Sweden’s Fredrik Norlindh isn’t just introducing himself with his debut album ‘Contrasting Notes’, he’s arriving with a full cinematic universe. Following the release of early singles like ‘Can’t You See Me’ and ‘All That Matters’, Norlindh now unveils an 11-track project that bridges high drama with emotional intimacy, drawing on everything from symphonic flourishes to sleek pop production.
Self-written and stylistically bold, ‘Contrasting Notes’ feels like a maximalist statement from an artist unafraid to dream big. “I imagined my album as if it had been written by a dream songwriting team,” he says, listing influences that span John Williams to Timbaland, Muse to Max Martin. The result? An ambitious, boundary-blurring debut that pairs poetic vulnerability with theatrical flair.
Having already made an impression in his home country with his award-winning EP ‘Förstå, Först Då’ and collaborations with Stockholm Studio Orchestra, Norlindh is now stepping firmly into the spotlight. We caught up with him to talk about his creative vision, the pop legends who shaped his sound, and why contrast is at the very heart of his artistry.
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Can you tell us a bit about your background and how you got started in music?
My first memory of music that I really loved was playing my brother’s Michael Jackson videos and records. We played them on repeat. Another brother played guitar, and we wrote and played together. I got into music school as a drummer when I was just six. The age limit was nine, but they made an exception for me because I was already good enough.
The first record I ever owned was E-Type’s debut album Made in Sweden, which I still know all the lyrics to. Funny enough, that album was recorded at Soundtrade Studios — the same studio where I later recorded my debut album, Contrasting Notes. Those early experiences with melody, rhythm, and arrangement shaped how I approached the songs on this album.
I’ve been in bands since high school, and in every band I’ve always been the songwriter. I think that’s because I was born with that creative drive, and I’ve spent so much time honing it. My confidence grew as my bandmates encouraged me to keep writing, and eventually they pushed me to step out from behind the drums and become the lead singer and keyboardist.
My real self-belief in singing came later, after studying Musicology and working with a vocal coach from The Phantom of the Opera, which was fitting since I actually wrote my thesis about that musical.
These experiences still influence my music today. For example, many listeners have mentioned that “Our Last Goodbye…Again” has a Michael Jackson vibe, which reflects my early musical inspirations and the way I approach melody and rhythm on Contrasting Notes.
Who are your biggest musical influences and how have they shaped your sound?
Overall, Muse is probably my favorite band. They showed me that it’s okay to combine and move between rock, electronic, and symphonic elements, and to take things to the extreme. I love how they manage to be both musically complex and incredibly catchy and emotive at the same time. That influence is especially clear on Don’t Want the Day I Want You, which has a big, arena-style progressive sound with a touch of Andrew Lloyd Webber theatricality.
For catchy pop, I’m inspired by Max Martin and Per Gessle from Roxette. You can hear Max Martin hooks in songs like Can’t You See Me and the Depeche Mode–style synths on Objectified.
Indie and rock acts like Coldplay, Queen, Metallica, and Nirvana have shaped my approach to big choruses and emotive arrangements. For example, Lipstick On has an arena-style Coldplay chorus with a Queen-inspired lift.
My orchestral and cinematic influences appear in instrumental tracks like Contrasting Notes, while songs like All That Matters and Tell the Police show how I can write music that could fit an artist like Lady Gaga.
As for vocalists, I admire Ville Valo from HIM, and Lana Del Rey. I don’t necessarily sound like them, but trying to imitate their styles and ranges has helped me discover new techniques and qualities in my own voice. For example, on No One Will Avenge Us, I really sing out with emotion, exploring a wide range and using different vocal techniques, which reflects the influence of these artists on my approach to singing.
Was there a specific moment or experience that made you decide to pursue music seriously?
Yes. I used to play football seven days a week and was planning to go pro, but at 15 I got a career-ending knee injury. It hit me hard, and I fell into a bit of a depression because I suddenly didn’t know what to do with all that time, while my friends kept playing. I started writing songs just to fill the emptiness, and that’s when I realized how much I loved it. Music became the thing that gave me purpose again.
Can you walk us through your typical songwriting process?
I’m constantly writing songs in my head. Anything I hear — sounds, words, or just thoughts — can turn into a melody. When I’m alone, I often sing my ideas out loud with improvised tunes. Whenever something sticks, I grab my phone and record a quick voice memo, and I keep building on that idea as it develops.
As soon as I find a piano or guitar, I figure out how to play the idea and record a basic skeleton in Logic. When I get to my studio, I jump between instruments, experimenting to see what each one can bring to the song.
Then I record the vocals, usually improvising most of the lyrics over a set melody. Sometimes I have a few lyric ideas, but mostly I’m exploring the right phonetics — how the words feel when sung. If I’m lucky, some improvised phrases actually make sense lyrically, and I build from there.
I think many people underestimate the balance between sound and meaning. For example, in my song Tell the Police, there’s a line: “She sealed our lips: sex, checks, promotions, big deals” In writing, you’d normally add a few small words to make it grammatically correct, but in the song, leaving it tight made it punchier, rhythmic, and more singable. Similarly, imagine replacing the “Maybeeeee” in Wonderwall with “Blackbiiiiird.” Even if it had a deeper meaning, it wouldn’t sound as pleasing to the ear.
