The Ark burst onto the Swedish scene in 2000, propelled by an arresting visual style rooted in 1970s glam-rock attire and theatrical stage moves, paired with instantly memorable, radio-friendly material. The group had existed since 1991, when singer Ola Salo, guitarist Jepson, bassist Lasse “Leari” Ljungberg, and drummer Olsson first assembled it, yet the quartet remained largely unknown throughout the decade. They performed at modest venues and small festivals, and their EP Racing with the Rabbits drew scathing notices or none at all. In 1997 the band nearly dissolved, only to be approached by Robert Jelink, formerly of the Creeps. Jelink secured a contract with Grand Recordings; soon afterward guitarists Martin Axén and drummer Sylvester Schlegel joined, forming a five-piece that relocated to Malmö.
That year the Ark served as opening act for Kent on a national tour, then issued the single “Let Your Body Decide,” which received heavy airplay. Its follow-up, “It Takes a Fool to Remain Sane,” fared even better, paving the way for the autumn release of the debut album We Are the Ark. The record earned two Grammy Awards and strong sales. Although journalists frequently described the Ark as heralding glam rock’s revival, the music itself bore only faint traces of the genre, while the costumes clearly evoked the 1970s.
Their second album, In Lust We Trust, sustained the momentum with the charting singles “Father of a Son” and “Calleth You, Cometh I”; the former track drew public debate for its treatment of homosexual adoption rights. Still seeking a fresh sonic identity that would emphasize dance rhythms, Salo assumed greater creative authority and collaborated closely with the band’s unofficial sixth member, Jens Andersson. Together they enlisted film-music composer Nathan Larson and engineer Per Sunding to craft a rock sound infused with disco energy. Sessions occupied most of 2004, and State of the Ark appeared in December. Lead single “One of Us Is Gonna Die Young” rose swiftly on the Swedish charts, followed by the album’s own strong showing in early 2005. A year later Andersson became an official member on keyboards.
