About this interview
In a 2007 interview with Ryan Minic of Ryan’s Rock Show, Thomas Erak of The Fall of Troy discussed the band’s early DIY days, signing with Equal Vision Records, touring with Deftones, and the struggles of maintaining a career in music while staying true to their artistic vision.
Thomas reflected on the band’s humble beginnings, recalling how he started booking their own tours when he was just 17 years old, often reaching out to promoters from a library computer. Early tours were full of cancellations and empty rooms, but the band kept pushing forward, fueled by their love of playing live. They saved money from local shows to fund their road trips, often coming home completely broke but satisfied with the experience. The first time they broke even on tour, they realized that sustaining a band long-term was actually possible.
He detailed how The Fall of Troy caught the attention of Equal Vision Records, explaining that the label had been watching them for a year before finally offering them a deal. Unlike many bands desperate to get signed, they weren’t chasing a record deal; their focus was always on playing live rather than worrying about industry recognition. Equal Vision provided them with tour support and a recording budget, but Thomas made it clear that they weren’t tied down to any label identity, emphasizing that The Fall of Troy was always their own entity, not a product of any company.
The conversation also touched on the difficulties of making a living in music. Thomas expressed concerns about the future, acknowledging that when you’re 17, all you need is gas money and a van—but by the time you’re in your 20s, real-life responsibilities start creeping in. He spoke about the challenge of balancing financial stability with artistic integrity, saying that many bands lose their way when they prioritize money over creativity. He used examples of one-hit wonders who got caught up in the industry cycle and stressed that he would rather never have a hit song than become a band that fades out after one moment of mainstream success.
A highlight of the interview was Thomas recounting his surreal experience touring with Deftones. As a lifelong fan of the band, he admitted that he couldn’t believe it until he was standing in front of Chino Moreno. Over time, he became close friends with the Deftones members, describing Chino, Chi Cheng, Stephen Carpenter, and Frank Delgado as genuine and supportive. One of the most surreal moments came when he was invited to play Weezer’s “Say It Ain’t So” on stage with them—a song they ended up performing around 15 times on tour. He also got to fill in on drums during soundcheck, which was a personal highlight since drums were his first instrument.
Looking at the broader music industry, Thomas had a lot to say about record labels and artist exploitation. He referenced a letter written by a former Victory Records executive, which exposed alleged financial mismanagement and questionable business practices. While he didn’t want to go on record bashing any specific label, he made it clear that he was skeptical of the industry and had no interest in being controlled by it. He believed that labels exist to make money off of artists, and while some were better than others, at the end of the day, bands needed to retain their independence to avoid being exploited.
Discussing The Fall of Troy’s creative process, Thomas described himself as the band’s primary songwriter. He compared his approach to a coloring book—he would draw the outlines of songs, while the rest of the band would fill in the colors. Some songs came together instantly, while others took months to refine. Despite their growing success, he still viewed their live shows as the core of their identity, believing that The Fall of Troy was best experienced on stage rather than through a recording.
As the interview wrapped up, Thomas reflected on the importance of longevity. He didn’t want to be part of a band that burned out quickly, instead hoping to grow naturally, much like bands such as Radiohead and At the Drive-In. He emphasized that The Fall of Troy would never chase trends or compromise their artistic integrity for commercial success—they were here to make music on their own terms.