Name: Per Anders Remme aka Frifot
Nationality: Norwegian
Occupation: Producer, DJ
Current release: The new Frifot EP Rouge Planet is out via badabing diskos.
Recommendations: The holy mountain - Alejandro Jodorowski; Shantaram - Gregory David Roberts; And since I'm currently single ... The soup I'm about to make.

If you enjoyed this Frifot interview and would like to find out more about his music, visit him on Soundcloud, and Instagram.



When did you start writing/producing/playing music and what or who were your early passions and influences? What was it about music and/ or sound that drew you to it?

"ÆÆÆÆÆ!" is probably the most honest music that I ever made - when I was born back in 1977, and it kinda leads up to the first memories I have from creating music. I gathered a lot - probably the most - of my mother's pots and pans in my bedroom and recorded while I was slamming them, rewind, play back, start record on second cassette player, and so my first cacophony of "music" was created. What drew me to it? I dunno. It chose me I guess.

The same pots and pans were also utilised to create antennas, welded together with copper, to get better radio reception on the cassette ghetto blaster. I recall that it did have some sort of impact and that I got some channels from outside of Norway on the FM haha.

The first music I made on a computer, must have been on an Amiga 500 or an Atari. A couple of friends of mine had gotten one for Christmas, and I was very quickly sucked into it. A year after I first tried Protracker on an Amiga I got my own for Christmas. Fun times.

My first alias in making music was "Kaiowa" and I was a part of a computer group called Sorrox.

When I listen to music, I see shapes, objects and colors. What happens in your body when you're listening and how does it influence your approach to creativity?

Electronic music is surely very connected to shapes in its construction I feel. The rotational core that is defined in the centre and the more esoteric elements outside of it.

Train. The beat is the train moving on the rails and the emotion is what one sees outside trough the window. Blurred lines of melting Watermelons and exploding water molecules. My feet are stomping the earth like a bull and my head is flying through evolving fractals.

What influences my approach? I guess its the need for structure in chaos. And the input of chaos. And structure.

How would you describe your development as an artist in terms of interests and challenges, searching for a personal voice, as well as breakthroughs?

Music is a soundtrack to where I am in life and what I try to sculpt out of the chaos I create. It’s a strange dance.

You are on a road, a dusty road, in between fields of corn. It's all quiet, and when you start stomping with your feet the sand starts swirling around you. That's the matter you can use to shape. To sculpt.

It's your chaos.

Tell me a bit about your sense of identity and how it influences both your preferences as a listener and your creativity as an artist, please.

Feels like I'm a train with wings. I like trains. And wings. But how to connect them?

What, would you say, are the key ideas behind your approach to music and art?

To expand, learn, melt, explode, float, shiver, stomp and blossom. In a loop!

How would you describe your views on topics like originality and innovation versus perfection and timelessness in music? Are you interested in a “music of the future” or “continuing a tradition”?

It's like a bouncing ball with a positional tracking device connected to it. God throws the ball into a room and off you go.

What you are able to document might be music?

Over the course of your development, what have been your most important instruments and tools - and what are the most promising strategies for working with them?

I've gone from using Protracker on an Amiga 500 and to now having a small nice setup of synths, drum machines etc ...

My latest acquisition is a Soma pulsar 23 , and what really drives me in that context is to utilise these different gadgets and see what they can do, and what I can learn from them.

My perception of music could also be seen as a documentation of humans dancing with machines. It's a nice dance.

Take us through a day in your life, from a possible morning routine through to your work, please.

In good periods, it's a loop of waking up, coffee, studio on fresh ears implementing decisions from the couch the evening before, then adding new ideas.

And before I go to sleep I listen so I know where to start the next day

Could you describe your creative process on the basis of a piece, live performance or album that's particularly dear to you, please?

That's a hard question. I don't think I can.

Maybe a move. Groundhog Day, featuring Neo, directed by Jodorowski? A bit much maybe, but isn't it how we all feel at times?

Listening can be both a solitary and a communal activity. Likewise, creating music can be private or collaborative. Can you talk about your preferences in this regard and how these constellations influence creative results?

When the participants have a defined role its very easy to collaborate. So my approach to collaboration is that most of the parameters are set before it starts.

With that as a frame one will have a direction, and at the same time have free flow of creativity in each of the different individual areas.

How do your work and your creativity relate to the world and what is the role of music in society?

I think that music has got a function of uniting people, and that electronic music is beautiful in that regard because uniting people without words is a more stable platform for togetherness.

It's there, we can all feel it, but it's not defined by spells.

Art can be a way of dealing with the big topics in life: Life, loss, death, love, pain, and many more. In which way and on which occasions has music – both your own or that of others - contributed to your understanding of these questions?

For me it is my exploratory core of emotional output

How do you see the connection between music and science and what can these two fields reveal about each other?

It's the structure and the chaos, and they do both have the same core of exploration and understanding. It's Schrödinger’s cat, but it's an apple. Or both.

It's probably the cat eating an apple.

Creativity can reach many different corners of our lives. Do you feel as though writing or performing a piece of music is inherently different from something like making a great cup of coffee? What do you express through music that you couldn't or wouldn't in more 'mundane' tasks?

I would not eat all my music ... I think people have way more unreleased music than uneaten prepared food ... That's probably a good thing.

Music is vibration in the air, captured by our ear drums. From your perspective as a creator and listener, do you have an explanation how it able to transmit such diverse and potentially deep messages?

Consciousness and information, from what I understand, are stored in vibration and not in physical matter. So it's probably possible to control a reindeer with Bluetooth.

But that's dark ... Lets not go there.