Jamming with The Cardigans: From “Lovefool” to “My Favourite Game” and beyond

Along with Peter Svensson, Magnus Sveningsson formed The Cardigans on 31 October 1992. The Swedish rock band from Jönköping is known for its unique blend of pop, rock, and alternative elements, achieving global recognition with hits that garnered over 107 million listeners and more than 15 million albums sold worldwide.

Their most significant commercial success came with the release of their third album, "First Band on the Moon," in 1996, which included the hit single "Lovefool." This track catapulted The Cardigans to international fame, especially after being featured in the 1996 film "Romeo + Juliet" by Baz Luhrmann, starring Leonardo DiCaprio and Claire Danes.

Bassist Magnus Sveningsson, guitarist Peter Svensson, drummer Bengt Lagerberg, keyboardist Lars-Olof Johansson, and lead singer Nina Persson collaborated to create six albums, ranging from the analogue warmth of their early works, "Emmerdale" in 1994 and "Life" in 1995, to the darker, electronic-infused "Gran Turismo" in 1998, and the emotionally raw "Super Extra Gravity" in 2005. Over the years, they have produced more than 80 songs as The Cardigans.

In this interview, Magnus Sveningsson reflects on The Cardigans' musical evolution, the triumphs of reinvention, and the constant presence of Nina Persson's evocative vocals, which have remained central to their identity. The Cardigans continue surprising and inspiring people worldwide, from experimenting with Pro Tools in the late '90s to embracing new influences while maintaining their core sound.

The Cardigans.

The Cardigans have been known for a sound that blends pop, rock, and alternative elements. How would you describe the sound’s evolution from your early albums "Emmerdale" and "Life" to "Gran Turismo" and "Super Extra Gravity"?

Our first three albums were recorded on 2-inch tape on an analogue desk. We were into creating exciting sounds and soundscapes inspired by lots of things. We are very much into retro gear and fashion. That all changed when we did our album "Gran Turismo"  in 1998. Our songwriter Peter [Svensson] was deeply into Depeche Mode, Radiohead, Soundgarden and Pantera by then. The retro feel shifted into something more contemporary, and that was the first record we made using Pro Tools, taking it to an extreme. It was all patchwork editing with brand-new technology. Then, on our 2003 album "Long Gone Before Daylight," we did the opposite again. Months of recording sessions together in the same room as we imagined bands doing in the 70s.

As you progressed through different albums, your sound grew darker and more complex. What influenced this shift in tone, particularly in the transition from "First Band on the Moon" to "Gran Turismo"?

The shift from retro to contemporary came from the urge to evolve continuously. We had been grinding a lot on the “First Band on the Moon” tour in late 1996. Fatigue started to play a significant role, which I think is displayed in the lyrics of our album, “Gran Turismo.”

The Cardigans photographed by Martin Bogren.

Over the years, how have you balanced experimenting with new sounds while maintaining the core elements that define The Cardigans' identity?

The core element has always been Nina [Persson]'s voice. So, until Nina puts words to Peter [Svensson]'s songs, it's not really our music. I often hesitated on a demo with Peter's "mumbo jumbo" words, but then Nina started to sculpt something from an idea that might have come from Peter. Even though he's not a word person, he is marvellous with hooks.

Throughout your career, you've been able to reinvent your sound while still retaining a recognizable identity. How do you approach staying true to your roots while embracing change and innovation?

Since Nina [Persson]’s voice remains constant but has, of course, evolved significantly, we can always make quite drastic changes in sound and production.

Is there a particular album or song that best represents The Cardigans' ability to innovate while staying true to their original sound?

I have always thought there was one song on each record that pointed to the next step we would take. We didn't know it then, but I rarely think about our early music, so pinpointing one is tricky. This summer, we played "Carnival" from "Life" and "Marvel Hill" from "Gran Turismo" back to back, and it was three years between these two very different songs. We call it "The Cure" moment of the evening.

Can you share some key influences that have shaped your music, particularly in creating iconic tracks like "Lovefool"?

"Lovefool" was written as a bossa nova. We all bought our CDs at a local record store called "Music & Arts," where the owners, Lennart and Peter, significantly shaped our music tastes, always suggesting new, often vintage, music to us. I guess Nina [Persson] discovered Astrud Gilberto there, and, along with Peter [Svensson], they were inspired to write this song, which later turned into a disco song in the studio.

Your music often blends cheerful melodies with darker lyrical themes. What inspired you to create this contrast?

