Schlager magazine #63, 1983
Translation by Ulf Johansson

In the United States and New York very little has happened after that small wave that punk music stirred up. In this vacuum, where hitmakers are Toto and Pat Benatar, and where the only salvation seems to come from black funk and rap, Our Daughters Wedding is a small exclamation point.
   ODW started playing around -77, then with the classic setting of bass, guitar and drums. They kept going for a year, wrote material and played. In 1978 they quit and dissolved the band. One year later they met in New York and decided to start all over again, this time using rhythm machines and synthesizers only. I met Paul, one of the synth players in ODW, after a concert in New Jersey where ODW was supporting act to Psychedelic Furs and I asked him how they first where received as a pure synth band?
   - We started playing at the Hurrah! club as supporting act to James Chance and Mi-Sex. At that time people did not like us and shouted 'where the fuck are the drums, why don't you use any guitars' and that kind of crap. But after a few years it became a fad, so it came as a surprise to us that it all of a sudden was okay to use synths.
   Where do you have your biggest audience? In the US or in Europe?
   - It is kind of mixed. We have a lot of fans in England and West Germany. In the USA we have our audience in Los Angeles, San Fransisco, Florida and New York.
   - Here at home we are greeted as something completely new and different while this thing has already been exposed and established in Europe. There, they have a hard time understanding that we are actually from the United States. It does not cling to their associations about American rock. In the USA we are greeted more like a rock band, like any rock band actually.

In Europe we are immediately directed to the same genre as The Human League, Depeche Mode and OMD. But we don't think we have too much in common with these bands. These are good bands, I can't take that away from them, but we are not doing the same kind of thing. We are more like a rock band using synthesizers and rhythm machines. Our main influences come from The Rolling Stones, and even from Van Halen. We like American rock a lot, but we also listen to groups like Kraftwerk, OMD and DAF.
   It seems true that they are more like a rock band on stage. ODW has an aggressive appeal and a 'noise' that can't easily be related to 'synthpop'. At least one synthesizer use to be smashed each and every gig. Yet, the band's first album is still very soft and reminds a lot of Depeche Mode and The Human League. How come?
   - We're still learning how to record, so we haven't yet learned how to put the aggressive sound on record.
   How do you think it would work to record your music using ordinary instruments?
   - No problems. Our music is based on melodies, not on synthesizers, it is just that we have chosen to use synths as our way of expressing ourselves.
    - I also think that the way they are used will change a lot in the near future. The way synthesizers are used today has started to reach its peak.
   - Many 12-13 year-olds, who have grown up with synthesizers in their hands, rather than we who have started off with guitars and bass, will have a new way of relating to music. I hope that ODW can keep contact with that kind of music and find influences from it. We think it is important to renew ourselves all the time, and not get stuck in perhaps one successful formula.
   - We will also change musically in a near future and start to use bass, guitar and drums along with the synths. With this new 'style' we'll start recording a new album in February. After removing the guitars, bass and drums four years ago we are putting them back in again to see what we've learned.
   Paul thinks that rock will always remain a way of expression for youth, and adds that rock has always been there, but sometimes just labeled differently. Like when there was a riot when Stravinskij directed 'The Rite of Spring' in Paris; 'rock is a reaction', he says.
   But if rock is a reaction, how come there are so very few social comments in American rock?
   - It is very hard to say. It depends a lot on all the business and greed in rock today. There are too many people trying to get as much money as possible out of rock music without having any feeling for the music itself. There will just be a lot of superficial

music that has no depth. There's a lot of young good bands who doesn't get any attention because of the big machine surrounding rock. Like rock on TV. It is dead rock! It stinks! A change must come, but it is hard.
   - Sometimes it feels pointless recording albums. It feels like you're only doing it for your own pleasure.
   - TV is also afraid of playing rock carrying any kind of message that does not match the other stuff shown on TV. Rock needs attention. It needs more than people just standing there shaking their asses and taking drugs to it.
   - People here in New Jersey like rock, he says with a serious look in the eye. They love to see bands, they love music. Compared to the people on Manhattan. Manhattan is 'blaah' (thumbs down). Out here the working class lives, on Manhattan people from record companies and 'noble' people live. But out here 'they don't give a damn'. If you do a good show and people like it, and if you don't they'll let you know.
   - That is how rock music should work, it should cause reactions. That's why I like Jersey.