Swedish multi-talent Felix Sandman has already left a lasting mark on both the music and film industries. From his early days as a member of the internationally successful boy band FO&O to his evolution as a solo artist and actor, Felix has continually pushed creative boundaries. Now, after a four-year break from music, he has returned with a fresh sound and a deeply personal artistic vision. His latest project, titled “Yue,” is an introspective journey through themes of identity, purpose, and self-discovery.
The album’s title, “Yue,” holds deep symbolism, drawing inspiration from both the Chinese word for “moon” and a pivotal character in Avatar: The Last Airbender, who sacrifices herself to bring light in the darkness. This theme of searching for guidance and meaning resonates throughout the album, as Felix opens up about his struggles with anxiety and the weight of expectations. Through innovative vocal experimentation and raw storytelling, he invites listeners into his journey of transformation.
In this interview, we’ll dive into Felix’s creative process, the inspiration behind “Yue,” and how he has evolved as an artist since his days in FO&O. We’ll also explore his experiences balancing music and acting, as well as his thoughts on what the future holds. With a new sound and a renewed sense of purpose, Felix Sandman is stepping into the next chapter of his career—one that is as honest as it is groundbreaking.
Felix, how do you balance acting and music? Do these disciplines influence each other, and which do you currently prioritize?
I work with good people who are great at setting up my schedule. Both things go well with each other. In music, I play the different characters of myself. Right now I’m Sandy Karlo in everything I create, from the lyrics to the music production, from the visual expression to the public output. In films, I play the characters of others. It works the same way and has the same depth; the only difference is that I don’t have to be involved or responsible for every department’s contribution to the final product. When I’m involved only as an actor, that’s a nice break for me. Priority shifts back and forth. Lately, I’ve been more focused on the music because of the album.
What inspired your return to music after a four-year hiatus, and how did that lead to the creation of your EP, Sandy Karlo, last spring?
After being forced to stay away from music because of my mental state and the fact that I didn’t want to do it anymore, I could only focus on recovery (and some acting). After almost 2 years, I slowly started to feel that the time off was life-saving and absolutely necessary. It made me see things differently and made me realize the changes I had to make in my life. It also gave a spark to the idea of making music again, but in a completely new way. Without compromise, with respect to the creative process, with full focus on exploring my potential within the genres I’ve always identified with and the passion for creating a full body of work. Basically doing stuff that I actually like, that will get me somewhere, rather than the soul-draining-fake “good exposure” bullshit. That was the only way I could do it again. So I called my friend and producer David Husberg and asked him if he wanted to take time and explore with me in the studio. That led to the creation of Sandy Karlo.
As you prepare to release your sophomore album, Yue, on January 31st, can you share an overview of the project? What can listeners expect from this release?
Listeners can expect to not hear what they expect. Yue is my career’s first masterpiece. It’s a passion project that I’ve poured my heart and soul into, and I feel like there is a song for every person and every emotion or mood. If you’re a casual listener, you will just enjoy some new, good fucking music. If you want to dig deeper, you can dive into a world that tells stories both sonically and lyrically. There are more things to discover underneath the surface and more connections to make.
What themes does Yue explore, and what was the creative process behind it?
Throughout the album, the moon remains a constant reference, symbolizing the search for a guiding light in times of darkness. Yue chronicles my anxiety and reflects on the expectations both I and other people have of me. I write about how I wonder what a person is without a purpose while trying to find myself in the noise of the surrounding world. The introspective essence of the ”Sandy Karlo” part of the album puts forth a more subdued side of me. The other part picks up the tempo a little bit. The isolating anxiety transforms into a more reactive quest for my new self, for love, and finally landing on self-acceptance. Even if the melancholy is still present, the aura gets a bit more playful, and the sound is based on live recorded instruments. Especially on the focus track, Nylon.
Why did you choose the name of a character from Avatar: The Last Airbender as the title for your album?
I didn’t, or I mean, kind of. Yue, the character from Avatar who gives up her soul to light up the moon, is one form of inspiration that I had for the album and the title. I love her. But Yue actually translates to ‘moon’ in Chinese, and that’s the main reason why it’s the title. The moon, in all its different shapes and forms, is the leading symbol of the album. So that, and my love for Chinese and Japanese culture, is the reason behind the name.
Besides Avatar, are you interested in other animation, anime, manga, or manhwa? If so, what are some of your current favorites?
I’m still a rookie when it comes to anime if you compare me with anime fans. I used to draw a lot of manga when I was younger and loved to play games and watch shows like Pokémon, Yu-Gi-Oh!, and Naruto. Also, movies like My Neighbor Totoro. Right now, I’m watching Arata Kangatari.
How was your experience working with producer David Husberg on Yue?
David was the most instrumental person I collaborated with to create Yue. He has produced, worked, recorded, or played on every song on the album. It’s just as much his album as it is mine. We’ve spent years in the studio together, going through it all. Highs and lows. Exploring our potential and evolving. It made us become best friends. If we weren’t in the studio, we were out golfing or going to the cinema. David is a genius.
What’s the story behind your focus track, Nylon?
On Nylon, I’ve made it halfway through the album journey and reflect on who I’ve become and if that is someone that I even like. I also play around with different voices and vocal pitches. It feels like a different character to me. That was fun to experiment with. When we first made the demo two years ago, it was really fucking bad, but we had a feeling that there was a lot of potential there still. We put it aside for a while, but then we eventually returned to it, and all of a sudden it felt clear what we wanted to do with it. David started producing very quickly, and I started writing the lyrics immediately. The whole song felt like a freestyle.
After the release of Yue, what’s next on your agenda? Can fans look forward to a music video, a tour, or other exciting projects in the works?
Yue is just the start. Yue is my confidence. Yue is my gateway to endless possibilities. There will be videos, there will be creative events, and there will be live shows. The first show is in Stockholm on March 14th. There will be more music, and even though I feel like Yue is one of the best albums to come out of Sweden in a long time, there will be even better music to come. I’m working on new series and movies as well. I’m optimistic about the future.
photos/ Tove Wall Dyrting
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