It's just the way Nina [Persson] and I are. Nina is a brilliant lyricist, much better than I'll ever be. Her work on "Long Gone Before Daylight" and "Super Extra Gravity" is impressive, and I think she's the best Swedish lyricist.

"Lovefool" became an international hit and remains one of your most well-known songs. Looking back, what do you think made that song resonate with audiences around the world?

First of all, it's a catchy tune that appeals to people worldwide. We're thankful to have it in our catalogue but refused to play it in the 2000s. It was such an obvious decision; there was no debate. Since 2012, we have played it in our concerts and found its place in the live set. When we played in Russia a few times, we could see how important that song was for the LGBT community. People in the audience made it their song, and we had emotionally intense moments there and "Lovefool" finally had meaning!

The music video for "Lovefool" is iconic. How involved were you in its creation, and what was its concept?

We have never been involved in the storyboarding, but of course, we have a say in which video director to choose. Personally, I have never liked making videos at all. We shot that video in LA, which felt a bit strange. After the music video, we realized our career was about to take off with a new, more prominent label.

In contrast, "My Favourite Game" has a much edgier and rock-driven sound. Can you talk about the creative process behind that song and how it represented a shift in your musical style?

Funnily enough, "My Favourite Game" was originally written in a very different style compared to how it ended up. Imagine the song as a shuffle, like Neil Young's "Harvest"—that's how it initially sounded. Both our producer, Tore Johansson, and I hated the shuffle tempo, so he instructed Bengt [Lagerberg] to play double time on the drums and add an aggressive, distorted bass. I don't remember much about that recording because Peter [Svensson] and I weren't on the best terms then. Also, I liked "My Favourite Game" in its new version much better because it would never have become a hit in its demo style. And the same happened with "Lovefool."

How did the collaboration with the director shape the music video for “My Favourite Game”?

We heard that fellow Swede Jonas Åkerlund was interested in making a video for us, and we ended up shooting it in Barstow, between LA and Las Vegas, where it was extremely hot. I spent most of the time hanging around with the catering crew while Nina [Persson] did a lot of filming herself. Even her fake tattoo melted from the heat.

We liked Jonas Åkerlund's dark humour, especially with the alternative endings. Fun fact: There's a radio voice in the beginning saying something about KUK Radio 104.5 MHz—"Kuk" means something funny in Swedish.

"Erase/Rewind" features a unique pop and alternative rock blend. What's the creative process behind it?

It's built around the excellent guitar riff Peter [Svensson] plays, but the production is very electronic. "Erase/Rewind" was a big single in the UK at the time, with perhaps a hint of Depeche Mode's "Enjoy the Silence" in its style.

"Carnival" has a distinct, dreamy quality. How did you approach the production and arrangement to achieve that sound?

Twenty-nine years ago, I remember playing it during a radio session well before we recorded it. Peter [Svensson] wasn't that into '60s pop, except for late-period The Beatles, but I know Lee Hazlewood and Nancy Sinatra were huge inspirations for our album "Life." The album had a more cartoonish feel, with a glossier, even kitschier surface than "Emmerdale." I created the title, and then Nina [Persson] wrote the lyrics about a travelling circus coming to town.

How did "Step On Me” fit into the overall vision of the album?

I think it has the most cynical lyrics, and its chorus is quite aggressive. Maybe this song on "First Band on the Moon" leads up to "Gran Turismo." There are others I prefer to play, like "Losers," but sadly, Nina [Persson] isn't as fond of that one. We were amazed and shocked by how TikTok took over "Step on Me," turning it from a forgotten album track into our third most-streamed song. There's no logic to that, but strange things do happen!

Looking back at your discography, is there a particular era or album you feel most proud of?

We all rank "Long Gone Before Daylight" as our best record. It was made over a 9-month period, and we really had to dig deep to create it. We had narrowly survived the seven-year itch, taking a much-needed break to recover from touring in the '90s. Some of us made solo albums, and we patched ourselves and the band back together to create such an emotional record. That will always be our greatest pride.

How do you see The Cardigans' sound evolving in the future? Are there any new musical directions or experiments you're excited to explore?

For a long time, we decided not to make any new music if Peter [Svensson] wasn't involved. We'll see if that changes, because we all enjoy playing together, and our stand-in guitarist, Oskar Humlebo—also known as Moto Boy—is a wonderful artist and songwriter in his own right. Something might happen, but let's wait and see:)

The Cardigans.