Tag: Interview (Page 1 of 3)

Ruptured World – Interview

From the first seconds of Exoplanetary, the new Cryo Chamber release by Ruptured World, I knew this was going to be a unique and incredibly entertaining album. I was not wrong. As I found out more about the man behind the project, its breadth and attention to detail became more understandable. I will preface the interview with this “about me” from Rennie’s Amazon page:

Alistair Rennie is author of the weird, sword and debauchery novel, BleakWarrior. He has published weird fantasy and horror fiction, essays and poetry in The New Weird anthology, Weird Tales magazine, Fabulous Whitby, Electric Velocipede, Mythic Delirium, Pevnost, Schlock Magazine, Horror Without Victims, Weird Fiction Review and Shadowed Realms.

He was born and grew up in the North of Scotland, has lived for ten years in Italy, and now lives in Edinburgh in the South of Scotland. He holds a first class Honours Degree in Literature from the University of Aberdeen and a PhD in Literature from the University of Edinburgh. He is a time-served Painter and Decorator and a veteran climber of numerous hills and mountains in the Western Highlands, the Cairngorms and the Italian Dolomites.

Interviewee: Alistair Rennie of Ruptured World
Conducted by: Michael Barnett

Michael Barnett: So, I want to get this stupid question out of the way first! While considering Exoplanetary for review, I felt some connections to The Day The Earth Stood Still (1951), googling it to make sure I had the correct title, I notice the main star is Michael Rennie. Any relation?

Alistair Rennie: That’s a great question! Unfortunately, the answer is no, we’re not related. Though my dad used to claim that we were. There’s a good chance I could be related to the alien Klaatu, however. The true star of the film.

Michael: On that same topic, what were some of the foundational influences on this project? Did you get inspiration from some of those old sci-fi films, like the one aforementioned?

Alistair: Yes, I did, as well as from elsewhere. I think it started off more influenced by 80s classics like Alien and John Carpenter’s The Thing, at least at the stage of writing, and with a strong Lovecraftian influence, too. But, when it came to recording, the older archaic broadcasting style came out in a very spontaneous and natural way, and I liked the way it blended unusually with the more modern electronic soundscapes and drones of the music.
Films like Them, War of the Worlds (also the musical version) and Forbidden Planet, and also the kind of narration you sometimes get in the old Hammer Horror films – they’re definitely in there.

Michael: Before we get into your new album on Cryo Chamber, I thought you could tell us a bit about the writing side of your artistic journey. I am looking forward to reading BleakWarrior, which seems like it will be quite the tale, if the review snippets in your promo are any indication. I will assume the majority of readers here will be aware of your music before your writing. Would you like to tell us a short description of BleakWarrior in your own words?

Alistair: It’s a tricky one to describe because it was very experimental and incorporates a range of influences, including Sword and Sorcery, Manga/Anime, Cyberpunk, Elizabethan Revenge Tragedies, Ancient Greek and Celtic heroic verse, violent westerns, Classical Chinese Literature. It’s an attempt to blend the extremes of pulp and literary elements of fiction and turn them into something that combines sensationalist sex and violence with metaphysics. I tend to describe it as sword and debauchery, though that downplays some of the more philosophical content that might be in there. In some ways, it’s also a study of what happens when we act or exist outside of a moral framework. If I were to summarise it in strictly generic terms, though, I’d call it dark weird fantasy, with significant SF and horror characteristics thrown into the mix.

Michael: Is the world in this book something that you would think dark ambient fans will find interesting?

Alistair: Without wishing to be presumptuous, I think so, yes. There are some very dark elements to the story and its characters. It’s very bleak, as the title suggests. But there’s also some over-the-top mayhem and humour that’s more black metal than dark ambient. There are also parts of the novel that focus on the natural world and ideas relating to the metaphysics of physical nature, which I think is clearly a theme of dark ambient music on a number of levels. You can see that with many of the artists on the Cryo Chamber label.

Michael: Would you like to tell readers a few recommendations in case they are interested in reading your other works?

Alistair: I think dark ambient fans might be interest in what’s been called New Weird fiction and, in particular, in an anthology called the New Weird which features a chapter from what later became BleakWarrior. It’s a ground-breaking anthology in many ways and features writers like Michael Moorcock and Clive Barker, Brian Evenson, Michael Cisco, Jeffrey Ford, Jeffrey Thomas, KJ Bishop – authors who, I think, would be interesting to fans of dark ambient.
In my own case, I have a story that’s coming out later this year in an anthology called Mechanical Animals to be released by Hex Publishers. The story I’ve contributed, called “The Island Brushed By Ghosts”, is set in the northwest of Scotland and deals with subjects pertaining to the nature of existence, as well as nature itself. It’s more cerebral and less frenzied than some of the other stuff I’ve written. If you prefer the mayhem, though, I had a recent story in an anthology called “DOA III” which was released by Blood Bound Books. It’s a sort of surreal slash horror SF far future story. Very dark! But also with elements of humour.

Michael: Which came first, your fiction writing or music production?

Alistair: That’s a very good question in the sense that they kind of evolved together. Music came first in terms of actually creating songs, finished works, as it were. With writing, I started off writing song lyrics and poetry. Fiction, writing stories, came much later, in my late teens, and writing stories that were actually completed and presentable came later still. But I believe that there’s a very close connection between music and writing, which is stating the obvious, really. Often, with writing, you’re striving to find harmony and rhythm, not only in the prose, but in the proportions of the story-telling, the narrative itself, to create a unified organic whole out of something (language) that is essentially chaotic and uncontrolled. Music does that, but with sounds instead of written symbols and utterances. And, of course, language itself is inherently musical.

Michael: How have these two elements been able to come together for you in the Ruptured World project? Did it originate as a story idea, or was it always meant to be this spoken-word blended with dark ambient format from its inception?

Alistair: I think what came first was the idea of using radio transmissions – which I find to be deeply mysterious, an area of activity where the technology and mystical elements of nature come together within the context of sound. I’ve always been fascinated by radio, especially by short wave radio. I remember when I was younger, before there was an internet or even home computers, I used to tune into voices and music from other parts of the world and found it incredibly exciting and amazing to be able to tap into the atmosphere of other countries. It still fascinates me today, even while it has been dramatically superseded by the internet.

Michael: Have you worked in other styles of music, or is Ruptured World your first foray into the musical world?

