Peder Losnegård, better known by his stage name Lido is an incredibly talented producer, singer, multi-instrumentalist, and all-round incredible musician. He has produced on a variety of huge songs including Chance the Rapper’s “Same Drugs”, Halsey’s “Badlands”, and has also produced for Jaden Smith, A$AP Ferg, and Ariana Grande. His highly anticipated sophomore album will be releasing September 18th, titled PEDER. We caught up with Lido to talk about the album, influences, and the story behind PEDER.
Starting at the beginning, what are some of your earliest memories of music?
My very first memory of music was probably around the age of 3 or 4. I was at a concert in the church that my dad helped put on. The drummer saw me playing with drum sticks and waved me up to him, put me on his lap, and played a song with me sitting there pretending to hold the sticks. I spent every day playing the drums until I started writing and making songs.
Was there an exact moment or a specific reason which led you to explore music production?
I don’t think I can pinpoint a moment. I started producing some software that came with my dad’s laptop when I was around 10, but I probably didn’t realize that what I was doing was producing for a while. To me, programming and producing music was just another way to play music.
How did you go from playing drums as a child in Norway to now producing records for the biggest artists in the World and releasing your second album in a few weeks?
I’m really not sure, it’s pretty wild to me. I think the internet had a lot to do with it. I started putting songs and remixes on SoundCloud and the attention it got there gave me the confidence to move, and start making music with some of the friends I had made through that community online.
Your remixes gain a lot of attention. What was the inspiration behind ‘Life of Peder’ and ‘Kidsloveghosts’? To mash the albums in such a creative way is an incredibly unique feat.
The idea came from not knowing which Kanye song to flip at first. So I started a few different ones and I thought I could blend a few elements from the other songs I liked into whichever I chose. That just got out of hand I guess.
Do you find it difficult to balance your ambitions as a producer and simultaneously as a solo artist?
Not really. To me, the artist’s side is where I get to explore, express, and practice taking things super far in whichever direction I want. I have so much fun producing and writing for other artists because I get to paint with their colors and dive into someone else’s world for a little while. I love that. It can be a lot at times, but I do think the balance keeps me sane at the end of the day.
A few years ago, you signed to Rick Rubin’s ‘American Recordings’. How did that process take place and were you approached by Rick himself?
We met at Shangri-La – one of my favorite places in the world – when I was working on a few projects there. I really look up to Rick and the way he thinks about the creation of music, so when the conversation started it just made a lot of sense.
You’ve worked with a huge number of top-artists, is there one person you would love to work with but have not yet had the chance?
Oh, there’s so many. Top of the list is probably André 3000, but you never know who you’re going to connect with and make some crazy stuff with, so I want to stay completely open-minded to anyone who’s down to experiment.
Moving onto the album, can you explain the story behind PEDER and how you approached constructing an album with a strong narrative?
Well, whenever I work on album projects with people I find that it really helps to have a story, or a place, or a set of guidelines to help you make decisions when you’re not sure. So I made up a story about a boy who lives on a spaceship without music. One day, he gets caught in a storm and finds a pirate radio station as he’s sending out a mayday signal. So he falls in love with music through this one channel and tries to make music of his own.
It’s not a concept album about that boy at all, it’s more so a mindset that I tried to keep whenever I’d get stuck at a crossroads. I wanted it to feel naive and pure as if approaching music for the first time without rules or boundaries. The story of the boy also inspired me to use sounds that I imagine him being able to make on a spaceship, or that he could’ve sampled from his radio. None of the songs are about the story even though there are parallels, but I guess I tried to make the music I imagined he would be making.
You recently released SpaceFM as a way to tease the album to fans; this is something fans may have heard before at your show or some recall seeing it on a jacket of yours. What is the meaning behind 153.2 Space FM?
That’s the pirate radio station that the boy tunes into. It’s basically 25 minutes of unreleased music that I imagined might play on a radio station like that.
What are some of the tracks on the album you are most excited to see people’s reactions to?
I’m very proud of the songs on the album that people haven’t heard yet. “University” is one that my friends feel strongly about, but I also love “Yellow Bike” and “Please Fasten Your Seatbelt.”
How would you describe the genre of PEDER?
Everything I’ve ever loved.
You seem to have a unique process behind your work. How would you describe your creative process and how does it differ between solo work and working as a producer?
Honestly, a lot of fumbling in the dark and taking things as far as I can while having as much fun as possible at the same time. In a way, I think I have less control over my creative process as an artist than as a producer, but I do love it when I feel like I’ve put an intention behind everything in a song and pushed myself creatively.
Did it feel strange this year playing Lolla 2020 remotely?
I’m very happy that it happened and we had a ton of fun putting the show together, but it’s obviously not the same at all. I definitely miss Lolla very much.
Do you look forward to being able to play live again soon?
More than I can probably express haha.
How do you feel the peculiar circumstance of the past few months due to COVID are going to affect the music industry moving forward? Has it helped your creativity or hindered it?
I think it’s been a challenge for me personally but at the same time a much-needed break. I’m not sure how it will affect the future, but I think I’ve grown from this experience.
I’m working on a few different projects that will hopefully be out not too long after this album. Other than that, putting together an absolutely popping herb garden.
PEDER Track List:
- “Yellow Bike” (intro)
- “Please Fasten Your Seatbelt” (featuring Brandon Arreaga)
- “Grouptext” (featuring Ebenezer and Col3trane)
- “5 Songs” (interlude)
- “Part Time” (featuring Heavy Mellow)
- “University” (featuring JoJo, Brandon Arreaga, Col3trane and Santell)
- “How To Do Nothing”
- “BEST4U” (featuring Mulherin)