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Put simply – Datarock fucking rock. Formed in Bergen, Norway shortly after the turn of the millennium, duo Fredrik Saroea and Ketil Mosnes have been busy crafting their unique melodic, funk tinged indie-dance musical cocktail through a series of fervently received low-key outputs, after being originally picked up by the esteemed Tellé Records. Released to more acclaim in their home country last year, their debut album ‘Datarock Datarock’ (so fucking good they had to name it twice) hits the shelves in the UK this summer and it’s an absolute gem. Gigwise duly caught up with the lads before they unleash the album on the unsuspecting public, to discuss all…
Humorous and very off-kilter, Fredrik (singer, guitarist, drummer, and keyboardist) and Ketil (bassist, background singer, programming, and keyboard tinkler) first met in the fairly unassuming surrounding of a local electronic festival and immediately had high aspirations for the group. Fredrick elucidates: “We decided to form the band that turned out to be the peak of pop evolution on a drunken evening, at an outdoor festival of electronic music situated on top of one of the mountains surrounding Bergen. Meeting through mutual friends in the club scene, it seemed the perfect idea. ‘Datarock’, we thought, ‘that’s what we’re gonna make: the perfect blend of digital software, Casio-keyboards, electro acoustic instruments, timeless melodies and the lyrics our generation has been craving without even knowing it’. Then we boarded our ship and banged the drums.” And what a voyage. 
With their tongues firmly wedged in their cheeks, somewhat modestly the pair repeatedly describing their music as “The Peak of Pop Evolution” and they may well be on to something. Pushed to tell us what genre it fits into, Fredrik explains: “At the time Datarock is probably more indie oriented, but as Datarock is Dirty Dancing, we’d have to say that we’re indie-dance. There we go. Spelling out the good stuff. Don’t even know were that came from.”
Citing their musical influences as “the de-evolved Devo, the talkative Talking Heads, the garage flowers Stone Roses and the still peachy Happy Mondays and.. Olivia Newton-John’, it’s difficult to completely place their sound. ‘Datarock Datarock’ shifts from camped-up funk (‘Computer Camp Love’), electro-fuelled carnage (‘Sex Me Up’), gorgeous melodies (‘Nightflight to Uranus’) and even brooding moments (‘Ugly Primadonna’) and makes for a heady brew.
Somewhat surprisingly, despite its musical dexterity, the album process was relatively painless, explains Fredrik: “The only thing difficult was choosing the right tracks! The rest pretty much felt like a walk in the park. We didn’t hire session musicians or anything like that, and as we played all instruments ourselves there were only so many ways to go about it… It was made on and of, but most of it during a few weeks early 2005 back home in Bergen, Norway. In days that’s approximately two weeks all together, including all recordings, mixing and mastering.” Ketil interjects: “We had fun and ate loads of junk food.” Lovely.
Some of the album’s many peaks include the wonderfully repetitive ‘Fa-Fa-Fa’ and ‘Maybelline’. Speaking about the former, Fredrik reminds us that simplicity can be the key to making flawless pop music: “First of all, the title is part of the lyrics. Are the lyrics written the way they are because I didn’t think of a more decent way of writing them? Yes. Second, Fa Fa Fa is an incredibly easy title to remember, instantly becoming the international hands-in-air, sing-along anthem of our live-show. Third, if you’ve ever heard the Talking Heads classis Psycho Killer you’ll pick up the tribute instantly. Fa-Fantastic!” Indeed.
Astute readers amongst you may have noticed that ‘Maybelline’ takes its name from a certain cosmetics product advertised on the old idiot box. The track embodies their playful attitude and the extent to which Datarock’s music is inspired by what surrounds them. Thankfully, Maybelline haven’t launched legal proceedings against them as of yet, as Fredrik jokes: "The only trouble it should land us is how to figure out where to put all the cash they ought to ship in our direction. I mean, did anyone ever write a song as beautiful only to have a little fun with someone’s slogan? I don't think so!”
Moving on to how their music is influenced by culture, Fredrik adds: “It most definitely is. These days however, the culture around us seems to consist of bits and pieces of everything from everywhere and any time. I suppose that’s why Datarock is so damn retro-postmodernism. That’s right. We pulled that term right out of our touch-method typewriting totally mechanically, and that, ladies and gentlemen, that’s what makes us the bearers of that heavy burden of having to take that small step/big leap…”
Listening to their music and as the interview goes on, it’s transparent that Datarock don’t take themselves too seriously. Agreeing with us, Ketil iterates that despite this there’s substance to their art: "Obviously there is a sense of humour in what we do. Still, we're not a 'fun band', like The Darkness or someone like that. We do take the process of song writing very seriously.” Fredrik adds: “But remember that even fun is serious business.”
Even when we put to them that there is a darker side behind the band's façade, such as on album track ‘Ugly Primadonna’, they seem to find the lighter side of things. Says Ketil: “Even in that track there’s a strong element of humour, but I suppose there are tendencies. Datarock is never fun like funny ha-ha bands, but we’re never, ever dark …like Scott Walker!” Indeed, their music is a welcome antidote to some of the megalomaniac pricks who resolutely spouting on about how great they are (no mention Mr Borrell), as Fredrik points out: “Far to many bands take themselves too seriously. Both their petty selves and what they do.” Ketil agrees; “There’s nothing as sad as a shit band taking itself too seriously.” We couldn’t have out it better ourselves.
Looking forward and Datarock are only too eager to partake in as many rock and roll clichés as possible. Fredrick provides Gigwise with easily the best answer we’ve ever heard to a future aspirations question: “We’re still releasing on our own label called Young Aspiring Professionals (YAP records) and hope we’ll make that work for both us and our featured artists. Datarock’s career aspirations will merely to go on, take it further, get on Top Of The Pops, sell loads of records, get our egos blown out of proportions, become the man who’s head’s expanded, write a musical, two biographies, surgically removing body parts for aesthetic reason, break up, reunite, and then finally go on that lucrative reunion tour.” So where do they see themselves in ten years time? “Without a shadow of a doubt within the secure and homelike surroundings of the Betty Ford Clinic.”
Photos by: Bjørn Harald Myhre and Knut Aaserud
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