Alistair: I’ve been involved in music since I was twelve years old. I started off playing in a punk band and later played in an indie band that was fairly well known locally in the north of Scotland. And I also grew up playing folk music, which is not uncommon for musicians from Scotland, where there’s a very strong and innovative folk music scene. But, alongside all this, and right from the start, me and one of my friends had formed our own music project, which is very much the origins of what is now Ruptured World. We were influenced by bands like Bauhaus, the Virgin Prunes, the Cure, the Birthday Party, Japan and David Sylvian. There was just the two of us. We couldn’t find a third band member who shared the same tastes or ideas as us, so we couldn’t do a standard three or four piece thing. So we improvised. I had a Casio keyboard and we had guitars. We used all sorts of other things to generate noise, everything from biscuit tins to crash helmets, often using our voices as sound effects. And we also did spoken word. I still have old recordings on cassettes. More recently, we revived some of our old songs, did new versions of them using the technology of today. It was wonderful. The music is dark, sometimes haunting and melodic, but also low-fi and deliberately crude and primitive in terms of sound and style.

Michael: You performed all the vocal parts on Exoplanetary, and I assume Frontiers of Disorder as well? I, personally, love your vocal performance on these albums. Have you heard things like this in the past that inspired you? Or is this an idea you came up with to combine your loves of music and storytelling?

Alistair: There are definitely precedents for combining narration and music that have no doubt influenced me. There is nothing I can point to directly as an influence in this particular case. But I think War of the Worlds is certainly there, and audio recordings of poetry I’ve listened to over the years. And some of David Sylvian’s music where music and spoken words are combined. I also recall an old album a friend of mine had, one of those Dungeons and Dragons albums they used to produce, where a D&D story is narrated alongside the music. When you hear music and storytelling done together, I think it’s a very natural combination and, indeed, one that occurs every time we watch visual narratives realised in film. We forget that film is also an audio as well as a visual medium. I suppose, in many ways, that’s what Exoplanetary aims to be – a narrative and soundtrack conceived as a film but rendered and delivered through the medium of sound only.

Michael: Will you be continuing to work in this format on future releases?

Alistair: Yes, I think that’s a certainty. It’s a fascinating and extremely enjoyable challenge to integrate the musical and spoken word elements together. And trying to find ways of delivering the spoken narration, and do so effectively, is an extremely enjoyable if often difficult thing to aim for. And, being a writer, for me it’s just the obvious and natural thing to do, I think.

Michael: On the technical side, do you prefer working with digital soundscapes or do you incorporate modular synths or other such equipment into the mix?

Alistair: I tend to work principally with digital soundscapes combined with live materials gained from different sources and approaches, often through sampling where I take live recordings of instruments or objects and sounds derived from various places, and using them all as part of the digital tableaux. I have a very experimental approach, often unconventional, which is also true of my writing, and I try to explore those areas which are off-piste, as it were.
One approach I’m seeking to develop now derives from an interest I have in ideas relating to the “genius loci” or spirit of place. This is a literary term that, among other things, refers to the specific conditions or essence of a particular place or geographic location. I’m looking to do live recordings in specific locations using instruments and devices channeled and amplified through conventional hardware, then integrated into the soundscape of the purely digital environment. So, it’s trying to take the essence and evocation of a particular place and preserve it in the alternative digital universe, as it were. Not an easy thing, but something to aim for!

Michael: If you used many field recordings on Exoplanetary, what was the process like capturing these sounds? Were you able to work with some sound banks or did you take field recording expeditions?

Alistair: I use only field recordings, precisely for the reasons given above. It’s the fascination of the specificity of the sound and the particular place or conditions in which it was conceived and recorded. The active participation in the process from start to finish has a strong fascination for me. Not that I don’t think sound banks are useful. They are a valuable and viable resource. And, for me, the rule is to use anything and everything that works for the creation of the sound or music, so a certain magpie instinct is necessary for gathering sounds and adapting them to the creative process. But, in my own case, the fascination requires me to follow the goal of capturing a unique essence and trying to integrate it into the overall composition. I suppose that might sound somewhat airy fairy! But I think anything that injects your music with an additional sense of purpose is worth pursuing. It will ultimately lead to better results in being driven by the conviction of an established methodology.

Michael: You’ve mentioned previously that you are an avid climber, it seems you’ve reached the summit of a good number of mountains around the world. Do you have a particular love of nature or is this more a physical drive for you? Do you think these excursions in nature lead to a deeper understanding of this dark ambient genre?

Alistair: The love of nature I think is the overriding passion, but I also relish the physical contact with the natural world and the physical effort it requires of you. Walking in mountains, in heightened terrain that changes your visual perspective of the world, is exhilarating for all sorts of reasons. You see the world, quite literally, in a different way, in the way it actually is. You see how the contours lie, how the habitable spaces are often actually small pockets or strips of land surrounded by hostile terrain. The close contact with weather conditions is always a great source of inspiration for me, and also the fear you feel when you’re faced with raw nature.
And I think these are facets of our experience which are very much at the heart of the dark ambient coterie of themes. Importantly, dark ambient doesn’t deal solely with the beauty and spiritual amplitude of nature, which are ably and admirably covered by many artists in the ambient and new age genres, for example. Dark ambient has a preoccupation with the more menacing aspects of nature, with its innate power and mysterious forces which, while crudely scientific, are nevertheless suggestive of something greater. And I think this is where we receive a sense of awe that causes us to look on nature with a primitive response we cannot summarise in words. Hence, we resort to music and sounds as a means of expressing it, which is very much the territory of dark ambient.

Dark ambient has a preoccupation with the more menacing aspects of nature, with its innate power and mysterious forces which, while crudely scientific, are nevertheless suggestive of something greater.

You find in old mythologies that humans, when confronted by gods, must shield their eyes because, if they don’t, they will be driven mad by the beauty and terror of the deity they look upon. I think dark ambient is a form of music that dares to look upon the gods and seeks to reiterate what it sees through the language of sounds.

Michael: What would be your dream project? If you could secure funding for any sort of project?

Alistair: It would have to be something that combined music with landscape. The Austrian musician, Manu Delago, recently led an expedition of 7 musicians into the Alps where they recorded music to be made into an album and film, called Parasol Peak. They recorded songs acoustically as they ascended through the various stages of their journey, and the results are incredible. So, doing something similar, but using electronic means of music production, would definitely be a dream project for me. And, to be honest, I don’t think it would require a huge amount of funds, so I may well go for it sometime soon! The problem would obviously be the need to generate power for electronic devices, but I’m sure there’d be a way.
Musician Paul Winter did a similar thing when he recorded music for an album in the Grand Canyon back in the 1980s. He and his musicians rafted down the river to find a spot to record music that would capture the echo generated by the canyon walls. Again, I would like to undertake a similar expedition with the objective of creating an electronic dark ambient extravaganza!

