For those unfamiliar with Peter Bjorn and John, here are the quick facts:

They are a Swedish indie rock band, at least, that’s as close as I can get to compartmentalizing their sound.

There are actually three members, but I guess they don’t use commas in Sweden, and I thought Peter Bjorn was one person for longer than I’m proud of.

The first mission of this band is to make ridiculously catchy music that never gets old, and their second goal is to prove that Swedish people have a sense of humor (Swedes always get a bad rap in American-made movies, usually portrayed as short-tempered ski or yoga instructors with dry personalities and tight clothing).

Finally, they are the ones who created that beautiful tune that gets stuck in your head about three times a month, but you can’t put a finger on what it is. The song is “Young Folks,” their 2006 single with a whistling hook that’s impossible to shake, even five years after hearing it.

So, now that everyone is on the same page, we can talk about what these peculiar and talented guys have been up to. They are currently on a North American tour promoting their sixth studio album, which was released this past March to positive reviews. Although I was entirely impressed with the new material, which favored nostalgic pop sensibilities that are a far cry from the current market’s prevailing body of over-produced beats and synths, I’m still awaiting a music video from them that will rival the completely deranged-yet-pleasant animated video they made for “Young Folks.”

Anyway, video or no video, I’m excited to see these guys back on the stage. When they first entered the international spotlight, they were nothing short of hip and talented, striking a curious chord with North American audiences who were wondering what the deal was with these bizarre Swedish musicians—as there was something a little off about these guys (in a loveable way).

Here we are, years later, and there’s still no telling exactly what to expect from Peter Bjorn and John. Characterized by subtle sarcasm, adored by indie elitists and mainstream audiences alike, and prone to turn random objects into instruments during live performances, we knew we had to talk to these guys. While we assume that Peter and Bjorn were busy recruiting stage magicians (more on that later), we did have the opportunity to talk to PB & J drummer, percussionist and vocalist John Eriksson, who gave us a healthy dose of the signature, off-the-wall wit we’ve come to expect from the eccentric trio.

How would you describe your sound? 

It changes all the time unfortunately, but yesterday we sounded like if Jimmy Hendrix, Dee Dee Ramone and James Brown’s drummer would play together in Lady Gaga’s pants.

You recently released a new full-length album. What were some things that you did differently in this album than the last? Was there anything that you consciously tried to keep the same? 

We are like that shape shifter mutant in X-men who can take the shape of any human or mutant. We are still the same band but sometimes you might not recognize us. We have always listened to punk-pop, rock n roll, rockabilly and blues, but we didn’t really know how to capture our version of “rock” on an album. Playing live, we have always been kind of punky, so we knew we had it in us. So before making “Gimme Some,” we decided to make a record based on guitar, bass and drums, and when that was decided it all just came very natural. The only thing we try to keep is our sanity and some kind of pop-sensibility.

Who are your musical influences? 

The Beatles, Velvet Underground and Van Halen.

Describe your creative process when you set out to make new music or a new album.

We always have an idea of what kind of sound we want on the album, and then we try to fit the songs into that sound. We seem to get more relaxed and also a bit younger in spirit for every record though. On our first album in 2001 we sounded a bit like 50 year old guys, and when we recorded “Gimme Some,” it felt like we were 14 (maybe because we were drunk most of the time). If we continue to evolve like this, the next album will sound like three year olds playing in their sleep.

Who writes the lyrics for your songs (do you ever collaborate?) and are there any particular events or themes that have influenced the lyrics? 

We all write lyrics and most of the songs have been ultra-personal like a tune about a jackass who worked in a record store or a secret love song to a girl you were in love with when you were nine years old. “Gimme Some” might have some sort of a “self hate” theme, and I guess the next album will focus around the subject of masturbation.

When did you first realize that you had “made it” and attained success on a large scale as a band? What did that feel like? 

It all came sneaking up on us. Like in that “Truman Show” movie. For two years I was almost sure that it was all a hoax and that someone would suddenly show up in a baseball cap yelling “cut!” But that hasn’t happened yet.

Why do you think your music resonates with listeners? 

I do not know. Maybe our songs are like healthy cigarettes—which I think someone should invent. I mean, just create something you can smoke that won’t kill you—a cigarette with all the healthy minerals and shit that people can look cool inhaling.

What’s it like performing in the United States vs. performing in Europe? 

You feel like a different band in different countries. In Japan we felt like we were the Rolling Stones, in Austria we felt like Slayer, and in the U.S. we feel like Peter Bjorn and John.

What’s your favorite thing about making music for a living? 

The best thing is that nobody knows exactly what you are doing.

One day, decades in the future, how do you want PB & J to be remembered? 

Like the band who survived the internet.

What’s next on the horizon for PB & J? 

Our “All you can eat” tour starts in a couple of weeks, and it will be the last chance for people to see us as an awesome classic rock trio. When we come back in 2015, there will be a saxophone player, a conga player and a crappy magician on stage.