Swedish siblings ManyFew’s Jacob and Victor Andersson have won over heavyweights like Your EDM, EDM.com, Lost Frequencies, Oliver Heldens, Don Diablo, Cedric Gervais and Bingo Players. In addition to their encouragement, Big Apple-based doublet Disco Fries’ label Liftoff Recordings picked up ManyFew’s hot off the press piece “My House.” Victor, Jacob and Otto Orlandi’s dance-pop ditty “Don’t Miss You” (feat. Melanie Fontana) accrued a whopping 2 million Spotify plays. ManyFew’s 2018 Amsterdam Dance Event media appearances solidified their professional presence in the music industry.
When did you decide to pair the cheerful composition of “My House” with grief-stricken lyrics?
We received those vocals from a record company; they were already written and recorded. The lyrics are a bit melancholy. His pronunciation of every word is very emotional. We felt such strong feelings when we heard it for the first time. Our aim was to make something more positive. We were sitting in the studio for hours thinking about how to approach this. You always have a vision in your head when you’re trying to create something in the right way.
We were sitting there and playing around with different chords. Then, Victor came up with the idea of combining the sad lyrics with uplifting music. It took a couple of weeks to get everything right, the sound design, the chords and melodies. Then, we played it for the record label we received the vocals from. They really loved it, but they are not a dance label.
Which piece of constructive criticism, that ManyFew received, was the hardest pill to swallow?
When we started producing and sending out tracks, we received some feedback from A&Rs like “Oh, this is bad. You need to work on your skills and rhythm.” A&Rs can be very harsh, but we listened to their constructive feedback. We went home to our studio and tried to make something right for them. We sent our music again. Then, they replied “Wow! This is much better.” Different A&Rs have different taste. You need to hear the truth. If you’re not so good, it’s better that people are telling you that. That’s a good way to improve your product. Then, you need to find your own sound and start to explore. It’s a process.
What were a few unexpected but exciting moments at ADE?
We didn’t have any plans one night. We went to more of a local bar. There was a DJ playing, and it was packed in there. It was totally incredible and insane—people were dancing on the tables. It’s not only the big venues that are the best ones. ADE has such a great atmosphere. You can find events all over town. “Armada Invites” was one of our personal favorites.
Why is Twiggy your ride-or-die vocalist? How did you meet? You are like the three musketeers.
We met her in London, at the end of the summer, in 2016. We had listened to some of her demos and tracks before we met her. We had mutual friends. We met her at a networking event. We sent some instrumental tracks to her. It felt very natural producing music together. We have a great workflow. We have a couple unreleased tracks with her as well.
In addition to “My House’s” release on their label Liftoff Recordings, how have Nick and Danny from Disco Fries supported or encouraged your careers?
We had no idea if they were going to like or support it, but they got back to us very quickly. We had a meeting with them and a gig in New York City this past September. We met them at the bar a week before we played it for them. It was a very fast process. It was amazing to have the guys onboard. It’s humbling and an honor to release with them.
What’s the look people give you when you list Earth, Wind & Fire, Luther Vandross and Phil Collins as musical influences?
It’s particularly the groove, feeling and rhythm. Most of the time they are very surprised. Many of DJs today mention David Guetta, Tiësto or Calvin Harris. We’ve always listened to a wide range of genres: old-school, funky tracks from the ‘70s and ‘80s. Our uncle was a DJ in Stockholm and Gothenburg, Sweden. We got a lot of inspiration from him. We listen to today’s pop as well. When we were eight or nine years old we recorded DJ sets on cassettes and pretending to be superstars.