This interview was done in 2012 and only published in the Norwegian magazine Scream Magazie. This is the first time this interview is released online in English.
A pessimist with a spark of life
Erik Unsgaard is the man behind SO MUCH FOR NOTHING, which is considered a solo project apart from his regular vocal duties in Sarkom. The album is titled Livsgnist (“Spark of Life”) and received a solid five points in Scream Magazine from Andre Aaslie. The music is hard to categorise but very depressive with roots in black metal. Despite that, you can find many genres mixed in, including more typical pop elements. Fans of bands like Lifelover, Apati, and Den Saakaldte should definitely check this out.
Why did you choose to make it a solo project?
– It started with just a couple of songs that I realised wouldn’t fit Sarkom, the band I’ve written songs for and been the vocalist in since a demo back in 2004. I quickly decided to make it a solo project and create a full album, even though I knew it would take a long time. Still, I was determined that this would be more than just an idea, and I set myself the goal of having the record out within four years. It ended up taking five years before the album saw the light of day, but that’s just how it goes. Anyway, during the songwriting process, I genuinely felt like I had something good going and never considered making a typical black metal record. Personally, I listen to a lot of pop music, so the idea was to come up with something that sounded different while still having digestible songs. Another thing that drove me was the desire to play guitars myself instead of just being a vocalist in a band. Anyone can scream – so if you’re only a vocalist in a black metal band, I don’t think you’re particularly talented or have much to offer. Of course, that’s not true for everyone, but if you can’t create music yourself, where does that leave you when the band breaks up? While the others start new bands, play dance music or become street performers, you risk ending up as a nobody. Those thoughts were a big part of why I eventually picked up the guitar myself, after having started out as a vocalist before Sarkom.
I read that the album was already finished in 2010. Why did it take so long to release it?
– I chose to record, mix, and master the album before contacting any labels. That definitely hurt my wallet, but I wanted a finished product that sounded good before I started label hunting. Same with the promotion – bands are usually so impatient that they post names and rough demos online just to show off, but my impression is that many of those never make it past the demo stage. That wasn’t an option for me. If I was going to promote the band, it had to be something proper – not just a flash in the pan. The reason it still took so long from finished product to release was because it took about six months from contacting labels to finding someone interested who could also offer a decent deal. I ended up with My Kingdom Music from Italy, who were unknown to me at the time. I did some research and found that other bands had good experiences with them, and so far, that’s been my impression too. They had a release schedule that meant they couldn’t put out the album for another six months, and then it was delayed another two months. So, that’s why. The good thing is that the next album probably won’t take as long since I’ve had plenty of time to write new songs. At the moment, I’ve got 8–9 finished, so if everything goes according to plan, we’ll start recording the follow-up this summer and autumn. Whether it’ll flop completely remains to be seen – it’s hard to match the reception Livsgnist got. But unlike life in general, I’m optimistic about this one too.
The band also released a 7-inch split with Angst Skvadron about a year ago – even though that track was recorded after the full-length.
Your lyrics seem to focus heavily on suffering, suicide, and death. They fit the music well, but are the lyrics very personal for you too?
– Yeah, I won’t deny they’re quite personal, but I like to think it’s just the pessimist in me coming out when I write lyrics. Or maybe I just need to complain a bit – might as well get it out through the music. A song needs lyrics, right? Besides, I’m probably saving my friends from a lot of whining, so I’d say it’s a win-win for everyone.
If he had only been a “metal drummer” who could blast at 280 bpm, it wouldn’t have been that interesting – so thumbs up for versatility.
Unsgaard
You brought in Uruz from Urgehal on drums. Why him?
– He’s a very skilled and, importantly, versatile drummer. If he had only been a “metal drummer” who could blast at 280 bpm, it wouldn’t have been that interesting – so thumbs up for versatility. I’ve followed him as a drummer through most of the Urgehal albums and also on a tour with Sarkom where he played with Shining. You get to know each other well when you share a bus, toilet, and stage for an extended period, so I knew we got along personally too. So far, we’ve been very much in sync when it comes to what works and what doesn’t drum-wise. When I write music, I program the drums, but with few exceptions, I give Uruz free rein because I trust that someone with his experience can tell just as well as I can what sounds cool. There’s a reason the bastard plays in Norway’s best and ugliest black metal band.