Michael: I’ll end on a bright note, how do you imagine Earth to look 100 years from now?

Alistair: Rain, rain, nothing but rain. Lots of gloom. No sunlight. Humans will evolve into vampires. A bit like Scotland during the summer, really.

Michael: Thank you very much for your time Alistair, I’ll leave the last words to you!

Alistair: Thank you, Michael! It’s been great to be in This Is Darkness. I very much wish you and your readership a prodigious abundance of lasting wellness!

Alistair Rennie’s Links

Ruptured World
: Official Website, Facebook,
Bandcamp (Exoplanetary)Bandcamp (Frontiers of Disorder)

Alistair Rennie’s Publications
: Official Website

Frédéric Arbour of Cyclic Law / Visions – Interview

Frédéric Arbour is probably one of the most important people in the dark ambient scene. Since the early 2000s, his record label, Cyclic Law, has released some of the most important and influential dark ambient albums in the history of the genre. Though, Arbour himself has always seemed to be one of the most quiet voices within the genre. Along with running the label, Cyclic Law, Arbour creates music in various projects including: Havan, Stärker and Instincts. His other project, Visions, has just released a brilliant new collaborative album with Phurpa, entitled Monad. So, now seemed like a great time to catch up with him to find out more about Visions, his collaboration with Phurpa, and the Cyclic Law record label’s past & future. Enjoy!

Interview with: Frédéric Arbour [See end for links to his projects and label.]
Conducted by: Michael Barnett

Michael: First I’d like to talk a bit about your new album Monad, a collaboration with Phurpa. After your last two releases as Visions, you decided to take a break from the project. Was this release with Phurpa aligned with those plans, or did this opportunity come as a surprise, changing your plans?

Frédéric: I guess it was neither a surprise nor planned. I had put Visions on hold for an indefinite period to focus on Stärker and Havan and a few other collaborations I have also been involved in, and this past year I felt I had to rethink my approach and sound and decided to focus on Visions again and go forward with new ideas.

Michael: How long have you known Alexey Tegin? How soon did you decide that you would want to collaborate with him and the Phurpa project?

Frédéric: I have known of Alexey since 2002 from a release under his own name titled Gyer. Also, having been close to Tibetan ritual music for many years prior, his unique take on this tradition immediately resonated with me. We were in contact some years later, and we were able to finally meet in 2014 while I was hosting a Cyclic Law night in Moscow, where Phurpa closed the evening. Alexey was also kind enough to invite us to his home and ritual chamber. We have since kept in contact, and have also released 2 other albums by Phurpa through Cyclic Law.

Michael: Did Visions and Phurpa come together in a studio setting to create Monad, or was this done electronically between Germany and Russia?

Frédéric: It was done through exchanging ideas and audio files electronically. Alexey sent me mantras which had specific intents, that I then processed and merged into what became Monad.

Michael: Were there set guidelines for your individual roles (i.e. Phurpa does all percussion, Visions does all drones), or was it a more fluid process?

Frédéric: It was quite fluid, there’s chants and percussive elements from both Phurpa and myself. I layered the drones and atmospheric elements throughout, and also did the final mixing and mastering.

Michael: How did you decide on Monad as the title for the album, and I assume the theme of the release as well? Should we assume this to be the Monad of Gnosticism?

Frédéric: It would translate to the totality of the whole, and its source, and the channeling of this primordial force.

Michael: Obviously, Phurpa is a very spiritually oriented project, backed by the strict adherence to the beliefs that Alexey Tegin holds. Would you consider Visions to be an equally spiritual project, or do you seek to harness more abstract ideas?

Frédéric: Spiritual, most definitely, with a strong dose of abstraction. At its etymological roots, the word abstract relates to being “withdrawn from worldly interests”. This is where Visions stands.

Michael: How did the similarities/differences in the religious/world views between Visions and Phurpa play into the creation of, and energy behind, this release?

Frédéric: Let’s just say that we both channel and explore the same currents through our musical means; and this is how / why our paths crossed and we’ve come to this collaboration. The result and energy it emanates speaks for itself.

Michael: With Monad released, will Visions continue to be a main priority for the moment or will you allow it to patiently lie in wait for your next inspiration?

Frédéric: This release is a prelude to the new album coming early next year, I’m working on new material that is soon approaching completion.

Michael: Let us turn the attention now to your role as founder and main operator of the Cyclic Law record label. In a word, how are things going at Cyclic Law at the moment?

Frédéric: Things are good, there are quite a few titles planned for the rest of the year and well into 2019.

Michael: You’ve recently made a huge move, transporting the whole Cyclic Law operation from Canada to Berlin. Would you care to speak any on the reasons for that move? How are things in Berlin, so far?

Frédéric: I’ve known for many years that I would at some point move to Europe. I’ve been traveling and touring Europe yearly for over 20 years now, and have always felt more at home on this side of the Atlantic. Berlin was a more strategic choice in terms of ease of relocation and for its very active cultural landscape. Things have been quite good for me as a whole here. I’m definitely glad this move came to its conclusion.

Michael: Obviously, during the previously mentioned move, the label’s output was a little slower, though it has considerably increased in the first half of 2018. Will you be planning to keep things moving at this pace for the near future?

Frédéric: Yes, moving took some adjustment, but 2017 and 2018 have been quite active with very interesting releases coming my way, and there’s quite a lot in the works.

Michael: I haven’t read any previous interviews with you, so I thought it would be interesting to hear a little bit about the start of Cyclic Law from your perspective. Those first few years, releasing the first handful of albums which ended up having such an impact on the dark ambient genre. What were your feelings starting up the label?

Frédéric: Well things started around 1998, when I purchased my first synth to create what became the Instincts / Bustum The Mystery Visions album, and subsequently what established Cyclic Law as a label in 2002. In those years, I had met Svartsinn, Northaunt and Kammarheit through the mp3.com platform. Things evolved from there, with the release of the Nord Ambient Alliance compilation and then releases by Kammarheit, Sophia, Svartsinn etc…

Michael: Did you have any intentions of still doing this almost two decades later?

Frédéric: Well you can never predict where things will lead you. But, my intentions to push this forward as long as it feels relevant have been there from the start, and I hope I can keep doing this for some time still. Things change, but the music still speaks.

