Between the power of the present and the construction of their own myth, the Swedish band reaffirms its identity with The Hives Forever Forever The Hives and its visceral connection with Mexico.
For more than two decades, The Hives has built an identity based on urgency, absolute control of chaos and an energy that never seems to run out. With the launch of The Hives Forever Forever The Hivesthe group not only reaffirms their place within contemporary rock, but also expands the universe they have created over the years. In conversation with Indie Rocks!, Niklas Almqvist and Chris Dangerous They reflect on the origin of the new album, the difference between the studio and the stage, their deep connection with Mexico and the invisible force that drives them to move forward.
Indie Rocks!: I know you guys are coming from a recent show and you're in the middle of the tour. How do you feel right now?
The Hives: We're ok. We have one more show tonight and then we return to Sweden. You're always tired when you're on tour, but the energy of the crowd and everything else is incredible here in Mexico.
GO!: The Hives Forever Forever The Hives It comes as a reaffirmation of his identity, but also as the beginning of a new chapter. How was this album born and what were the first steps in your creative process?
TH: It was born more or less like all our albums. We have parts, ideas, and then we play them until they become songs that actually feel like songs. Maybe it sounds too simple and without enough magic, but magic appears along the way. It's in little moments here and there, and when you're finally done, all that magic is captured on the record.
You also have to go back a long way in time, even before The Death of Randy Fitzsimmons. Everyone knows that 11 years passed between albums, and during that time many things happened: the pandemic, hospitalizations, life in general. When we started working on that album, we already knew there would probably be two albums. So the origin of this material can easily be traced back 10 years.
Some parts we even played for the first time around 2003. These are ideas that have been with us for a long time.
GO!: What would you say is the main difference between The Death of Randy Fitzsimmons and The Hives Forever Forever The Hives?
TH: The Death of Randy Fitzsimmons It was intended as a rawer, more direct, rougher album. Instead, The Hives Forever Forever The Hives It was our attempt to make what we imagined would be a sand disk, something larger in scale.
Although in the end it's still the five of us in a room with microphones, playing together. The intention was to create something more expansive, but in the end it always sounds like The Hives.
We wanted to make a stadium record, although we didn't know exactly what that meant. So we just played until it sounded like us.
GO!: Latin America, and particularly Mexico, has always had a very intense connection with The Hives. What does it mean to you to play here and how does that energy influence your music and your way of understanding rock?
TH: Latin America is probably the place where we like to play the most, and I say that honestly. I hope no one in Europe hears this, but it's totally different.
Coming from Sweden and arriving in Mexico for the first time, 20 years ago, was shocking. The people, the culture, the weather, everything. We love it here, and it's definitely something we carry with us in everything we do.
It's an amazing place for us, and we always want to return.
GO!: There is a very clear difference between listening to The Hives in the studio and seeing them live. How do you understand that duality?
TH: They are actually more similar than people think. We record everything live. Sometimes it's not the first take, but the second or third. Many times it is the third take, because the first can have errors, the second can be too fast, and in the third everything aligns.
It's like recording the third show of a tour.
When we are in the studio, it is also a performance. We are completely focused and full of energy. The biggest difference is in the hours of rehearsal before recording. That's where we really build everything. There may be thousands of attempts before you get to the studio, but once you get there, everything happens very quickly.
GO!: In this era dominated by social networks and ephemeral projects, what does it mean to you to maintain such a defined sound and aesthetic identity?
TH: It is important for us to surround ourselves with talented people who understand what we do. For example, we work with people who document our visual work and help expand the band's universe. Finding suitable collaborators is key.
GO!: After so many years, what is the secret to continuing making music without falling into monotony?
Th: The monotony doesn't come from the songs. We still love to touch them. songs like “Main Offender” either “Hate to Say I Told You So” They are still one of our favorites.
What can be tiring is traveling constantly. But when you rest and play again, the energy returns.
There is something addictive about this. I've never tried heroin, but they say you're always chasing that first feeling. For us, that moment is playing these songs live. It's a rush that you want to feel again and again, in front of new people and in new places.
GO!: For someone hearing The Hives for the first time, what song would you recommend as an entry point?
TH: You can start with anyone. Many times we open the shows with “Come On!”so that's a good option.
Also “Hate to Say I Told You So”, because it was a very important song in our career. She was the one that really opened everything up for us.
GO!: Finally, describe The Hives in three words.
TH: Practice, practice, practice.
