Lucifer’s Aid interview: ‘Something private transforms into something universal’
Lucifer's Aid (Photo by Dan Limani)
The Swedish act Lucifer’s Aid is a solo project founded in 2016 by Carl Nilsson, who was also involved with Lithium and The Operating Tracks. Since then, he has released several albums and EPs, each characterized by a fusion of EBM and Dark-Electro. With the new Lucifer’s Aid album “Enter And Exit”, Nilsson embarks on a fresh chapter, driven by the determination to sound different from his earlier work.
While EBM and Dark-Electro remain the foundation of his compositions, he also experiments with other influences, enriching the overall sound. In my opinion, this more freestyle approach is a great success, and this new Lucifer’s Aid album, “Enter And Exit”—released on Progress Productions—is a pleasant surprise. I spoke with Carl Nilsson about it. (Interview courtesy by Inferno Sound Diaries)
Q: What was the lead-up to the new Lucifer’s Aid album like, and what were the key triggers and influences that led to its creation?
Carl: The making of this Lucifer’s Aid album was a very organic process. I didn’t start out with a clear strategy, but I knew I wanted to take the music in a different direction compared to my earlier releases. Most of the time, I begin with drums or a bass sound—for me, the interplay between rhythm and bass is the foundation of everything I do. From there, I keep experimenting, trying out different ideas over and over until something really sticks.
Along the way, I always end up with a lot of drafts, sometimes almost fully finished songs, before deciding which ones to pursue. For “Enter And Exit”, I had around 30 tracks in rotation at one point. In the end, it’s usually certain details or a particular feeling within a track that makes me want to develop it further.
As for influences, it’s difficult to pinpoint any single source. I have a very broad taste in music, and I think that naturally finds its way into my own work. It may not always be obvious, but different elements from different genres subtly shape the sound and direction of this Lucifer’s Aid album.
Q: You’ve described “Enter And Exit” as your most personal work to date. Could you tell us more about that and the meaning behind the intriguing title?
Carl: I’ve often written lyrics about the world around us, but this time I turned inward. The songs on “Enter And Exit” are more personal, reflecting not just my thoughts but also the wide range of music I listen to.
The title itself carries that duality: ‘Enter’ represents the sound of my earlier albums, while ‘Exit’ points toward the new direction I’m seeking. I don’t want to repeat myself album after album—I enjoy exploring new sounds and new ways of producing. What the songs are truly about, though, I prefer to leave open for the listener to decide. That’s more exciting than me spelling out my own feelings.
Q: With this personal Lucifer’s Aid album, I often think of the range of emotions an artist channels into the music. It can feel like a form of therapy or emotional regulation. To what extent do you relate to this idea, and what does music and artistic creation mean to you on a broader or deeper level?
Carl: I think emotions naturally find their way into the music when I’m in the studio. Even if a track sounds cold or harsh on the surface, there’s always a warmth underneath that comes from my own expression. For me, making music is more than just building songs—it’s a way of processing things, almost like self-reflection or therapy.
On a broader level, I see music as a dialogue between my inner world and the outside. It’s deeply personal, but it only becomes complete when someone else listens and brings their own meaning to it. That shared experience is what makes art powerful—something private transforms into something universal.
Q: Musically, “Enter And Exit” strikes me as your most varied work so far. Was that the result of a spontaneous evolution or a conscious decision? Could you tell us more about the musical content and the particular elements or dynamics you aimed to emphasize in this Lucifer’s Aid album?
Carl: I wanted to try something new with “Enter And Exit”—not just the sound people usually associate with Lucifer’s Aid. For me, it’s always exciting to challenge myself musically, and I feel I really pushed that with this album. I listen to so much more than Industrial and EBM—everything from Pop and Rock to Hip-Hop and Metal—and I think fragments of all that found their way into these songs.
One of the guiding principles during production was that no track should sound the same as the others. Albums where every song feels identical tend to wear out quickly, and I wanted to avoid that completely. Instead, my goal was to create something dynamic and varied—an album that keeps surprising the listener from beginning to end.
Q: Lucifer’s Aid is and remains a solo project. What have been the biggest challenges, advantages, and limitations you’ve encountered in composing and producing your music over the years—and specifically with this new album?
Carl: One of the biggest challenges of working solo is that there’s no one to tell me when a track is finished. I can keep tweaking endlessly—changing a synth sound or adjusting the drums until it borders on obsession. I don’t think I’ll ever be 100% satisfied with my music, but maybe that’s also the driving force: the idea that it can always be improved.
At the same time, that freedom is one of the greatest advantages. I never have to compromise or adjust my ideas to fit someone else’s vision. The process can be long—I often listen to tracks over and over, on walks or while driving, letting them rest for a few days before hearing what still feels missing. Eventually I reach the point where I know it’s time to send the Lucifer’s Aid album off for mastering. That’s the moment when I have to accept it as finished, even if part of me always wants to keep shaping it.
Q: How do you manage to translate all that energy from your music onto the stage when performing solo? Have you ever considered bringing in additional live musicians?
Carl: The music itself gives me enormous energy on stage, and of course a lot of it also comes from the audience. There’s something about stepping onto a stage that allows you to shift into another role—you channel a different side of yourself. That transformation is an incredible feeling, and it’s what makes performing so powerful for me.
Playing live as Lucifer’s Aid, a solo act, is both rewarding and challenging. On one hand, I really enjoy the independence—it allows me to fully embody the music without having to compromise. But it also demands careful preparation. I have to think in detail about which elements to play live and how to structure the performance so it doesn’t clash with the physical energy of being on stage. It’s almost like designing two parallel shows: one technical, one emotional—and then merging them into a single experience for the audience.
Of course, the idea of adding more musicians has crossed my mind. Being two or three on stage creates a special interplay and chemistry that can’t be replicated alone. But Lucifer’s Aid has always been a solo project, and that’s also part of its identity. For now, I embrace that challenge—making a solo performance feel just as intense and alive as a full band.
I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.
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