Michael: Do you have any thoughts on the dark ambient genre as a whole, with the emergence of things like Spotify, Youtube, and too a lesser degree Bandcamp, that make it easier for listeners to absorb massive amounts of music, but harder for invested labels to pay the bills.

Frédéric: Well these are 2 things, content vs form. As for content, well the genre has evolved and I’m still surprised by some of the quality and craft some artists deploy. Even after all these years, there are still new ways to interpret and approach this genre. As for form, well yes, there’s a lot of material out there and for someone diving into this genre today the scope is overwhelming. Album sales are fluctuating and the streaming reality is what it is. We just work with the means we have and keep pushing forward.

Michael: Many people have quite rigid views on their favorite genres of music, whatever they may be. Do you see a great new horizon ahead of us, or do you think the golden age of dark ambient may already be in the rear-view?

Frédéric: Most musical styles have had their “golden age” and now it is through convergence of styles and ideas that things evolve. I’m okay with this for the most part. Classics will remain classics, yet there are more classics to be made.

Michael: The reemergence of vinyl has left its mark on dark ambient, as it has on most other genres right now. Cyclic Law got into the vinyl releases early on in this trend. For you as a label head, what are the ups and downs of vinyl?

Frédéric: My initial goal with the first releases was to give the CD format the aspects I had enjoyed of vinyl, the smell and feel of heavy cardboard, inserts, gatefold sleeves etc… this was at a time when vinyl was almost out of the picture. Yet, we were releasing vinyl back in 2003, before this “comeback” of vinyl. Now we can offer both CD and vinyl, and even cassettes. So, it’s interesting to be able to present all these formats. I maybe secretly miss the 8-track cassette days of my youth.

Michael: You played a big part in the startups of Kammarheit, Northaunt and Svartsinn. You found Psychomanteum, the first released project by Robert Kozletsky, now best known for Apocryphos, while he was still in college, only beginning to even realize his own talents. The list could go on. Do you have your eyes set on any artists right now that you think are incredibly talented which haven’t yet gotten the recognition they deserve?

Frédéric: Well yes, there’s always this aspect of running a label, to push the more established acts as well as unearth newcomers that one feels must be heard by a wider audience. Recently, Shedir from Italy has had a big impact on me, as well as a few others yet to be released: Cober Ord from France, Kristian Westergard from Norway, Purba from Russia, O Saala Sakral (ex Hadewych) from The Netherlands and more…

Michael: What can we expect the future to hold for Cyclic Law, business as usual, or any surprises on the way?

Frédéric: Well business isn’t quite usual here. There are definitely some surprises. But, I’ll have to keep the suspense for now.

Michael: Thank you so much for your time, Frederic. It’s been a great pleasure getting to pick your brain!

Frédéric: Thank you Michael, and for all your work. Your platform is a haven in a sea of insignificance.

Links
Cyclic Law: Official Site, Facebook, Bandcamp
Visions: Facebook, Discogs
StärkerFacebook, Discogs
HavanFacebook, Discogs

Mortiis – Interview (Era 1 focused)

 

Mortiis is hailed by many/most as one of the greatest originators of the now greatly expanding dungeon synth genre. His Era 1 releases considered classics, and highly sought out by the dungeon synth community, as well as by fans of the Cold Meat Industry label, in general, which was home to Mortiis Era 1. With a new round of concerts featuring Era 1 material, a re-issue of his book ‘Secrets of My Kingdom’, and re-issues of many Era 1 albums, it seemed like a great time to have a conversation with the man behind Mortiis and pick his mind about the new book, his re-emergence within the Era 1 context, the Cold Meat Industry 25th anniversary festival and more!

Interviewee: Håvard Ellefsen a.k.a. Mortiis
Conducted by: Michael Barnett

Michael: The last year or so has been pretty crazy for you, it seems. Since your re-emergence in 2015, there has been a simultaneous flow of new fans to your Era 1 material, which culminated in the recent tour and appearance at the Cold Meat Industry 25th anniversary festival. In general, how have you been feeling about all this change?

Mortiis: Good. The only regret I have is that everything should have happened sooner. Especially the release of The Great Deceiver. But a lot of shit got in the way of that, so it wasn´t so much that we were dormant or inactive prior to 2015, we were just dealing with a ton of crap in the background. All that bullshit culminated in us getting rid of some, let´s say, obstacles in the “organization”, that had been wasting a lot of our time, especially in the couple of years leading up to the release of The Great Deceiver. From that moment on, you could almost physically feel the shifting of gears and actual forward movement.

Michael: More specifically, are you pleased to see your old work coming back to prominence so many years later?

Mortiis: To be honest I think it´s cool that people like my music, regardless of when it was made. I just think it´s cool to see people dig my stuff…I didn´t always feel this way…A few years back, I wanted people to feel the way I did, which was, invariably, that my latest music was the best…That´s not realistic, obviously. But I wanted things to be like that. Needless to say, an artist should always feel that the latest work is the best, but it´s not realistic to expect everyone else to agree.

Michael: After this round of 1st era re-issues, the touring, and the re-printing of your long sold out, and greatly sought after “Secrets of My Kingdom” book, what is next for Mortiis? Will the full focus return to Mortiis, the band, as opposed to Mortiis, the dark dungeon music guy?

Mortiis: We´ll have to see about that. I´d like to get another album out of the Era 1 style stuff, but brought into the light on current times. The band will resurface, because so much of my heart and soul has been vested into it, and the music and energy that it inspires in me, so I could never let that go.
As of right now. I am committed to a lot of shows for the rest of the year, and beyond that, I have many plans and ideas, and I´ll just reveal that along the way, when the time is right, haha!

Michael: Your own music aside, what are your feelings on this huge re-emergence of dungeon synth?

Mortiis: It sort of happened in my absence, and I wasn´t really made aware of it until I peronally came to terms with my musical past, which I had a lot of personal issues with up until about 2-3 years ago, when my mind became less foggy and judgemental about it. By that point, it seemed to have been growing to a decent size…It´s interesting that its happening now. Because, I don´t think my reissues had anything to do with this emergence. I think it´s a monster all on its own, so to speak. So it would appear it´s really just a very cool coincidence. I still haven´t been able to check out a lot of it. Although, I have done shows with projects like Old Tower recently, which sounds pretty cool me.

Michael: You’ve marked your stamp of approval on several recent dungeon synth releases, including Machina Coeli’s Gnosis, and at least one other that escapes me at the moment. I’ve also seen your name in the “thank you” sections of many artists’ albums. What do you think your position is within this new dungeon synth community? Are you keeping an eye on new projects, or do you mostly ignore these trends/communities and focus on your own work?

