We spoke with SANDŌKAÏ about “Special Computer” and more!

Q: Hi! You’ve blended so many influences on Special Computer from electro rock to psych, jazz, and even some hip hop tones. When you’re creating, how do you decide which direction a track should lean into?

A: We always start by jamming ideas and we let ourselves be guided by the spontaneity that the track inspires. Then, the choice between the different possible directions comes naturally. 

Q: There’s this sense of both precision and wildness on the album, almost like it’s balancing order and chaos. Was that something you were consciously aware of while working on it?

A: Order and chaos are universal realities that directly influence us and are automatically reflected in our music, without us necessarily being aware of it. But we pay a lot of attention to harmoniously linking these two opposites. 

Q: Glitter Room came out with a pretty striking visual. How important are visuals and imagery for you when writing music? Do songs shape visuals or the other way around?

A: The visuals that characterise us usually come second. The composition is done independently of the visuals but influences them. We haven’t yet worked on visuals before the music, but it’s an approach we’d like to explore. (for films, short films, or any other projects) 

Q: Your tracks are mostly instrumental, but when Amélia’s voice appears it feels almost spell-like. How do you think voice and instrument interact in the world you’re creating?

A: We consider the voice to be an instrument, and as such, it interacts with others. The magic comes from the harmony between all these instruments. We also like to link the voice to our instrumental universe, as collaboration is always beneficial for creativity. Furthermore, we are looking for artists to collaborate with (rap, singing, slam, musicians). 

Q: You recorded and produced this with Christoph Noth and Magnus Lindberg. What did they bring to the process that surprised you or pushed you creatively?

A: Chris was an important person in the creative process and in the execution of the tracks in the studio. We were surprised by his ability to hear the details, to feel the essence of our musical emotions as well as the energy we gave off during the recordings. He also pushed us to explore our sound and our material further, which definitely gave the album an extra dimension.

As for Magnus, we didn’t have much direct contact with him, but he was recommended to us by Chris for the quality of his masters, which we were able to appreciate and were very satisfied with. 

Q: Listening to Special Computer, I get the feeling of traveling through different landscapes. Do you think about albums as journeys when you’re making them?

A: We like to think of an album as a means of transport rather than a journey, which is defined by each person’s imagination. We compose our records as a continuous experience, to be listened to as if watching a film. The sound experience and vibrations influence the listeners’ images and therefore their journey, which they may or may not take.

Q: There are glitch-heavy pieces and then more melodic ones on the record. How do you think about glitches in your creative process? Are they flaws, features, or something else entirely?

A: The aim of glitches is to set bugs, slowdowns and computer faults to music, which can be found on the Special Computer. 

Q: Compared to your earlier recordings, how has your approach shifted with this album? Were you aiming for something different emotionally or sonically?

A: We are constantly seeking to evolve and change our approach from album to album. In Special Computer, the evolution lies in more sound research and harmony, which enrich the backbone of our songs. It is characterised by something less linear and more electronic than our previous album, Fractal. The production was also more professional and structured. We are still thinking about the next one. 

Q: When you perform these tracks live, do they change from the studio versions? Are there moments where you improvise or reinterpret them on stage?

A: We reproduce the structure of the tracks identically, but we always allow ourselves the freedom to improvise on our lines. We also like to add different interludes to create a unique show. 

Q: If someone listened to Special Computer without any background on SANDŌKAÏ, what do you hope they walk away feeling or thinking by the last track?

A: If the person enjoyed themselves, that’s more than enough for us. 

Q: Now that the album has been out for a bit, what’s been the most unexpected or memorable reaction you’ve gotten from fans or critics?

A: At our release party, seeing that some people in the audience were moved by our show was very powerful for us. We also appreciated some constructive articles about the album. 

Q: And looking ahead, what’s next for you for the rest of this year? New material, more shows, or something completely different?

A: We are currently working on our next album, but we are in no rush to release it, as we want to take the time to further develop our new universe. We have something new in store, both musically and visually…

In the future, we would like to be involved in creating music for films or video games. People have often told us that our music would be well suited to this. And you, what do you think?