Following on from his much-loved 'Förstå, Först Då' EP last year, Swedish artist Fredrik Norlindh is back on the grind once again to deliver his wondrous new single 'Can't You See Me'.
Bringing back more of that bright and riveting electro-pop aesthetic he has been cultivating over the years, 'Can't You See Me' makes for a wonderfully fresh and immersive listen. With his spellbinding vocals floating across a euphoric synth-led production throughout, he returns to us with one of his more impactful efforts to date here.
So with the new single available to stream now, we sat down with him to find out more about his origins and what has been inspiring him most over the years.
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What was the first instrument you fell in love with?
Drums. I loved following my oldest brother to his drumming lessons and always begged to play a little. Often, they let me. Before long, I was offered a spot as a drummer at music school when I was just six, even though it was officially for ages nine and up.
What kind of music did you love when you were younger?
Honestly, I can’t think of any music I once loved but don’t still listen to today. As a kid, I would dig through my siblings’ collections and fell in love with 80s artists like Modern Talking, Michael Jackson, Alphaville, Depeche Mode, and The Phantom of the Opera.
When I got my first real drum kit in the late 90s, I was into heavier stuff like Metallica, Nirvana, Life of Agony, Cradle of Filth, and Slipknot.
By the time I started playing in a band and transitioned into singing, playing keys, and songwriting, me and my bandmates were into bands like Muse, Coldplay, Mew, Kent, and HIM.
What was the first album you remember owning?
The Euro-techno era was when I started buying records myself. My first album was Made in Sweden by E-Type, which I’ve heard was the first album where Max Martin was credited. I still love it, and I think I actually remember the lyrics on that album better than anything I’ve heard since.
What is the one song you wished you could have written yourself?
The Swan Lake theme: ”Swan Lake, Op. 20, Act II, No. 10: Scene (Moderato)”.
Do you have any habits or rituals you go through when trying to write new music?
I record every idea on voice memos, no matter where I am, and write down lyric ideas. As soon as I can, I quickly sketch out an arrangement skeleton with MIDI piano or whatever sounds come to mind first. Then, I experiment with different instruments and jam until the song starts taking shape. I love blending different styles—rock, electronic, orchestral—hoping to find something unique.
I always improvise lyrics while working on melodies, in case I land on the right phonetics, syllable count, or even the perfect words. Most of the time, this guides me when it’s time to write the final lyrics. Unlike James Hetfield, for example, who says he just sings “nanana” until the arrangement is 100% finished.
Who are your favourite artists you have found yourself listening to at the moment?
Depeche Mode and Muse were on top of my Spotify Wrapped, and they’re two of my all-time favourite bands who also recently released songs I really like.
Lately, I’ve been revisiting Kent, Swedish indie legends who are making a live comeback—I’ll actually be at their show the day after Can’t You See Me is released. And funny enough, the title of my next single, “Our Last Goodbye… Again,” came to me when I heard about Kent’s return, nine years after their farewell tour.
If you could open a show for anyone in the world, who would it be?
Muse. I love how they combine technical skill, great songwriting, and genre-blending, with no limits on how big their productions—both in the studio and on stage—can be.
What do you find is the most rewarding part about being a musician?
I’d say there are three main things—though they’ve shifted depending on where I’ve been in my career.
1. Songwriting: When I get goosebumps or an adrenaline rush from a song. Sometimes, I even burst into tears if something turns out even better than it did in my head.
2. Collaborating with talented musicians: Recording my EP, Förstå, Först Då, with the Stockholm Studio Orchestra, conducted by the insanely talented Erik Arvinder, was unreal. I sat two meters from them, constantly covered in goosebumps, with tears on my cheeks. Just knowing they wanted to record my music was overwhelming—they’ve worked with The Weeknd, Lady Gaga, Avicii. And getting to record my upcoming album Contrasting Notes at Soundtrade Studios with amazing musicians and producer Beshad Ashnai was another dream.
3. Connecting with fans: Playing a sold-out show where the crowd sings your lyrics back at you is surreal. Or seeing someone cry because of a song you wrote/performed—that’s when you realise music truly matters.
And what is the most frustrating part?
I tend to analyse music rather than just enjoying it. Like the first time I heard Lana Del Rey’s Video Games, I was blown away because I had never heard anything like it. Instead of just enjoying the song, I immediately rewound it, went home to figure it out on piano, and even bought the sheet music just to be sure. I do the same with flavors—when I fell in love with a particular chocolate dessert, I found out the secret was salt—so, of course, I started adding salt to my own sweet creations. That kind of experimental mindset is all over my upcoming album Contrasting Notes.
And what is the best piece of advice you have received as a musician?
Hmm, my vocal coaches have given me some great advice, but overall, the most impactful advice has come in the form of people pushing me in the right direction—like when someone told me to start playing keys, or when they insisted I should be the singer in a band, or when they encouraged me to apply for the songwriting program at Soundtrade Studios (which is where my producer discovered me). That idea of being guided in the right direction has stuck with me so much that it actually became a key line in the chorus of All That Matters, a song from my upcoming album: “All that matters to me now, is that someone points me out, and turns my head in the right direction.” One piece of advice I always think about, though, is something Jocke Berg from Kent once said: “Don’t waste a fantastic verse on a song with a great chorus. That might make the chorus feel less outstanding.”
I interpret it like this: If you’re watching a World Cup final and your team scores 1-0, you’re ecstatic. But if they just keep scoring—2-0, 3-0, 4-0—you start to feel less excited with each goal. Whereas if they score the winning goal in the 90th minute, it’s unforgettable. It’s the same with music—a song needs contrast for the best moments to truly shine. That advice has helped me write both more and better songs.
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Fredrik Norlindh's new single 'Can't You See Me' is available to stream now. Check it out in the player below.