Mortiis: I don´t ignore them, I´m just not as good as I should be on checking them out. It´s all about lack of time really. I´m pretty swamped at the moment, and have been for some time… I see the forums online and I notice a lot of these names. So, I think a good portion of what´s out there, at least I´ve seen their names around, if nothing else. As for my position, I don´t know, I don´t really want to speculate in that. And, it´s not really up to me anyway, to place myself in any sort of hierarchy. If that makes any sense. I think I´m well respected by most people into dungeon synth. Although, I remember one douchebag being very personally offended at me for posting in a forum that was for French DS people only, which I missed. He got all worked up about it. Maybe he hoped for some sort of response. He never got one, so he was probably punching a screen somewhere. Hopefully it broke.

Michael: If you had one piece of advice to give new dungeon synth artists, what would that be?

Mortiis: Don´t post on French DS forums, haha! Nah, the French are OK, except this one dude, haha! To be honest, I´m not a DS expert, I don´t have it “all figured out” or anything. When I started out, I took a lot of shit for being an outsider visually, and making music that was hard to pigeonhole, so my best advice is to just keep at it. If it feels right, then let the world burn, fuck the critics, be yourself.

When I started out, I took a lot of shit for being an outsider visually, and making music that was hard to pigeonhole, so my best advice is to just keep at it. If it feels right, then let the world burn, fuck the critics, be yourself.

Michael: I mentioned earlier the CMI festival. How was that experience for you? Was it surreal to come back together with so many of these people from your formative years?

Mortiis: It was cool to meet guys like Tomas from Ordo Rosarius Equilibrio, Peter from Deutsch Nepal and Peter from Raison d’etre, as I hadn´t met them for years. Jouni, from In Slaughter Natives, I worked with a few years ago on mastering some of my music, so it hadn’t been that long since we´d last met, but of course it is always nice to meet Jouni. The experience was cool, I mean kind of scary, since it was my first Era 1 show in about 18 years, and I was doing things a bit different than the past anyway, so in a sense this was almost like a debut show. I think a lot of people got into it, but of course CMI attracts a lot of somewhat elitist types, with very specific tastes and with strong opinions on what they like and don´t like, so I think there was a clique of guys like that that probably had no time for me, to put it that way, but I knew that was going to happen. In that sense nothing has changed since the old CMI days when I used to go out and do shows with Ordo Rosarius Equilibrio, Raison d’etre, In Slaughter Natives, and so on.

 

Michael: You have been taking Era 1 on tour recently. What are your general thoughts on live performances of dungeon synth / dark dungeon music? Do you think this is an important aspect for any musician, or is it personal taste?

Mortiis: I think it´s all personal. Either you want to go out and play live, or you don´t. I´ve gotten used to it, so I´m always up for doing a show, as long as the promoters aren´t trying to pull quickies and pay peanuts and fuck you over, but I usually catch those fuckers out before the 3rd email, so they´re goners if it doesn´t feel good. We´re done at that point.
Regardless, I think all music deserves a shot at proving itself on stage.

Michael: You’ve re-released “Secrets of my Kingdom”, now entitled: “Secrets of my Kingdom: Return to Dimensions Unknown”. How has the response to this been from fans?

Mortiis: Very good. I think people really appreciate the additional work we put into it. There´s about 100 pages of bonus material consisting of unpublished texts, artwork, interviews, and so on…The response has been nothing but positive, from where I´m standing anyway.

Michael: Are you personally pleased with the final product and working with Cult Never Dies?

Mortiis: Yes, totally. Dayal is a pretty passionate guy about the product he makes, so he really pushes to make it the best it can be.

Michael: This book re-issue, as well as the era 1 album re-issues, contain artwork by David Thierree. Are you personally acquainted with him, or did you two only work together on these releases? Will you be planning to contract him for work again in the future? Also, I wonder if you have a favorite of his re-imaginings?

Mortiis: We´ve known each other for a long time, but we only really reconnected over these reissues I guess about 2 years ago. We´ve been in pretty steady contact ever since. He also worked with me on a bunch of pieces for my live show. There will be at least one more release coming shortly, that includes his artwork, and that one may well be my favourite. Other than that, it´s a hard choice. I think the Født til å Herske artwork looks brilliant, but the Keiser Av En Dimensjon Ukjent artwork has so many hidden signs and symbols and references, it´s kinda hard not to pick that one as a current favourite.

Michael: In your interview within the new book, you mention that most of this body of work comes from your teenage years, and that you don’t fully appreciate it as much as you might like. What were the changes/arguments made that brought you to re-release this book? Do you feel that this newer version has been redeemed of any potential flaws you saw in its original form?

Mortiis: There´s the intro from the original 2001 version, that was written at some point during the year 2000, and at that point I was very disillusioned with my ’90s output. All across the board: music, lyrics, etc… That had more to do with me sinking into a depression that was deeper and darker than I realized at the time. I can see that now, in retrospect. In the interview, in the book, that I did with Dayal across several 2-3 hour phone conversations, I did probably touch upon this a lot, too. Because, it´s the main reason Era 1, to me, was locked away in some deeply hidden mental closet, and I threw away the key, just to use a worn out cliché.
I don´t think the original book was flawed, it has many things about it that I like. But the new edition is better, improved in the sense that it´s physically larger, it has more content, and I personally shed a lot of light on those days, which we thought would be interesting to the hard-core fan, if no one else. All the material was written between 1992 and 1999, though the bulk would have been written between 1992-1996, so I would have been 17-21 years of age when most of that was written.

Michael: Are there marked differences between your fan-base for Era 2/3/0 and those of Era 1? Would you say one group or another has a sort of darker mentality?

Mortiis: Not sure. I mean, if I was to point anything out, I think metal people, for a reason I still can´t properly understand, beyond the fact that they may be connecting with some sort of primal atmospheric element in the era 1 stuff, seem to like Era 1 a lot more than everything else that came after. But it´s not a rule of thumb. I get people that are fans of everything I´ve done, then I get the sort of industrial/electronic/goth person that got into Mortiis post- Era 1. It really varies, but it´s not like I could point at a guy in the room and tell you what Mortiis records he´s going to be into.

Michael: I recently discovered your 25 minute music video ‘Reisene Til Grotter Og Odemarker’. Those dark and smoky corridors and stone towers were the perfect accompaniment to your sound and your image. Would you be open to doing something like this again? Or is this something that you lost respect for over the years?

