The end is nigh! Röyksopp have called it quits. The aptly titled fifth studio album, The Inevitable End, isn't really the end, it is merely the end of their album era because as far as traditional formats go this will be their final studio full length. If Röyksopp's 2001 debut Melody A.M came as a surprise, then this year's album plays out like an affirmation. In the sixteen years since they first came together, Svein Berge and Torbjørn Brundtland have risen up to become two of electronic music's most unlikely saviours.

On The Inevitable End, the pair raise their masthead and wield existentially charged lyrics through extraordinary guest spots from the likes of Susanne Sundfør, Man Without Country's Ryan James, Jamie Irrepressible and Robyn, who creates one of the most transcendent and emotionally accessible (without feeling utterly devastating) female empowering moments via 'Rong'. This Norwegian duo has a gift and it lies in the fact that music possesses far richer means of self-expression. With Melody A.M they automatically tuned into their own voice and have been riding the waves of that channel ever since. Heck, if the soil is ready - that is to say, if the foundation for a distinctive sound is already there - it takes root with unbelievable force, and finally blossoms. But before you put your toe on that windowpane and jump out, they will continue to make music. Going forward they fuel a new approach that dovetails into the current state of the music industry and the overwhelming level of ADD listeners have: Artists want to say more and can do so in a shorter amount of time.

We recently caught up with Svein Berge from his home in Bergen, Norway, to talk about their music, which he so perfectly refers to as "dancing with tears in your eyes," and chats at length about human heartache that goes beyond understanding. It's quite bizarre recounting someone's work from 2001-2014. Like paging through their diary together, but it was as though the memories never faded and he feels the same way about making music as he did back then. For Röyksopp, this "end" is only the beginning.

What is it about the music you make that has kept your attention and passion to keep creating for all these years?

I think perhaps it has to do with the fact that we spend a lot of time selecting the right sounds and not just using whatever genetic production techniques or speaking to any specific musical trends of the moment. The fact that we do everything ourselves, meaning playing the music, writing the lyrics, engineering and recording them, all the things which are tasks people would split between other people. At least it gives us a certain consistency in our music. It's still gonna be the same two guys this all this time.

Just two years after your fourth album Senior you released Running to the Sea with Susanne Sundfør, a collaborative album Do It Again with Robyn last year and you've now just released your fifth album - do you ever think fans suspect you do nothing between album releases?

Yes there's so many things to be said about that. Obviously we do tour between them and we make lots of music that will be released as free giveaways on our websites, and we do lots of remixes. We have so much music just lying around in the studio that's never been released. We have such a loyal fan base even though they want us to increase the frequency of releases they seem to be loyal, and that's something we truly appreciate.

So what spurred the burst of songwriting for this album?

I'm not trying to bring down the tone of our conversation, but we've been in a dark place, not between the two of us we're all good, but there's been things in life that haven't been that great and that's some of the things that we wanted to bring out on this album. Without going into too much detail it's obviously been talked about on the album and even to a certain extent on the Do it Yourself album with Robyn we're trudging along some of the same themes. We also wanted to produce this album and engineer it in a way that was a bit like a counterweight to the current influx that electronic music has on mainstream pop music. There's a lot of EDM-ish influx on anything on rock to hip-hop and obviously EDM in itself. So in a day and age where everyone wants to make their music, as loud and in your face without content at all, there's no point for us doing that as well. So we obviously needed to bring something out that has a lot of content and substance and is engineered in a way that's a lot more dynamic.

There are songs like 'Do It Again', 'Save Me' and 'Running to the Sea' that sound more like a beginning each conveying a relatively high energy.

We've come from a club background and always had a weak spot for what we refer to as, "dancing with tears in your eyes" to quote Ultravox. We find that conflicting emotions or sentiments are appealing, for instance, having something that is a bit dance floor friendly there is an element of it that - sounds a bit cheesy - it can get your hips going and your feet moving, but it's supposed to stab you in the heart and hit you in the head. I think even the happiest track that we have has a timbre of melancholy to them and one of the sadder tracks we've made has a timbre of warmth in the way we have produced it and so on. Humans don't ever just have one feeling we tend to have a lot working at the same time. There's more than one side to being human and that's what we're trying to say here.

Don't you think that's the best thing about music? Having that freedom to work in all constructs?

Definitely and it's no secret I consider myself to be a person with quite a vivid imagination. It's a place where I thrive. Just to be very precise, when I was a kid growing up in Tromsø, which is really far north of Norway, I always felt like I was much closer to the stars and the universe because of the fact that I lived in a really secluded small town and because of the dark period [it's above the arctic circle so it's dark until late January] That meant the stars would shine so bright and being a kid in the '70s and '80s with a huge fascination with Science Fiction and feeling that I was closer to the stars - that's what ultimately made me want to deal with electronic music and drew me into it. I understood at a very early age the mechanics of seeing a guitar of being played, but when I heard electronic music as a small boy I didn't understand how the hell this music was made. So to me it was more like magic and it appealed to my imagination.

