From The Dandy Warhols to Pete International Airport | An Interview with Peter Holmström
Peter Holmström, best known as a member of The Dandy Warhols, is a creative force with a range of projects under his belt, from Pete International Airport and Sun Atoms to Walls of Dada and Malekko. Each project represents a new canvas he’s eager to complete.
With Pete International Airport, Holmström has been on an artistic scavenger hunt, sifting through post-punk textures and experimental guitar riffs to uncover sounds that feel both familiar and brand new. Touring with David Bowie was a milestone that pushed him deeper into his craft. “It wasn’t just an incredible experience; it was a wake-up call,” he admits. “I realized I had to dig deeper, so I started taking the guitar more seriously.” Bowie’s influence remains a constant source of inspiration, reminding him that music isn’t just about sound—it’s about presence and depth.
For Holmström, music is a complex collage of emotions, like a mixtape navigating the peaks of defiance and the valleys of despair. He’s less concerned with perfect answers or tidy resolutions and more with the thrill of finding that one bent chord or unexpected shift that brings a vision to life.
And that vision keeps expanding. With new material for Pete International Airport on the horizon, a second record from Sun Atoms set for release, and fresh plans for Walls of Dada and Malekko, Holmström shows no signs of slowing down—he’s only diving deeper into the unknown.
“Creating is one of the few things that truly fulfills me
‘Sea of Eyes,’ featuring Alex Hackett, is a haunting, visually striking piece with a video by Francesca Bonci that feels like a descent into the sublime and sinister. What was the vision behind this collaboration, and how did you and Alex Hackett bring this track to life?”
Peter Holmström: At first, there was just an interesting chord sequence that I never got tired of playing. I tried adding a “chorus,” but it didn’t work; it always felt awkward transitioning back to the chord sequence, so I made that the outro. I’d been obsessing over The Cure—especially the bass line in ‘Fascination Street.’ I’m still on this quest to write something as hooky and dark, but still somehow pop. With ‘Sea of Eyes,’ it ended up more dub. The only input I gave Alex for lyrical direction was a vague description of how messed up the world was… we were four months into the pandemic. He came back with an amazing post-apocalyptic vision and a fairy tale/poem for the outro that gave the whole album its title.
‘Sea of Eyes’ feels like a journey through shadowy, subconscious realms, especially with Francesca Bonci’s dark and gorgeous video. How did you conceptualize this track and video?
I mostly leave that up to Francesca. I like finding artists whose work I admire and letting them go to town. This time, as well as sending her footage of me playing different instruments, I sent a few things I shot out the window while on tour—a wind farm and a solar farm. They both looked very futuristic, and the motion created by filming from a moving vehicle gave her more to work with.
With collaborations from artists like Rachel Goswell, Lisa Elle, and Alex Hackett, ‘It Felt Like the End of the World’ feels like a melting pot of different influences.
That’s why I love the collaborative approach. All the songs always take a turn I wouldn’t have expected—way more interesting than doing it all yourself.
The title ‘It Felt Like the End of the World’ is both ominous and intriguing. Was this album a response to the current global climate, or does it explore more personal apocalypses? What were the inspirations behind it?
It’s definitely a response to the mess of our world. I like the descriptive, more abstract approach over the preachy, in-your-face one. The kind you can listen to over and over and always discover something new.
In a world saturated with genres and labels, how do you see the essence of what you’re creating?”
I try not to think about any of that. I try and let the song tell me what it wants to be. I’ve tried forcing songs to be harder, noisier, more aggressive, but I don’t do that very naturally.
How does it compare to your previous albums in terms of sound, themes, and your creative process?
I think I’m getting better—at least, I hope so. The first record was more about emulating (unsuccessfully) some of my favorite records. With ‘Safer With The Wolves...,’ I feel like I found my voice or style, whatever you want to call it. It’s a bit more electronic, a bit less psych rock. ‘It Felt Like The End Of The World’ refined that voice, made it a bit darker.
Looking back, how would you describe the evolution of your sound from your self-titled debut to the present? What has changed, and what has stayed the same?
When I started with the first record, I was doing my best with my limited skills and was more interested in sounding like a few of my favorite records. I was new to alternate tunings, knew nothing about synths, and had very little recording experience. Since then, my songs have gotten more complex in structure and more subtle within the chord changes. Sometimes just adding or changing one note makes an impact.