Mortiis: I didn´t lose respect for it. VENOM did shit in castles, so how can I lose respect for it? Haha! I just completed filming for a new video to be used for some Era 1 stuff down the line. It´s not in a castle, though, but it´s pretty damn dark stuff anyway.

Michael: Can you remember back to a time when these ideas of “Mortiis” first came into your mind? Were you a child, imagining these dark images and soundscapes, or did this come to you later as you began discovering black metal and the darker side of the global community?

Mortiis: The first lyrics I wrote that became the Mortiis mythology, in the summer of 1992, were all supposed to be used for a planned Emperor concept album. That never happened obviously, since I didn´t last very long in the band after that. I had sketched out a dark otherworld in those 10-12 lyrics, and I brought them all with me, because I knew I wanted to base my music around them. That´s how it got started.

Michael: Politics are on everyone’s minds these days. No need to give an affiliation or ideology, but I wonder how you generally feel about this political landscape? Will it all calm down, and life go back to the mundane boring nature of the last 30 years, or are we headed for darker, more uncertain times?

Mortiis: Well it´s steadily been becoming more and more uncertain, and increasingly hostile and violent, and we have world leaders that seem more occupied with feeding fear and stroking their own egos, than actually going to work, so as it stands right now, I don´t think it´s looking that great. I hope things will get better. I have kids, and I don´t want them to grow up in some sort of dystopian, cynical future. But when people think they can run the world like a company, with no real interest in ramifications and the ripple effects of your actions…Who knows where things will end.

Michael: Thank you so much for your time. Is there anything else you would like to tell readers, which I have overlooked?

Mortiis: Thanks for your interest. Check out www.mortiiswebstore.com for vinyl, CD, shirts and other merchandise. Thanks!

Mortiis Links:
Official Website, Facebook, Youtube, Instagram,

Teahouse Radio / Hypnagoga Press – Interview

Over the last few years we’ve seen a huge increase in the output of Pär Boström. Once known only for his oldest (main?) project, Kammarheit, Pär Boström has since created a multitude of wonderful albums, always more or less focused on dark ambient, as Cities Last Broadcast, Altarmang, Bonini Bulga, and now his latest project Teahouse Radio. Near the beginning of this recent bloom in releases, he partnered up with his sister, Åsa Boström, to start the publishing house/record label Hypnagoga Press, as well as collaborate on their first release as Hymnambulae. After my previous interview with them in 2016, not long before I started This Is Darkness, I thought it was time to catch up with the siblings and find out from Pär about the new Teahouse Radio album, and to get some general clairvoyance on the label and future releases from Åsa. Enjoy with a cup of your favorite tea and be sure to check out the new Teahouse Radio album, which you can stream in full below.

Interview with: Pär & Åsa Boström

Conducted by: Michael Barnett

You can also read our review of the Teahouse Radio debut here.

Michael: Teahouse Radio is your latest project to be released through Hypnagoga Press. Since, over the last few years you have been working on a growing number of projects, I wonder if you could tell readers what makes Teahouse Radio unique for you? How does it stand apart from your other endeavors?

PärOne intention we have with Hypnagoga Press, is creating a house encompassing all our projects. Even the ones that have been or are still brewing in the background. For one and a half decades, Teahouse Radio has served as a counter-point during a difficult psychiatric evaluation and treatment. It took me this long to decide to finally share the music. What makes it unique, for me, is how it managed to keep its roots in the children’s books I read, as a kid. A sort of honesty and naïveté that resonates well with me. Things like Narnia, Winnie the Pooh and the Moomin books have been a big inspiration for this project. There is something in those books that connects to my own early encounters with melancholia and existential questions. I don’t really have the words for it, only the music. Some would say it’s not as dark sounding as my other projects, but I would say it has some of that as well. But more than anything, it has a different form of melancholia and dreaminess.

Michael: How long have you had the idea to work on a Teahouse Radio album?

Pär: The oldest songs on this album are from 2004, maybe a bit earlier than that. But, I can’t recall exactly when and how it started. One day it was there. A new friend you feel like you’ve known forever. I don’t know if I had the intention, initially, to publish an album. All my projects start this way. Something personal, a place to visit for as long as I need. Somewhere along the way, I invite people to take part in it. Then, the music sets out on an adventure of its own, becoming a part of other peoples lives, as well.

Michael: Can you tell us a bit about the process behind creating the Teahouse Radio debut, Her Quiet Garden?

PärIn 2016, I stayed in my sister Åsa’s old summer house and guest studio. My intention was to make an album, using a semi-acoustic guitar and a few effect pedals. I often do this, bring equipment with me somewhere secluded. It was supposed to be a singer-songwriter thing. Early on, I noticed that what I was making was similar to what I had already been recording as Teahouse Radio, years before. I had a notebook with me to jot down technical details about chord progression, lyrics, etc. Instead, immediately it turned into a studio diary, with reflections on what I was making. I wrote about my cat Kosmos who had passed away three years earlier, picturing her in this peaceful, dreamy garden. As I was sitting in the rocking chair listening to the new recordings, I wrote about the weather, the bumblebees and about loss, in general. About mental illness. Somewhere in those notes, the album began to emerge. Half of the songs had been recorded sporadically since 2004. The rest were created during a few days late that summer, in that idyllic countryside setting.

Michael: Hypnagoga Press, the label run by Åsa and yourself, has focused on releasing music by your various projects. Of course, some of these projects are your solo efforts, but others have been collaborations, for example: the Hymnambulae or Altarmang debuts are collaborations with Åsa Boström and Kenneth Hansson, respectively. The new Teahouse Radio album looks to be more of a solo project, in line with Bonini Bulga or Kammarheit. Was this, in fact, a solo project, or did you collaborate with any other artists on this one?

PärTeahouse Radio is initially a solo project, but I would like to select a few collaborators further down the road. The songs on Her Quiet Garden were sent to Simon Heath, who added a few extra touches on some of the songs and mastered the whole album. I am very grateful for the way he made the old and new material blend together.

Michael: Is there any specific importance behind the names Teahouse Radio and Her Quiet Garden?

PärThere was a tiny wooden house, an elk tower, in a field outside the city where I lived during high school. Due to my insomnia at the time, I sometimes bicycled there, and had a cup of tea while trying to find radio stations on a small radio I insisted on carrying with me. When deciding on names for this project, that memory came back and Teahouse Radio felt like a suitable name. As the first album is centered around loss, my deceased cat Kosmos became the main symbol. To imagine a garden for her. A calm, quiet garden.

Michael: You’ve given followers some hints about this release, over the last year or so. Was the process behind its creation similar to other albums? Meaning, do you usually use journals in this way, capturing your ideas for later translation into music?

