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Scouting locations for the first album cover. "Does this place look boring enough? Yup..."



The ninties were a celebratory decade when it came to german hairdos...



The band Eclectic Bob and the record company Primal Music was just some of the projects Carl and Ricky were involved in. They also shared a wish to become sailors.



Carl and Nina is a bit dissapointed at Maverick. A Town Car!? Were's our proper Limo? Driver was friendly enough, even though he constantly refered to his passengers as "Backstage"



Flying V, live drums and live loop mixing. At the Danish Roskilde festival 99.



Ricky and Nina caressing the first copy of the 12" remix of the song: I Can't See Why.


Some people need to do things their own way. Some people have a different take on how things are done. Baxter began with the somewhat erratic idea that Nina and Ricky should do some kind of music together in the backroom of Ricky’s design studio in the Old Town quarters of Stockholm. They recorded guitar riffs on to cassette tapes and came up with ideas for lyrical concepts. “What if someone is in a room, deserted by life with the television as the life saving factor?”

Ricky and Carl were involved in making Drum & Bass remixes, running clubs and a record label; Primal Music. There was a force at play. Something beckoned them to summon their collective forces to see what would come out of it. “Who knows?” That kind of deal.

Nina had her past in the grunge-like outfit, Salt. They toured the US and were moving towards road-kill fame when Nina decided that there was more to life than eating bad food and sleeping in awkward places. She returned to Sweden to regroup and come up with a different approach on how to make her voice herd.

Carl had also, at about the same time, moved back from a four year period as a in-house engineer/producer at the Starlight Sound studio in Richmond CA, San Francisco. After pulling some heavy studio hours and getting some platinum sales on the way, he also decided that there must be a better way to make a statement through music.

Ricky, the graphic designer with a unhealthy interest in reggae and deep dub music also felt the need to express something more than what he could present through the hundreds of album covers he was churning out at the time. Although extremely successful in his field, he felt the urge to take it to the next level.

The result: Baxter

The first album came about in a creative exhale. There was a language that they all shared and that no one else could really speak. The first album “Baxter” was conceived after a summer/fall of emotional studio sessions with Ricky lying on the floor pumping the Harmonium while Nina played a desolate melody that Carl ran through a Roland space echo. The four song demo that was sent to the world created ripples and people felt the emotions at play.

After an intensive period of overseas flights and power meetings at different expensive LA restaurants, they decided to go with Maverick Recordings for the release of their first album. The first, self titled album, “Baxter” hit the college charts with a bullet. The song “Television” with it’s combination of Drum & Bass, dark dystopian lyrics and heavy guitars was up to this point uncharted territory. The album gathered a worldwide fan base with praise coming in from far corners of the globe.

Not too keen on the touring aspect of the music industry, Baxter didn’t do any extensive live work at this time. Eventually the idea of translating the studio creations from the album to a live situation became a puzzle that needed to be explored. They went on a limited, exclusive club tour in the darkest corners of Scandinavia. At this time the live set up was almost a remix-tour with a live drummer. Ten minute long drum & bass excursions were not excluded from the set.

At the same time as this was going on Carl and Ricky were busy running their label. Carl also built a spanking new studio in the basement of the record company office in the heart of Stockholm. This environment created the platform for the next album “About This”. Letting go of the drum & bass, they ventured in to a couple of house influenced tracks. The song “I got to wake up” was remixed and pumped at clubs around Europe. In connection with this album they did a few selected live shows, and at this point there was more live playing and a few more musicians added to the line up.

Since all members of Baxter are intensely creative persons with a multitude of different projects and collaborative efforts running at full speed. Their lovechild Baxter had to be put on hold for a little bit. Nina searched her musical heritage and released two critically acclaimed albums with the keyboard player Martin Hederos where she sang in Swedish, interpreting Jazz songs and other traditional styles of soft spoken music. Nina also produced a tribute album dedicated to the music of Swedish 70’s icon Cornelis Wreesvijk where she carefully gathered the crème de la crème of Swedish musicianship to create a musical feast. Carl was busy mixing and producing records for a number of very diverse artists. He received gold and platinum albums to plaster the wall with but slowly got a bit weary with the music industry. He ventured in to Film Music and composing for orchestras. The graphical genius of Ricky resulted in a never ending array of design feats. Ricky is probably the one guy who has, by far, designed most album covers in Sweden. Along side awarded designs for everything from soda bottles to designer clothes, he also collaborated with Carl on the side project “Eclectic Bob” where they pushed the dub beats to a happy place filled with party favors.

At the end of the day they couldn’t resist the urge to dive back in to Baxter territory. An unexpected live show in Istanbul, the buzzing sixteen million city in Turkey, was somewhat the starting point for their third album “Tell me like it is”. At ease with the fact that they just could pick up the pace were they left of, they embarked on yet another collaborative stint.

The story continues…