As a musician who has been involved in numerous projects, how do you approach creating music for Pete International Airport differently compared to your other bands? What is unique about this project for you?
PIA is all my decisions, for better or worse. Every other project has other people involved, which means there’s always a degree of compromise. With PIA, I’m very interested in some strange (to me) chord changes, different time signatures, and seeing if I can make them feel “normal.”
“Portland had a very diverse alternative scene with lots of fun, weird kids doing weird, fun things”
The Dandy Warhols have been a staple in alternative rock for decades. Looking back, what do you remember most vividly about the early years with the band? Is there a story or moment from that era that hasn’t been told yet?
In the beginning, everything was fun and new. Portland had a very diverse alternative scene with lots of fun, weird kids doing weird, fun things. There were themed cabaret nights like “The Pretentious Artist Cabaret,” where we made abstract noise, and Courtney read poetry, took his clothes off, and even stuck a lit cigarette in his ass.
The Dandy Warhols have evolved significantly over the years. How do you feel about the band’s journey, and what can fans expect from you and the band in the near future?
I’m not even sure myself. There’s talk of a direction for the next record, but I haven’t figured out what that means to me yet. It will happen. It took a long time for me to get on board with Rockmaker, too.
Growing up, what was your local music scene like? Were there particular records, books, or zines that shaped your artistic vision and musical sensibilities?
Portland in the early ’80s felt very isolated for me. I didn’t have a TV, so I only got to see MTV at friends’ houses. The radio was all classic rock or current pop. There was a late-night alternative show called “Bohemia After Dark” that was the only place I found interesting music. I had lived in the UK—in Bristol in the late ’70s/early ’80s—so I’d been exposed to post-punk. As soon as we got our driver’s licenses, my best friend Dave and I would scour every record store around to find cool music.
Over the years, you’ve played in various bands and projects. How has your experience with these different musical endeavors influenced your work with Pete International Airport?
Every time I work with a different artist or project, I grow or learn something I wouldn’t have otherwise. It helps with everything. I hate feeling stagnant, so I’m constantly rebuilding my pedalboards, trying new instruments, new tunings. Playing with different musicians is part of that.
If you had to create a mixtape of tracks that have influenced you the most, what would be on it?
Peter G. Holmstrom: “In no particular order:
JAMC – ‘Happy When It Rains’
Love And Rockets – ‘Mirror People’
The Cure – ‘Like Cockatoos’
Black Rebel Motorcycle Club – ‘Red Eyes And Tears’
Primal Scream – ‘Kowalski’
MBV – ‘Only Shallow’
Spiritualized – ‘Come Together’
Japan – ‘Ghosts’
Slowdive – ‘Souvlaki Space Station'”
What are the things that keep you creating, even when the world feels like it’s ending?
Creating is one of the few things that truly fulfills me. “Happy” isn’t the right word because it’s a crazy, sometimes painful journey to finish a record.
What’s the wildest thing you’ve experienced on this musical journey, something that left a mark on you, either as an artist or a human being?
Being on tour with David Bowie for two months wasn’t the wildest thing that happened, but watching him at every soundcheck and every show made me realize I needed to up my game a bit. I started taking the guitar more seriously, practiced a lot, took a few lessons, and started playing bass too.
If you could have a conversation with your younger self—the Peter Holmström just starting out in the music scene—what would you say?
Kinda hate this question. I would never ruin the surprise for him (me). But the most surprising thing is it’s still going. Back then, I never imagined doing anything for more than five years. That seemed like a really long time.
What’s next for you? Are you already working on new material?
Already at work on the next PIA record. It’s slow going, so it will be a while. Sun Atoms’ second record is all done and will be out in early November—two singles have been released already. Walls Of Dada will perform our annual show in Nottingham in October. I’m also working on the next incarnation of Malekko The Band—very exciting things going on there. And The Dandys are about to head out with The Black Angels in Europe!
Klemen Breznikar
Headline photo: Ripe Melon Photography
Pete International Airport Facebook / Instagram / X / Bandcamp / YouTube
Peter G. Holmstrom Facebook / Instagram
The Dandy Warhols Official Website / Facebook / Instagram / X / Bandcamp / YouTube
Little Cloud Records Official Website / Facebook / Instagram / X / Bandcamp / YouTube