Pär: I don’t think I’ve shared anything from my journal entries before. Not translated and shared almost in full like we did in The Solar Zine Vol.3. I often write about my music, looking closely for clues on how to best proceed with what I’m working on. Most studio notes are about changes I want to make and title ideas. But, this notebook went further. I will experiment with this on future albums, as well. To my defense I want to add, that when combining a rocking chair, a loop pedal and a summer house with a beautiful lake and garden view, there will be some thoughts running through your head. Dramatic weather only further added to the mood.

Michael: The album art for this release has an incredibly unique and surreal feel. What is the importance of this image and how was it created to have such a unique look?

PärI am constantly drawing. Strange animals, trees, figures interacting with each other or dealing with sleep in different ways. It has been like this for almost two decades. I decided early on, that Teahouse Radio should try to fill a gap between my music and these drawings. So, for Her Quiet Garden I made a lot of different paper landscapes with trees and a pond. I tried all kinds of papers to make it look like water and other transparent papers to get a fog like effect. Not many of the photos I took were used for the final artwork, but I will continue with these kinds of images in the future.

Michael: Will Teahouse Radio remain an active project after this release?

Pär: That’s my intention. The illness, the need to take a break from the world, to dream and drift, will likely never change. And there will always be the need to make music for weather and cats. Aural tales.

Michael: What does the future hold for Teahouse Radio? Do you intend to do any live performances as this project, or will it remain a studio entity.

PärFor now, I wish to remain in my studio for quite some time, before doing live performances again, with any project. I’m happy to be able to create now. I’ve had long periods of inactivity before, or have felt a big need for distance and avoidance, so I want to make sure I’m making the most of this moment. As I said earlier, I hope to collaborate with different musicians in the future. Hopefully animators and paper landscape artists, as well. Her Quiet Garden is merely the introduction.

Michael: Is there any interesting news happening with any of your other projects, currently? I’m sure you have a lot going on, but anything you are willing to share?

PärA new Kammarheit album is completed, but it might still be some time before it can be released, as it is a soundtrack and must be synchronised with a product that isn’t finished yet. I have yet another unknown project I will share soon, and then it is hopefully time for new material from Altarmang, Hymnambulae, Cities Last Broadcast and Bonini Bulga. It moves in cycles. Even with Hypnagoga Press, I feel like we’ve barely started yet.

We Didn’t Tell Each Other How Wounded We Were by Åsa Boström

 

Michael: Transitioning to label matters, Åsa, would you like to tell us what has been happening lately around Hypnagoga Press? Any new plans, projects or developments that you would like to speak about?

Åsa BoströmWe’ll open the publishing house part of Hypnagoga Press soon, and to begin with, publish some of my books. Going forward, the music label and publishing house will overlap. Literary texts, voice, spoken word will be embedded in our music publications, and our literary publications will include music components.

Onward, we’ll also be focusing more on collaborations. Recently, we made a remix for Carl Abrahamsson, featuring on an album set for release at the end of May. It also contains both music and spoken word, with Carl’s and my voice overlapping.

Michael: Hypnagoga Press has already done releases in several formats: CD, Cassette, Zine, will you continue expanding into different forms of media?

ÅsaYes, we’ll continue expanding into different media formats. Explore multimedia products – music, literature, art – as well as various packaging formats. Boxes. Hybrid products. Possibly include objects as a part of the packaging. In my art-making, one medium I work with are sculptural objects, a form of ritual objects, made from materials collected on travels. Some of this might also turn up in our packaging. We’ll also introduce vinyl and more types of fine art prints. We intend to keep the physical editions very limited.

I Had Words Left, You Found Them by Åsa Boström

Michael: So far, Hypnagoga Press has been a conduit for you and Pär’s creative output. Will there be plans to search out talent from other individuals, or are you happy to keep this a close-knit sort of personal operation?

ÅsaHypnagoga Press is mainly a space for realising our own projects. But we’re planning an outlet for collaborations with others, an imprint or a series of publications, in the future.

Michael: Hypnagoga Press is still quite a new label, with your first release being Orgelhuset in 2016, by yourself and Pär as Hymnambulae. What has the startup been like? Are you happy with the current position of things, or have there been any setbacks?

ÅsaI’m very pleased with our first music releases – the debut albums by Hymnambule, Altarmang, Bonini Bulga, and now Teahouse Radio. Projects with narrative depth, supported by interesting creative processes, and I look forward to their progression.

Hypnagoga Press will be built long-term. It’s intended as a life’s work, with our creative and spiritual practices interwoven with creating experiences in which others may take part. Our publications serve as a form of tools, also for others to utilise, forming their own path and journey. To step in closer, reach further, manifest more.

Life also interfered in our startup. I got ill, due to mold in the countryside house where I was living, in the woods in northern Sweden. A house we’d made our Hypnagoga Press headquarter, where I had also set up my own studio space and a guest studio. All of that had to be taken apart and some of our publications got delayed. Now I live in Umeå, where Pär also lives, which makes running Hypnagoga Press together easier. Forces more joined and space freed up for what’s ahead.

Prayer Book by Åsa Boström

Michael: Are there any topics you would like to tell readers about, which I haven’t mentioned?

ÅsaI’d like to add a few words about our new release by Teahouse Radio. I’ve followed the development of the project for almost 15 years now. It’s a good example of how our individual projects often influence each other. I’ve been listening a lot to Teahouse Radio while writing my novel The Seafarer, which we’ll be publishing soon. And Pär has read The Seafarer while working on Teahouse Radio. Initially, we had planned to release them simultaneously.

Michael: Thank you so much for your time, it is always a pleasure!

Pär/Åsa BoströmThank you Michael, likewise!

Links:
Hypnagoga Press: Website, Facebook, Bandcamp, Youtube
Teahouse Radio: Website, Facebook, Bandcamp
Hymnambulae: Facebook, Bandcamp

Pär’s projects reviewed on This Is Darkness:
Altarmang – Void (2017)
Atrium Carceri & Cities Last Broadcast – Black Corner Den (2017)
Atrium Carceri, Cities Last Broadcast & God Body Disconnect – Miles To Midnight (2018)
Bonini Bulga – Sealed (2017)
Kammarheit – The Starwheel (2005)

 

Matteo Brusa (Medhelan/La Tredicesima Luna) – Interview


Matteo Brusa is the man behind the dungeon synth project, Medhelan, and the dark ambient project, La Tredicesima Luna. Hailing from northern Italy, Brusa’s cultural and geographical histories have played a big part in his identity as a musician. I was able to pick Brusa’s mind for this quite extensive interview, which will look into the background of the man, as well as the beginning and future of his musical projects. 

