Susanne Sundfør - The crystal enchantment

More than a decade after launching her solo career, on Monday 5 March 2018 Norwegian singer-songwriter Susanne Sundfør performed live in Italy for the first time, at the Salumeria della Musica in Milan, to promote her latest album “Music For People In Trouble” (Bella Union, 2017). We took the opportunity to have a chat with her and take stock of her songwriting, which has now returned to an evocative, intimate chamber-music sound.

MP: First of all, we want to say we're really happy and honored to talk to you and to finally have you here in Italy. It feels like it's taken far too long to see you play live, and in a sense I think your recognition has also come a little later than it should have, given you've been active for more than a decade now. Are you satisfied with what you've achieved so far, in terms of audience and acclaim?

I agree, I've been doing this for ten years and only now am I coming to Italy. I can't wait!

MP: I believe there are two significant shifts in perspective on “Music For People In Trouble”: the boldness and grandiosity of “Ten Love Songs” gives way to intimacy and romanticism in its most authentic sense (perhaps with a touch of decadence); but what really comes through most is a feeling of betrayal and disillusionment, a darker view of what “love” is. Would you agree? What does this album mean to you on a personal level?

Most of what I write comes from a personal perspective, but I try to make the themes universal, something anyone can relate to. So, in a way, it's personal and its exact opposite at the same time, if that's possible.

MP: Are we all, in one way or another, “in trouble” – struggling, in some kind of difficulty? Was it your intention to speak to anyone who feels that way?

I mean, if I were a climate scientist I'd probably say yes, but I'm not, so I'm going off what I read in the papers, and a lot of it lately has to do with the fact that climate change is threatening civilization. But I didn't want the album to be only about that, I wanted there to be a personal side too, because I think it's important to create art that reflects the state of humankind not just on a political level but also an emotional one. I guess what I mean is that being in trouble can be seen from both a collective and an individual perspective.

AB: What do you think about the use of electronic instrumentation in singer-songwriter music? The way certain sounds are woven into your music (I'm thinking of the beautiful “It's All Gone Tomorrow”) has, in my humble opinion, done a great deal to make it more varied and eclectic. How do you go about integrating it with a piano or guitar foundation?

Thank you! For me, more important than the instruments themselves, electronic or not, is creating the sound I'm looking for so I can convey what I want to say. Sometimes my message calls for a lot of electronics, other times it calls for a soft nylon-string guitar. But the message is always my priority.

AB: I've always felt that the album where you truly set a benchmark is “The Brothel”, a record containing some of the finest songs in your catalogue. Personally, I'm very fond of “Turkish Delight”. What can you tell me about this song, how did it come about? And also, what do you remember about the period when you wrote this album? Was this release pivotal for you too, in terms of sound and inspiration?

It was a really fun album to record, because Lars Horntveth, who produced the record, and I had a ton of crazy ideas and we chased them without hesitation, wide open. I was also coming off a couple of years of musical inactivity and was really inspired and ready to do something different. “Turkish Delight”, honestly, I don't remember. I did the piano arrangement and wrote the lyrics, but during production it was Lars who did most of the work.

AB: Staying on this album, I'd love to know what it was like working with Lars Horntveth, a great musician and producer from your home country.

Lars is really talented and it was fun working with him, I learned a lot from him.

AB: I'd like you to tell us about shooting the video for “White Foxes” (from “The Silicone Veil”), one of your most evocative and carefully crafted.

It was really cold and snow kept falling on my bare back, so afterwards I came down with bronchitis! But it was totally worth it, it's a fantastic video.

MP: What has your experience been so far, touring around the world?

I love it! I wish I could do it more! I love visiting new countries and meeting local people, trying new foods, seeing things that are very different from where I come from. I love traveling, and if I had the chance I'd do longer tours in more places.

MP: You apparently also hold strong views on the environment and global politics, even though your music seems to remain separate from that. Do you believe art and everyday life shouldn't influence each other too much?

I'm not sure I agree with that, I feel like I've written quite a few political songs. Anyway, no, I don't think politics should be separated from art: art can be whatever it wants, but the most important thing is that it's free.

MP: The ritual question: what's next? You've also had some fruitful collaborations with M83 and Röyksopp: are you looking for new musical partners?

I couldn't say right now, I hope I'll find some new ideas soon so I can write new music.

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