The production of The Creek And the Carving began with a series of demos made at home in early 2015. Being a small-scale production, I decided to put the little money I had on mixing and recording. Thus, from the demo stage onwards, I wrote most of the instrument’s parts and with time learned to play them tolerably well. Come spring, I launched a Kickstarter campaign eventually crowd funding about a fourth of the project (approximately 27 000 Swedish kronor in all, mostly from personal savings). After some light facebooking I came to set up drum and bass sessions with drummer and studio man Poul Amaliel. In June I spent five days of pleasant country time next to Poul’s Stable studios (previously indeed a stable). I played some bass with Poul doing all the studio work whilst I read and recorded bumble bees with my dictaphone. Returning to Stockholm I had landed a sweet deal with the brilliant organization of Studiefrämjandet which, for a tiny sum, had granted me seven studio days in the Eastman studio of central Stockholm. Armed with a coffee thermos, biscuits and lunch-boxes I ran between the studio and control room and recorded most of the tracks with the help of loops surrounded by the intense heat of July summer. Three great musical guests also made their appearances, Nina Paakkonen Sjöberg on harmonica, Josefin Peters on electric wind instrument and Isabelle Andö on violin. The last studio day was saved by my brilliant girlfriend Nina who sat biting her nails in the control room hoping for the newbie piano player to finally nail a tricky part half-an-hour before closing time. Five minutes before the alarm was activated we ran out of the studio with something of a finished record on the hard drive. A trip to the west coast was made during which I recorded Spanish guitar and a drunken choir with my portable gear. Next up was another five day stay in the country during which Poul, working an insane amount of hours, almost finished the first mixes. Pacified as I was, I took the opportunity to re-record most of the lead vocals, admiring the work ethics of my new colleague from a place of leisure. First mixes arrived sometime in late August and I felt discouraged feeling a creative gap of understanding between me and Poul. Being a professional, Poul took up the task to re-mix the record, on the basis of extended notes over a period of time. Sadly, Poul succumbed to the great burden of different projects and (I would presume) his orthodox work-ethics which left him exhausted. Having put the pieces of himself together, Poul was back on track after a couple of months. By this time I had gotten some distance to the songs and we restored our collaboration with fresh vigor. Come January 2016, the mixes were done and after some quick correspondence with mixer/master-technician Simeon Pappinen Hillert, The Mutual Strain and Peculiar Logics were released. Shortly after the album release I formed the band which is now shaping and re-shaping the stuff and grain of The Creek And the Carving.