Interview: Boy in Space Discusses Previous Work, His Distinct Vocal Quality, and His New EP, 'The Butterfly Effect' - Atwood Magazine

      Swedish singer-songwriter Boy in Space exhibited a rather eccentric demeanor during an interview on a Friday evening. He described his plans for the night as being a "creative weirdo," focusing on projects in his home studio, and he responded to questions in an animated manner. Although I was unfamiliar with his music from what might be termed his breakthrough era from the late 2010s to early 2020s, his voice—a unique blend that stands out without electronic enhancement—beckoned me to explore it further as he continues to grow as a storyteller and artist.

      The understanding of what qualifies as a countertenor in contemporary music appears to be somewhat distorted. While Merriam-Webster and other reliable sources provided basic definitions, classical-music.com (by BBC Music Magazine) offers a much more detailed explanation: "... men capable of manipulating their vocal cords to sing in higher registers—specifically, those above a tenor's range—are known as countertenors." The term "manipulate" is crucial here. Countertenor singers can readily access these elevated registers, often oscillating between the wider female contralto range and baritone octaves. They can seamlessly switch between the two.

      Boy in Space, the project of Swedish singer-songwriter Robin Lundbäck from Alingsås, showcased this ability on his song “Mayflowers,” which I discovered through Spotify's algorithmic recommendations before its inclusion on his EP Copium. His distinctive voice is evident throughout his work, including his latest EP, The Butterfly Affect, which is currently available.

      “I remember being captivated by male singers who didn’t typically sound very masculine,” Lundbäck shares during the interview while sipping tea at home in Sweden. “It has a mystical aspect. As a child, I had a very high voice, and as I entered puberty, I worried about losing it. I practiced singing consistently, performing ‘I Want You Back’ by the Jackson 5 on a game called Sing Star, trying to maintain my pitch. I would listen to both male and female singers to train my voice to stay in that range.”

      He admitted to being uncertain about the definition of a countertenor or whether he identifies as one, though his diligent efforts, paired with some celestial and scientific influences, help him sustain his extensive vocal range. He noted that even “Mayflowers,” a song steeped in early 2000s nostalgia and the yearning for youthful simplicity, was recorded in a key that could be considered quite ambitious: “We’d drink all night singing ‘Hit me baby, one more time’ / Running through the mayflowers / We both know how it ended / I will spend forever trying to forget her.” His talent for encapsulating fleeting romances into nostalgia-laden tracks like “Mayflowers,” “The Last Time,” and “Atom Bomb” is commendable, and he humorously attributes it to life experiences, adding, “Being born in ‘94, I’m not born yesterday, so I have references.”

      “‘Mayflowers’ is high, even for me,” he continues, getting back on track. “We considered lowering it half a step, but we thought, ‘It really hits an emotional nerve, so let’s keep it where it is.’ It’s about finding those notes. I generally use my mixed voice, so it involves discovering the right balance between using my full voice and falsetto to manage those high notes. Transitioning between these two singing techniques can be challenging, so it’s about recognizing moments to step back. I can’t just belt out that song, and knowing when not to push is crucial. Many male singers believe that when singing higher, they need to exert more effort. It’s not about pushing harder; it’s about relaxing and singing softer, which makes it easier.”

      He applies the same technique in “Drown,” perhaps the most emotionally impactful ballad of his repertoire, inspired by a significant storyline from Friends and a classic Phil Collins song, which was released as a single in 2019. “I was channeling two different emotions, which is probably why it turned out so special,” he explains. “It brought me back to personal experiences... breakups, divorce, separation, and the trauma involved when you place trust in someone and that trust is betrayed. How heartbreaking that can be.”

      While the success of “Drown” and “Cold,” his most-streamed track from 2019, has been rewarding, it has also brought some pressure. “I’ve heard similar comments from people around me… [They’ll say] ‘When are we making the next ‘Drown’!?!? A ‘Drown’ moment,” he says. “I want ‘Drown’ to stand alone. There are new stories to tell and new creations to explore. I’m pursuing new experiences that I haven’t yet encountered, chasing emotions and life experiences that I aspire to translate into my melodies and craft something fresh. Is it with a guitar? On piano? A