How do you find inspiration for your music and lyrics?
Besides what I mentioned earlier, I get inspired by other artists and creative challenges. For example, I saw a video by YouTuber David Bennett Piano about writing songs with only two chords. I decided to try it myself, and in about 30 minutes I had the verse and chorus for Tell the Police.
After seeing Lady Gaga perform last week, I was inspired by her dramatic, theatrical pop – her show looked like an opera stage. The next day, I wrote two songs that reflected that sense of theatricality and energy.
After seeing Lady Gaga perform last week, I was inspired by her dramatic, theatrical pop – her show looked like an opera stage. The next day, I actually wrote two songs that could fit on her latest release, Mayhem, reflecting that sense of theatricality and pop energy.
Anything can spark lyrics. For example, someone once asked me “How do you want to die?” and I imagined what I would answer if death itself asked me that. That idea became Don’t Want the Day I Want You.
While working on Objectified, I saw a statue with a small sign saying something like “Don’t touch, just look,” and it immediately gave me the idea to sing “Don’t touch just watch.” That’s another example of written versus sung text — I made it rhyme by tweaking the pronunciation when singing, even though it wouldn’t rhyme if you just read it.
What themes or messages do you hope listeners take away from your music?
With Contrasting Notes, I want to show that things can have both pros and cons, and that contrasts can create something meaningful together. Today, social media algorithms often feed us one-sided content, making everything feel more black-and-white and polarizing. It’s like the GOAT debate in basketball between LeBron James and Michael Jordan: if you favor LeBron, the algorithms mostly show content supporting that view, and the same if you prefer Jordan. The same happens in music. On platforms like Spotify, it’s easier to get on playlists if you make a song that’s 100% sad or 100% happy, rather than a song that evolves — for example, starting slow and melancholic but ending energetic and uplifting.
I want my music to feel like a story that keeps listeners engaged until the very end, similar to Making a Murderer or Gone Girl. It’s more rewarding when you listen to the whole song without already knowing everything after one verse and chorus.
Personally, I’ve always been drawn to contrasts. My taste in movies and music tends to favor emotional complexity rather than something that is one-sided. For example, if my football team wins 10-0, I’m not as happy as if we had come back from 0-3 to win 4-3. Films like La Vita è Bella and Jojo Rabbit have made me both cry and smile, combining sadness and joy in a way that resonates deeply. Even my approach to food as a child reflected contrasts — long before salted caramel became popular, I was salting sauces and sweets to balance flavors. That instinct for contrast has been part of my life and music since I was a child, and it’s central to Contrasting Notes.
What challenges have you faced as an emerging artist in the music industry?
One of the biggest challenges as an emerging artist is navigating algorithms, especially with music like mine that is both lyrically and musically complex, which is really what the album Contrasting Notes is about. Another challenge is the industry’s focus on already-established followings. For example, an A&R reached out about my song Minnesverket because it moved him to tears, but then asked for my social media links. When he saw I hadn’t built a large enough following, it became clear that even a song that genuinely touches people is not always enough.
Being a solo artist who writes everything myself while also working another job to finance big productions makes it even harder to reach the social media numbers the industry expects. I especially miss the simplicity of being a football player. When I scored goals, I succeeded no matter what else was happening off the field.
What has been the most rewarding aspect of your musical journey so far?
I have always loved and believed in my songwriting, even though I haven’t had my real break yet. One of the most rewarding aspects is seeing more people and bigger names wanting to work with my music, which really boosts my confidence. For example, having Erik Arvinder and the Stockholm Studio Orchestra, who have played on Taylor Swift’s and The Weeknd’s latest albums, perform on my records was amazing. Winning an award for Best Contemporary Instrumental at the Intercontinental Music Awards in LA this year was also a huge highlight and a very proud moment in my musical journey. Getting to record this album and more songs with the fantastic producer Behshad Ashnai and his team at the legendary Soundtrade Studios was incredible. Artists like ABBA, Robyn, Europe, and many more have recorded there, which makes it feel even more special.
How do you stay true to yourself and your artistry in a constantly evolving industry?
I have always loved and believed in my songwriting, even though I haven’t had my real break yet. Staying true to myself means writing and producing music that I genuinely connect with, without chasing trends or shortcuts. It’s incredibly rewarding to see more people and even bigger names wanting to work with my music, which reinforces my confidence. For example, having Erik Arvinder and the Stockholm Studio Orchestra, who have played on Taylor Swift’s and The Weeknd’s latest albums, perform on my records was amazing. Winning an award for Best Contemporary Instrumental at the Intercontinental Music Awards in LA this year was also a huge highlight and a very proud moment in my musical journey.
What can fans expect from you in the near future? Any upcoming projects or tours?
Fans can expect a lot of new music from me in the near future. I enjoy exploring all kinds of genres, so anything is possible, and I will also be writing for other artists and projects. I have a long and growing pile of songs that are ready to be recorded, so there is plenty more to come.
Where do you see yourself and your music career in the next five years?
In the next five years, I see myself making a living from music, writing for other major artists and productions, whether for films, musicals, or other projects, while continuing to release my own songs. I also hope to perform a few shows with a full band, and sometimes even with an orchestra, bringing my music to life in a dynamic and engaging way.
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Listen to Fredrik Norlindh’s debut album ‘Contrasting Notes’ below.
