The Gothenberg-incepted, Copenhagen-based project Lust For Youth—currently: Hannes Norrvide and Malthe Fischer—and the Danish artist Croatian Amor (real name: Loke Rahbek) have been collaborating, on and off and in various configurations, for over a decade. At one point, Rahbek was even a member of Lust For Youth. Their forthcoming collaborative record, All Worlds, serves as a reunion of sorts. 

The album sees the trio building on a stylistic language, writing anthemic tunes that inject a dancefloor sheen into the Lust For Youth sound—a fusion of synth-pop, Balearic, and post-punk. To wit: The project's first single, “Dummy,” which features the artist Purient, deploys a 2-step garage shuffle, driving the trio's core sonics into new spaces. I sent over a few questions to the three artists. Read our interview and listen to "Dummy," below. The project's next single, “Kokori,” along with "Take Me Home (Kokiri Remix)" by Fatshaudi, comes out tomorrow. You can pre-save that now.

Loke used to be a member of Lust For Youth. How does this collaboration differ from that previous configuration of the band? Is it simply a matter of semantics? Are there different creative dynamics?

Fischer: Just before Loke and I joined LFY in 2013 the two of them did the record Pomegranate as LFY and Croatian Amor. The initial idea for All Worlds was revisiting that space but it quickly turned into something entirely different. Early on in the process the ideas were a bit all over place, but nothing was discarded and we sort of just went along, which felt liberating. And in the end the tracks belonged together. 


Norrvide: Working the three of us again was a new experience. We worked separately on the writing, meeting weekly or sharing ideas back and forth, building and revising each other's work. This was refreshing for me, especially after feeling stuck with computer-based creativity, where endless options felt paralyzing. For this record, we embraced a sense of freedom I hadn't experienced before. Ideas and influences I wouldn’t have considered in the past became central to the process. I’d start with something unexpected, like a harp sample, and challenge myself to make it fit. The playfulness and open-minded approach was inspiring for me.

Could you talk about your upcoming single?

Fischer: “Kokiri” was the last track that made it on the record. It’s very simple in its structure and gradual dynamic buildup.

Rahbek: I like “Kokiri” a lot, it’s one of my favorites. Hannes came up with the name, I think it’s perfect.

The forthcoming record is called All Worlds. Is that name a guiding force for the album's lyrical content?

Norrvide: The title doesn’t directly reflect the lyrics but influenced the album’s overall vibe. I’m fascinated by UFOs, and the golden record, as a concept, is beautiful to me—this message sent into the unknown, full of hope and curiosity, representing a peak moment for humanity. Some things will never be fully understood, and I’ve come to embrace that. For this album, I connect the golden record with UFOs—both evoke awe, mystery, and the unknown. All Worlds is about exploring possibilities, embracing uncertainty, and imagining beyond limits, which to me carries a positive, hopeful meaning.

Fischer: To me the album title refers to our approach, combining elements from different worlds, making it a thing of its own.

Any memories from the making of this record? Any moments of joyous release? Some of these songs are quite euphoric.

Fischer: Moments of joyous release would be a bit of a stretch. For me personally I enjoyed coming up with the guitar parts for “Dumm”’ and the track “Nowhere.” Moments that changed the directions of the initial ideas. 


Norrvide: For me, it was when I realized how “Akkadian” should sound, heavier, with a slow beat and more of a trip hop oriented vibe. I thought this was the formula to proceed making more tracks.

What kind of music were you listening to when you were working on this album? Were you going out dancing?

Norrvide: I listened to Brainbombs, Blod, and The Streets. I haven’t been out dancing in a while—these days, the dancing happens mostly in my mind. But back in the day, we spent a lot of time at clubs, and that feeling still sticks with us. Honestly, though, we’re pretty boring people now.

Rahbek: I mainly just listen to Durutti Column.

Fischer: The most played in my home last year was the theme song from Ponyo, “On the Cliff By the Sea.”

What makes a great anthem? 


Rahbek: Heart. :)

Fischer: I suppose a great anthem should be effortless and real. A force of nature, like “Born Slippy” or “Insomnia.” You won’t turn an average song into an anthem with a huge production. I suspect most of them are lucky accidents. 

How important was the whole Sincerely Yours, Tough Alliance axis of Swedish dance music to you when you were growing up?

Norrvide: I remember being with my first girlfriend, hanging out in her room watching music videos on TV, back when there were channels that just played videos all day long. TTA was on a lot that summer, and I thought they were great. But as the relationship ended, so did my connection to TTA. Then around 2010, when I met Loke, he was really into them at that moment. That’s when I really started to connect with their sound.

Fischer: I was introduced to this scene during the recording of International. On tracks like “Running” and “Illume” we nicked a few ideas from TTA and Embassy.

What is something positive about 2025?

Norrvide: New music, new life.