Patrol: Was Make Some Quiet born in Sweden?

Stromberg: Yes. The whole album.

Patrol: I guess we have to eventually talk about all of the influences that everyone has projected upon your record. People have heard everything from The Cure to Echo to Interpol (that was me, actually). How many of those comparisons can you directly confirm or deny?

Stromberg: Although it is extremely amusing to “deny” things, we are music nerds galore and would have to say that all projections are true. Bring them on ! thin them out. Let me give you some new ones: Revolving Paint Dream, Ride, Stone Roses, Electronic, Pet Shop Boys, Depeche Mode, Brian Jonestown Massacre, Low, The Rapture, LCD Soundsystem, A Mountain of One.

Patrol: I noted in my review that as a whole, The Bell’s sound is more than a sum of its influences. I’m not quite sure I can put my finger on it, but it’s there. What stands out to you as the elements that are uniquely yours? What’s in a Bell song that’s not anywhere else?

Stromberg: Personally I think it has to do with agenda. We have no focus on a certain niche. A lot of the bands we get compared to are very much about projecting the right image. We don’t really care about how we come across; we just want to do little pop songs that come out well. We will never do a song that tries to emulate what we consider “cool” and we will never try to be part of a scene. If we are anyway, it’s by pure coincidence. Musically, we often say that as long as we keep Nicklas on guitar, my voice and Jan’s choruses we can do whatever we’d like because it will still sound like The Bell.

Patrol: How does your creative process work as a band? Is one of you the primary ideas man, or is it a direct democracy?

Stromberg: We fight and argue our case. We all pull in different directions and the tension in the middle is the song. No, honestly.

Patrol: Why the drum machine? I happen to love electronic beats, and think it sounds great, but I’m curious as to how it came about. Is that a creative thing or a practical thing?

Stromberg: Drummers are a lot of hassle, aren’t they? Just sitting there on their ass trying to create a groove that a machine can do a lot better. No, jokes aside, we are opting for an electronic balance, with the chip bass and grooves and organic guitars, vocals and harmonies. So, out goes the drummer.

Patrol: What have you guys considered your most exciting success so far? Obviously, making a great record has to be pretty thrilling. But as far as touring or promotion, what’s the biggest feat?

Stromberg: Certain people that like what we’re doing has to top the list. We are humble people and recognition from peers that we can relate to means a lot.

Patrol: Any plans for a U.S tour? I think you guys should pair up with Mew as soon as they finish their new record. I would drive a long way to see that show.

Stromberg: As it is now, no. We would certainly like to— Mew are great by the way— but as it is now, we are very much limited by the mere fact that it costs too much. Also, when we take it to the stage, properly, we want more repertoire and more musicians than is currently available.

Patrol: Where was the most amazing show you’ve played so far?

Stromberg: The best audiences are always at the art schools, at least here in Sweden.

Click here to read Patrol’s previous interviews.

David Sessions is the editor of Patrol.