Did you ever consider making SO MUCH FOR NOTHING a full band?
– Absolutely not! This was meant as a solo project, but since I’ve played drums for maybe an hour total in my life, I had to bring in someone who knows what they’re doing. I assume Mr. Uruz liked the project because he didn’t hesitate when I asked if he wanted to stay onboard after the album was recorded. But never say never. Maybe one day I’ll want to turn it into a full band, but for now, it works great as it is.
It might not be easy to perform this material live. Have you considered doing concerts?
– Yes, definitely! And it will happen sooner or later. Some songs are hopeless to perform live, but I think a lot of them will work really well on stage. As things look now, we’ll probably just skip having piano parts live – and that only applies to two songs anyway. Playback is also an option, at least for something like the trumpet intro on “New Life – New Beginning.” So we’ll make it work, and we know a few people willing to help out on guitar for live shows. I know there are plans underway to get us on tour to promote the album, but that’s not easy for a new band – it often costs more than it’s worth. But we’re very interested in playing, so if anyone out there wants to book us for a tour or one-off gigs, just get in touch with me or Patricia Thomas Band Management. I’ve heard about this “Fire Walk With Me” concept that’s putting on some concerts around Norway. Hint hint.
You’ve got a lot of guest musicians on the album. Was that necessary to achieve your musical vision, or was it just a fun way to include people you like?
– With a few exceptions, it was absolutely necessary to get the result as good as it turned out. But besides being a fun idea, I also knew some of the names could help with promoting the album. It’s not easy for a new band to get noticed – even if the music is good. So I’m thankful for all the help when friends step up and do volunteer work. That said, I’m most pleased that my best friend for the past 15 years, Kyrre – who has absolutely nothing to do with metal – contributed to one track. He’s mixed a bit low, but his name is in the booklet, and that’s what counts.
The album sounds very organic thanks to the guest musicians playing real instruments instead of using samples. Was it important for you that it sounded live and organic?
– I didn’t really think about it that way, but I suppose I just wanted it to sound a bit extraordinary. And since I had the chance to bring in people who can actually play, it’s cooler to use the real thing instead of samples. The result speaks for itself.
I can’t help but think of Lifelover when I listen to the album. Have they been an influence, or is that a coincidence?
– Believe it or not, the album was fully written before I heard Lifelover for the first time – so it’s 100% coincidental. That said, I understand why you and others draw comparisons, because I hear some similarities myself. But I’ll go ahead and say that SO MUCH FOR NOTHING is better – many will disagree, I know – but maybe because I take it a notch more seriously? Don’t get me wrong; after hearing Lifelover, they quickly became a new favourite, but the music on several of their albums is anything but tight. And the drums are often terribly programmed. That’s part of the charm, though, if you ask me. Musically, I’ve probably drawn more inspiration from various pop music, film scores, and black metal in general – that’s what I mainly listen to. Unlike Mr. Average Metalhead, I don’t listen to Maiden, Kiss, or Metallica, but I will say that Guns N’ Roses is an all-time favourite – nothing beats the old albums.
You also play in Sarkom. How do you prioritise your main band versus SO MUCH FOR NOTHING? And what’s next for Sarkom?
– For various reasons, not much has happened with Sarkom in the past two to three years, so it’s been natural for me to shift focus to SO MUCH FOR NOTHING. Here, I control everything myself and don’t have to make compromises or rely on others, which has led to greater productivity. Sarkom is still the main band, as you say, but as of now, SO MUCH FOR NOTHING is just as much of a priority because of that. We’re nearing the end of the recording process for Sarkom’s third album now, so we’ll see what happens. Like countless other metal bands, we’ve gone through some lineup changes. Hopefully, that’ll take us a step in the right direction, and I hope the inspiration and desire to devote more time to it comes back. There are no plans to throw in the towel just yet – we just have to be patient. At the moment, we’re without a label, as we’re not continuing with Twilight-Vertrieb. Hopefully, we’ll sort that out soon after recording, so the album comes out this year.
About The Author