A lot of the new songs are very nuanced; even the darker ones are full of subtle details. Robyn asks at the beginning of the track 'Rong', "What the fuck is wrong with you?" which is pretty much the only lyric, tell me a little bit more about it.

I wrote that song. You know when you're beyond hatred and anger? You've lost faith in another human being and you're beyond, you're in disbelief as if you're flabbergasted, drained and left emotionless. Obviously we wanted Robyn to express that in almost her catatonic way and also as you say she's delivering a ridiculously strong message, at least in a Röyksopp context because we never use strong language.

I was definitely struck by that track.

And again, it's not to create controversy or be something we're not, but sometimes you have to use the words and the colours that you feel is most fitting to what you want to say and this is what we felt.

A brilliant component of your song and career repertoire relies on collaborating with extraordinary vocalists along the way. What is it about female vocals that lend itself so well to your sound?

Obviously being a heterosexual man I like a female voice for many reasons! Obviously that's not my intention to work with these incredible people [Laughs] just to get close to them. That's my second motive obviously! In our minds we think the female presence can trigger things in our hearts that if a man had to say it wouldn't mean the same thing. But when it comes to this album we have a male presence to bring it into our world, as if we're saying some of these things.

I love that you feature Jamie McDermott from Irrepressibles, because it adds an energy and temperament that, other than Robyn and Karin Dreijer Andersson, I haven't felt before.

We have made a lot of music with Jamie and I really like working with him, I love working with everyone, but with Jamie he's very specific and his willingness to get it just right is incredible. In this day and age it's really nice to have someone who is so expressive. I'm really drawn to that. Not to say anything bad about Robyn or Suzanne or Ryan because they are equally great, but I guess the reason we're talking about Jamie is because he is the hero and the main person of this album.

Does it encourage you to be more creative when the collaborators are more professional?

Whenever we work with other people or vocalists it's always about that. For instance, my lyrics, I want to play with them first and see what makes sense and very often that doesn't work so it's nice to work with people who have strong opinions and that's something that all our collaborators have in common.

The Inevitable End arrived on the back of a press release announcing that it's your fifth and final album. What do you mean by this?

We are not quitting. We will continue to make music! As far as the album goes, the classic traditional format, we feel we are finished with. We have made five consistently good studio albums where we have been able to say the things we want to say and do the things we want to do with that specific format. We've been able to do the indie album, the instrumental album and this one, so we really happy and we feel if we stop now it's the right thing for us. We quit while we're ahead. We want to try other ways to release music and increase the frequency. Sometimes we have things to say, musically - I'm just making up a silly example here - but if we wanted to make something using banjos but we don't want to fill an album, the current state of music allows us to make three little Banjo tracks and call it the 'Röyksopp Banjo Experience.'

Is it about saying more in a shorter amount of time? We're all so ADD at the moment, is this your way of combating that collective feeling?

We want to increase the frequency of our releases for our own enjoyment and for our followers, but it's not as if we're trying to battle it out. The album format will live on, but in a smaller scale. I'm one of those guys who sit down and listen to an album, just like when I go to the movies I say I'm going to dedicate one hour to a movie.

What is the last full album that you listened to?

The last album I listened to was Q Tip and Busta Rhymes, and they call themselves Abstract and the Dragon. They made a mixtape and I must admit I have a weak spot for their late '90s stuff.

Is there any pop culture phenomenon that you would like to erase from your memory?

I'm a bit of a pop culture sponge and obsessed with anything pop culture, that's my thing. So I'd say that the one thing that immediately jumped up in my mind when you said erase I got something immensely specific, like I get this level of autism that crops up in my head. But, The Simpsons have one character I do appreciate, the headmaster at the school called Seymour Skinner. In one episode it turns out that he is not the real Seymour Skinner, he has taken someone else's name sometime during the Vietnam War, and I thought this is just wrong. [Laughs]

That thought is so ridiculously random Svein.

Oh completely and I've always been told on several occasions that I'm very specific with things and love details so there you go!

Seeing as though you love your details, what was the game changer that shifted your career?

The biggest game changer for me on a personal level was the time when I was about 14 or 15 and me and three other friends had been saving money for a long time to buy a sampler. That's when everything picked up speed because sky's the limit when it comes to the sampler, it's such an amazing instrument and it struck a nerve in me, and that's the one thing that changed my level of creativity.

The Inevitable End is out now on Dog Triumph.