An Interview With |
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Last Sigh: A Rebours has just been released, but this is not by any means the beginning of your musical career. Could you tell us a little about your musical activities up to now? Magnus:
I have been musically active since 1987, when Peter Nyström (Megaptera)
and I started composing together. We recorded under several different names and styles,
and we also performed a few times. In 1991 Peter joined Megaptera,
and I started making music with another friend, which resulted in one live performance in
1992. The year after that I got bored and decided to quit, but only one year later the
inspiration came back to me. I started Third Eye, heavily influenced by Test
Dept., SPK and Skinny Puppy.
Peter asked me if I wanted to release a split-tape together with his side project
Negru Voda, and later that year it was released on Slaughter
Productions. After that I participated to a number of obscure
compilations, and when I was supposed to appear on the Palace of Worms CD, the
label manager told me that there was another band called Third Eye.
I decided to change name to The Protagonist, mainly as a
homage to Dead Can Dance, who together with In The
Nursery and Shinjuku Thief had become
great sources of inspiration. Since then I have appeared on a few compilations as well as
worked on an album. Magnus: Yes, I help him out with sampling and programming on his Megaptera stuff. I have also been a live members on his two first live performances. Last Sigh: A Rebours is released on Cold Meat Industry. How did this come about? And, why the great delay? Magnus: Roger first contacted me after hearing the split-tape. He was very enthusiastic and wanted to hear more. I sent some new songs, one |
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| of them "Imitation", which he said
he wanted on his next compilation ...And Even The Wolves Hid Their Teeth. Nothing
happened, and we lost contact. However, last year I got an invitation to participate to The
Absolute Supper, and I happily agreed. He also asked if I was interested in releasing
an album, and I decided to go for it. Some other labels also were interested at the time,
but I thought that Cold Meat Industry was the most suitable label to work
with. The delay depends on lots of things, but mostly the fact that I share studio with
several other people. Also, some of the equipment was sent to maintenance, and it took 5
months to get it back. Last Sigh: A number of the pieces on A Rebours have already been released in other versions on various compilations. How long have you actually been working on this album? Magnus: The songs are actually
written between 1994 and 1998, but I still like the older songs, so I decided to make
final versions for the album. The recording of the album was finished in May and lasted
about a month effective time, but I'm currently adding the final touches. Magnus: Nothing was written with an album in mind, but when Roger wanted me to put one together, I chose the most suitable material. Since I wasn't satisfied with some of the old songs, I decided to record new and improved versions. Last Sigh: Most of the songs on the CD pay homage to classical literature either in their titles, or by the direct usage of quotes in the lyrics. What role does literature play in your life? Why do you incorporate it to such a great extent in your music? What relation do the authors and selections have in common with each other? And, in what way do you feel they relate to the music of The Protagonist? Magnus: Nowadays I don't have the
time or patience to read as much as I would want to, but when I read something that I can
relate to, the inspiration just possesses me, and I can't think of anything else. The
poems and excerpts used on the album are examples of such literature, the most personal
being the text from J.K. Huysmans' "Là-Bas". That is why I chose to
recite it myself, despite the fact that I don't like the sound of my own voice. My music
is a reflection of my inner self, and the texts used are connected to me in one way or
another. Magnus: It reminds me very much of myself, and could easily have been an excerpt from my own memoirs. The song itself is dedicated to my present girlfriend, and she's the only person who will ever know the reason for using that text. Last Sigh: Mark St. John Ellis
of Elijah's Mantle performs the vocals on "Mutability", how did
he become involved? Last Sigh: You have also contributed to In The Nursery's Les Jumeaux project with a remix, how did this collaboration come about? And, do you have any plans of working more with In The Nursery in the future? Magnus: I have been in contact with
them for quite a while now, and when my friends in Statemachine offered
me to rework one of their songs I tried to give it an ITN feel. When it
was released I sent a copy to the twins, and they liked it so much that they wanted me to
remix one Les Jumeaux track. In return they will remix
one of my songs. No other collaboration is planned. Magnus: They have heard the album, but haven't decided which song they will remix. Last Sigh: You have recently made a couple of live performances. How do you feel about performing live as compared to working in the studio? Do you have any plans of touring more extensively? Magnus: I have performed a number of
times before, but only two times as The Protagonist. I
like performing, even though it sometimes reminds me why I have chosen to work alone. The
reason for adding two live members is simply because I want to present my music in an
interesting way. When composing, I work best by myself, but it would be impossible for me
alone to replace their efforts on stage. I really enjoy travelling, so I hope that the
release of my album will increase the number of live performance opportunities. Magnus: My experiences with people in general haven't been the best, so I have become something of a loner. I think that's why I started making music with electronic equipment in the first place, I can compose and pity myself at the same time. Last Sigh: When performing live, The Protagonist consists of three people. Could you tell us something about your two fellow musicians, and to what extent they are involved in the writing and recording of material. Magnus: Marten Sahlén
on kettle drum is a friend I got in contact with when I moved to Stockholm. He plays drums
in a rock band, so when I tried to realize a live show I asked him if he was interested.
We rehearsed a couple of times, and considering the fact that it's hard to learn other
people's music, he got into it rather quickly. Marcus Ohlsson, who plays
the cello, contacted me and offered his services after hearing my songs on The Absolute
Supper. I invited him to take part in the recordings of "Mutability" and
"Song of Innocence", therefore his participation to the live act came naturally.
Neither of them are involved in the writing of the songs. Magnus: I have acoustic percussion and cello on the album already, but of course I want the music to sound as authentic as possible. Unfortunately, it's mostly a question about money, I can't afford to hire an entire classical orchestra. The electronic equipment is the second best thing, and I try to refine my composition skills as far as it's possible. Last Sigh: At the recent live event in Waregem, you used Ingmar Bergman's film The Seventh Seal as a backdrop for your performance. Why did you choose this specific film? You also appeared on a tribute CD to the German filmmaker/anthropologist/photographer Leni Riefenstahl. How did this come about? What is your interest in film and directors like Riefenstahl and Bergman in general? Magnus: The reason for using The
Seventh Seal was to create the right atmosphere together with the music. Both Bergman's
and Riefenstahl's work is visually strong and beautiful, something that's not
common in film nowadays. I think of myself as a musical counterpart, I just use other
means to get an outlet for my creativity. I chose to appear on the tribute to Leni
Riefenstahl just to show people that anyone can appreciate her work without
sharing the political views expressed in some of her films. I let the music speak for
itself. Magnus: No, but most of today's music tend to age very quickly. I think it depends on that it's created to fit the commercial music industry. When you make something without a passion, it becomes shallow. Last Sigh: What future plans do you have for The Protagonist? Magnus: Right now I'm studying
economics and marketing. Hopefully I will be able to start my own business, writing music
for film, TV, theater, art exhibitions etc. Other than that, I'm working on a new and more
industrial side project as well as new material for an eventual The Protagonist
mini CD, which will include some new songs, some refined songs and the In
The Nursery remix. Magnus: The project is untitled at
the moment, and it's just me involved (surprise!). It's a way for me to be able to explore
some of the territories not suitable for The Protagonist. |
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