What inspired you to first start making music? And how did you come to be in your current incarnation? Or if you prefer, a brief bio about you.

For a few years I imagined Surmland Sound Science to be a really grand thing. I wanted to do a bit odd and artsy things live, that could be remembered. That idea did not go so well. So… Surmland Sound Science is actually just me, but also a bit like a fictional station. Imaginary scientists, under the ground. Lo-Fi, fantasia, therapy. I’m very inspired by the technicians and engineers of the Abbey Road (former EMI) Studios in the earlier years. I mean, the ambitiousness and the whole dress code thing… so, so, attractive. I could watch pictures from that time for days.

Provide us with some info about your latest release…

My latest release is a single called Efficacy Trial. Usually, as well as in this case, my creative process is a bit intense. I actually just start, without any ideas at all, then the impressions shows the way. 72h later I normally publish it. This is my way to feel alive, creatively, and I always try to avoid to make sure, soundwise. This whole hit the studio for two hundred years and record an album type of bullshit ain’t for me.

Efficacy Trial is kind of a druggy, repeat-o psych/kraut mantra, which was a wide treat to create. The B-side, Side Effect, is a bit more restrained. I chose to call it that for reasonable reasons.

Which ones would you consider your main influences both music-wise & non-music-wise?

My go-to-god number one is Anton Newcombe, I could never praise him enough. Jocke Åhlund is also important to me in this context. They’re both very, very, crucial for my formula. Also the big beat stuff, Fatboy Slim and The Chemical Brothers. There’s a lot more, of course. Non-music-wise… well, chemistry. I don’t get it, at all, but I mean like the language, the equipments, the way everything looks and sounds… goosebumps. I love medium-strong beer and fidelity as well.

In what way does your sound differ from the rest genre-related artists/bands and why should we listen to your music? In other words, how would you describe your sound?

Well it doesn’t. But I think every sound is done, pretty much. I’m more in to how creators make an effort. Aesthetics is very important for me. I find the whole idea about genres a bit vague too. Surmland Sound Science is an imaginary laboratory, not necessarily this traditionally band that represents a specific genre. The whole concept is very unpredictable, which hopefully produces curiosity, at least that’s the idea. Sky’s the limit, if even that. I think it all gets more inspiring with that kind of mindset. If I’d like to record ten hours of a synthesizer arpeggio loop with someone practice playing a cello, I can do that. And this whole thing about to sound differ, I actually think you should be honest and credit your influences. Cause most likely your influences get your own things going, at least that’s the truth in this specific case.

Please name your 3 desert islands albums, movies & books…

Well of course this is a hard one… but, maybe… or maybe not…

Anthology 3 (The Beatles)
Don’t Get Lost (The Brian Jonestown Massacre)
The Perfect Prescription (Spacemen 3)

Phantom of the Paradise (B. De Palma)
Eternal Sunshine of the Spotless Mind (M. Gondry)
The Tenant (R. Polanski)

Journals (K. Cobain)
Letters to Milena (F. Kafka)
The Serious Game (H. Söderberg)

Do you prefer studio or performing live and why?

So far Surmland Sound Science is a one hundred percent studio thingy. I’m such a loser behind the knobs though. I’m just turning everything until it sounds decent, I might need to work on that. But I’m a true jammer, deep down. I love to perform live, it’s amazing. But it’s also a demanding job that requires very much. I’m actually working my way to find a reasonable set up to perform live. I’ve already told everyone that I’ll do it this year so, fingers crossed.

Is there any funny-unique story you would like to share with us, always in relation to your music ‘career’?

Most definitely, but I’m not Keith Richards or anything. Nah, fuck it.

Which track of your own would you point out as the most unique and why?

I’d like to say Wert: 19-19-19 from The Second Thesis. That EP was recorded and performed together with my best friend (Alone 1980). Track number one, Wert: 19-19-19, was the first actual jam for that session. That Juno-6… amazing. I find the track very artsy… would love to perform it live (the bass), really loud, in front of a big perpetual machine or something. Duchamp dreamy.

Would you like to share with our readers your future plans?

I did mention pretty much everything earlier, I guess. I’ll try to perform live 2020. But it will be more of a jam where I nod to unreleased, or more of non existing, stuff. I’m looking for a pair of slick shades for that perform. Elton John during the 70’s kind of stuff. That man wore some mad frames. Apart from that I’ll continue to do my thing, I’ve thought about starting my own label but I guess it’s way too early to speak about it – time, and personal finance, will tell though.

Free question!!! (Ask yourself a question) you wish to answer and haven’t been given the opportunity…

Are you for real?

I don’t know… reality is tricky.

Curated by: Christos Doukakis

Recommended listening:




Connect with Surmland Sound Science:

Instagram: @191919.jpg (https://www.instagram.com/191919.jpg)

Spotify: https://open.spotify.com/artist/5ibA1J10SCbAfMeqZw6y8t

Bandcamp: https://surmlandsoundscience.bandcamp.com