup? What kind of equipment or instruments do you use?

PO: Logic Pro is my main DAW - I record everything into it. In my studio, I have a couple of things connected to a big pedalboard - synths, drum pads, and other gear. I use the Zoia Empress pedal for live tweaks, like reverb throws and delays, and I also use it live. I also use the Pērkons HD-01 a lot, the Bassline DB-01, a Juno 106, and a Polysix. My studio is also connected to a friend’s place - he has the biggest collection of vintage synthesizers in Sweden. It’s amazing because I have access to all this big, beautiful vintage gear. I can just go there and record whatever I need. I use pretty much all the synths that any synth collector dreams of.

- Isn’t it overwhelming to have such a huge range of options? Do you ever feel confused when you walk into the studio?

PO: It could be, but I don’t see it that way. On the plane here, I read an article where Moby talked about this exact question. He said some people struggle with having too many options, but I agree with him - it’s more like having a palette of amazing colors to paint with. What can go wrong? Just try things out. If something doesn’t work in an hour or two, move on to the next thing. That’s how I approach it, and it’s the same with software synths and plugins. I have pretty much all of them, and it’s just about choosing what fits the mood. For me, it’s inspiring, not overwhelming.

KR: For me, it’s kind of the opposite. We live in different cities - Povel’s in Stockholm, and my studio is in Barcelona. My setup is super basic: Logic, a MIDI keyboard, a guitar, mic. and some Roland pads. I usually start with a very simple rhythm or riff as the foundation for a song. I’m not a guitarist, so it takes me a lot of time to record even simple parts, but those ideas come naturally. But when Povel comes over, he brings a lot of equipment. We set up three or four tables covered in gear - some machines I don’t even know the names of! That’s when the real fun begins. Those sessions are super creative, and you can hear the results in what we’ve made.

PO: Yeah, but I’ll say this - I love that you can create so much with just a laptop. I’m not one of those purists who say everything has to be analog. I like a mix of everything, whether it’s acoustic or electronic. If it sounds good and feels right, then it’s good. That’s all that matters.

KR: A solid acoustic foundation in an electronic setup is always a great addition.

PO: Yeah, I'll bring my flute for you next time.

-So, what are you listening to right now?

PO: Right now? A lot of Geju - it’s this meditative, minimalistic house vibe, that’s the kind of sound I’m into lately. Also, I’ve been working on composing for a TV show in Sweden, and the director wanted something in the style of Philip Glass. So, I’ve been deep-diving into his work. A lot of what I listen to depends on the projects I’m working on.

KR: For me, it’s a pretty wide spectrum, but mostly ambient and electronic music - meditative stuff. I listen to music most often when I’m driving. I like songs without too many lyrics, so I can kind of meditate while driving, especially on long trips when I’m alone. That kind of music helps ideas flow, and honestly, a lot of ideas are born that way.

-And outside of music - what inspires you?

PO: Right now, my five-year-old son inspires me. He’s learning how to play drums, and he loves hanging out in my studio. It’s fun to watch him tweak things - he’ll go crazy on the synths and play stuff I would never think of. I usually hit record when he’s experimenting, and I even pick up tricks from him. It’s inspiring to see him explore.

-So, you’re inspired by playfulness?

PO: Yes, exactly - playfulness is key.

KR: For me, it’s movies and the beautiful city of Barcelona. Before, I wasn’t much into walking, but this city has a way of making you want to explore. Walking around with headphones on sparks so many ideas - sometimes even more than driving. There’s something magical about Barcelona. The architecture, the energy, the mix of people and cultures - it’s all alive. You can feel creativity in the air.

-Last question, it’s about your future plans with this project. Any specific festivals or events you have in mind?

KR: Yes, of course! We’re aiming for Burning Man, but we’d love an afternoon or sunrise set - not nights! But on a serious note - before that, we need to work more and produce more music. We need to get out there, get out of the studio.

PO: Exactly. We’ll release an album soon. The plan right now is to build up a solid bank of songs. We’re already on the way with some really great new ideas. That’s the first step.