Night Gestalt – Music Made for One Man
An Interview with Olof Cornéer
I finally got a chance to sit down and speak with Olof Cornéer about his latest project, Night Gestalt. When I heard his first album, One, I played it on repeat and I couldn’t believe this was the same man that gave us champagne, bananas, and some of the heaviest dance music out there. However, there was something different about this project because it wasn’t made for anyone besides himself…
“If everyone else likes it that’s great, but it’s not what the original intention was.”
RJ: Give me the backstory. What made you want to create Night Gestalt?
OC: I wanted to create something new, and I originally set out to do three original albums. The first album being One, and that album was loosely based on a book about a spaceship going nowhere. The book gave me the framework to write an album, and I had always set out to write three total— like a trilogy. The second album is Night Glasir, which is out now.
RJ: So, what is Night Glasir based on, and do you have a theme for the third album?
OC: This album is actually more about the prequel to the first album, and the third album, which I haven’t written yet, is about the catastrophe that forced the ship to be sent off to space in the first place. Although to be clear, I didn’t need a story; it was just something to give me a base for the tone of the music.
RJ: What would you call this music for people who haven’t heard it before, and did you play all the music in the tracks or did you work with other writers?
OC: It’s in between ambient music and post-classical. I played everything from piano to mixing— I wrote all of it, and that’s actually my voice in the songs as well.
RJ: This is obviously such a major departure from Dada Life. Did you just feel like you had something different in you musically that you wanted to get out?
OC: It actually happened when I got sick back in 2015, and it was sort of my “a-ha moment” that made me realize I had a lot of things I wanted to do that I kept putting off for various reasons. Once I got sick and nearly lost my life, I knew I wanted to stop procrastinating and do them. The first track I actually wrote when I started treatment for cancer when I was three days into chemotherapy and I was really tired and sick, but I knew I really wanted to get this out of me.
RJ: Do you have plans to tour this project?
OC: Yeah, but I want it to be right. I’m writing music for a movie that doesn’t exist, so I want the live version to reflect that. The music really lives in its own universe, and I need to make sure the live show lives up to my standards.
RJ: When I first heard it I thought to myself, you should be scoring movies if this is all you writing this. Have you considered scoring films?
OC: I actually did score a Swedish film recently called Koko-di Koko-da, and I loved it.
RJ: What’s the inspiration for Night Gestalt for those who haven’t heard it?
OC: So, in the ‘90s it was called “IDM,” which stood for intelligent dance music, whereas a lot of the techno and house was more for clubbing. I really loved groups like Aphex Twin, Black Dog, Underworld, and Orbital, and a lot of the mood and tone comes from that era of music.
RJ: What is the overall goal for Night Gestalt?
OC: The goal is really to make three albums, and the three albums being for no one but myself really. It’s mainly about a creative bubble you can work in— where I can let my mind run amok and explore all the different sides of my creativity. If other people like it great, but in the end, I made the music for me. I hope people like it, but that was never the goal for me. The project was about challenging myself creatively, whereas Dada Life is about chasing the next big thing, whether that be a show or a single where we were constantly one-upping ourselves. This project is strictly about the music, and I’m happy with where it’s going, so that’s all that matters.