Erik Wunder, the driving creative force behind the black metal band Cobalt and gothic folk-rock project Man’s Gin, has died. Nachtmystium’s Blake Judd and Abigail Williams’ Ken Sorceron—both of whom toured had previously toured alongside Wunder—confirmed the news on social media. “I’m absolutely devastated, Judd wrote in an Instagram post. “Erik Wunder, rest easy brother. I am so grateful for our times together.” Wunder was 42.
In 2002, Wunder joined Grimness Enshroud, then the Greeley, Colorado-based solo project of Phil McSorley. They renamed the band to Cobalt shortly thereafter, with Wunder later telling Invisible Oranges, “we wanted a name that didn’t entail anything. Something basic. Something elemental. The name ‘Cobalt’ leaves room for any variety of directions.” Cobalt’s debut album, War Metal, came out in 2005. Wunder played all of the guitar, bass, and drum parts in the studio while McSorley handled lead vocal duties.
That same year, Wunder founded Man’s Gin with guitarist Clint Kamerzell, serving as the duo’s primary songwriter, guitarist, drummer, and frontman. Their 2005 EP The Rum Demos never saw a wide release but made waves in Colorado’s underground scene. Meanwhile, Cobalt signed to Profound Lore and released two more albums: 2006’s Eater of Birds and 2009’s Ernest Hemingway-inspired Gin, the latter of which dovetailed with Kamerzell’s departure from Man’s Gin.
Throughout 2009 and 2010, Wunder toured with experimental vocalist Jarboe. He recruited another member of her band—upright bassist Joshua Lozano—and guitarist Scott Edward to join Man’s Gin. Together, they put out Smiling Dogs in 2011 and Rebellion Hymns in 2013. In December of 2014, Wunder kicked McSorely out of Cobalt after the singer posted a misogynistic and homophobic screed to Facebook. He was replaced by Lord Mantis’ Charlie Fell, who Wunder had previously met while on tour with Jarboe.
Cobalt shared their final LP, the double album Slow Forever, in 2016. In a Pitchfork interview with Wunder around the time of its release, Grayson Haver Currin wrote that the band had created “blackened metal that felt more dangerous than the work of so many satan-worshipping acts steeped in fantasy and make-believe.”