Michael: What sort of music inspired you to become a musician?

Matteo: I’ve been exposed to several music genres since a very young age, but if I have to name those which most inspired me to become a musician, I’d say classic rock, progressive rock and electronica. I discovered Black Sabbath at age 12 or 13, while Italian 1970s progressive rock is the reason why I picked up bass at age 14. At almost the same time I discovered electronic music from the 90s, especially European trance, minimal techno, downtempo and breakbeat, and developed an interest in electronic music production.

Michael: When you realized you wanted to start making music, how did things evolve leading up to Medhelan and La Tredicesima Luna?

Matteo: As mentioned before, I grew up in a very music-friendly environment. My father was an amateur keyboards player and used to own several different instruments, among which a prized Roland Juno-106 which is now in my care. As a kid I spent a lot of time toying with them and eventually teaching myself how to play a bit of keyboards and some guitar;at age 14 I began studying music theory and bass guitar, and started producing my first raw electronic tracks on a simple tracker software. Since then I’ve tried my hand at several electronic music styles, I’ve played bass in a number of underground bands through the years, and I created my first full-fledged musical project KRiOS, active from 2006 to 2014, which started out as a industrial dark ambient/noise act and eventually grew to encompass all my musical influences, including folk, shoegazing, dreampop and electronica. The major turning point was when I came in contact with extreme metal in my teens: I was particularly impressed by Black Metal, its counter-cultural significance, Weltanschauung and aesthetics, and how these same characteristics were applied to electronic music by the likes of Burzum, Ildjarn, Neptune Towers, Mortiis and Wongraven. Black Metal derived Dungeon Synth and Dark ambient became my genres of choice, those which most resonated with my self, when I felt the urge to create something carrying a deeper, more personal meaning. At that point it wasn’t “just music” to me anymore.

Michael: Outside of music, are there any other things for which you are passionate?

Matteo: I have a solid interest in European history and culture, both ancient and modern, and in metapolitics: I’m intrigued by everything that puts our social, economic and values system, deemed untouchable by most, into question. I highly value doubt and critical thought over given truths and conformity. Moreover, I support any cause that aims at preserving differences and natural diversity over homologation, and as a consequence I’m very passionate about the preservation of rural traditions, folk lore, legends, tales and the gallo-italic native Lombard language of my homeland in northern Italy, all things endangered by the slow destruction of traditional communities and cultural identities.

Michael: How has the history of your particular region affected your way of looking at life?

Vigevano Castle

Matteo: I grew up on the border between Lombardy and Piedmont, and I have half Lombard, half Piedmontese ancestry. It’s a place rich of historical traces spanning from the proto-Celtic cultures of Golasecca and Canegrate to World War II. A land dotted with feudal age castles and keeps, still functioning abbeys and monastaries, medieval villages perfectly preserved in their core structure, churches, monuments and works of art from all over the centuries and so on, up to the modern age. The place where I was born and where I lived for 25 years, Vigevano, is brimming with history. It was part of the Second Lombard League in the 13th century. It holds a complex castle system, complete with an innovative elevated passageway, built between the 13th and 15th centuries by the powerful Visconti and Sforza feudal families, which includes one of the finest plazas in Italy. At the time, Leonardo da Vinci worked in Vigevano for Ludovico Sforza, Duke of Milan. It’s also the place where, during the First War of Italian independence, the Salasco armistice between Austria and Piedmont was signed in 1848 and where in 1849 the battle of Sforzesca was fought. In the industrial age, it flourished with the most renowned shoemaking industry in Italy and it’s still a tradition. Eleonora Duse, renowned actress and lover of Gabriele D’Annunzio, was born there in 1858. When you grow up surrounded by history like this, you can’t just ignore who you are and where you come from, which people and events influenced your ancestors, and how it cascaded to you. This is the lesson I learned from the history of my region. My roots are firmly and deeply radicated in this place, and I’m proud to collect its heritage. Sadly, the majority of people just seem not to care anymore.

Michael: When did you first take an interest in the history of your region?

Matteo: I could say it’s always been there, as I remember being a kid in primary school and listening in awe to the teacher recounting the history of my hometown, as I mentioned before, from Celts to Roman age, to Lombards’ and Franks’ rule and then to the Visconti and Sforza families in feudal age, and again from Spanish and Austrian domination to the Savoy royal family’s reign, straight into Napoleonic era and then through the First War of Italian independence towards modern age. But if I had to pick the moment when it actually became a conscious, fully developed interest, that would be in my late teens/early twenties, some time before I set on composing what would eventually become the bulk of Medhelan’s “Ticinum Insubria” album, a time when I started feeling the need to embrace my cultural roots rather than downplay them.

Michael: You have released several albums now in the cassette format. Why do you think this renaissance in cassette releases has happened and what is the most important aspect of them to your music.Matteo: As far as I can tell, the renaissance of compact cassette is mainly due to the “nostalgia factor”, to put it this way, harking back to things instantly reminding of a “golden age” of sort. While this could have been enough of a reason for reviving them in the general context of underground music and its current retro trends, I believe the return of compact cassettes holds a deeper significance to our scene: it is a powerful statement of independence from the mainstream, against the rise of dematerialized digital music, in favor of an iconic, old school, analog physical alternative. Philosophical issues aside, tape gives a recognizable sonic quality to music, a depth and warmth which is a very welcomed enhancement to certain styles of music, such as ambient.
To sum it up, I like cassettes both for how they sound and look and because of their cultural significance.

Michael: You’ve released albums now through Deivlforst Records, Lighten Up Sounds and Haftvad Records. Were these all good experiences with these labels? Will you continue working with some of them for future releases?

Matteo: I’ve had great experiences with all of them. I first got in touch with Deivlforst through Grimrik, who eventually became a friend and mentor to me, and deserves all the credit for tutoring me on taking Medhelan to “Fall of the Horned Serpent” level. I feel close to both his and Murgrind’s vision and philosophy about music and the scene, and consider Deivlforst as Medhelan’s natural home;Medhelan’s next album will be released by Deivlforst. Matt Himes of Lighten Up Sounds is a great and extremely hard-working guy, who took La Tredicesima Luna under his wing to provide it with the best presentation, promotion and distribution available. I have only positive things to say about my experience with him, La Tredicesima Luna is likely staying with Lighten Up Sounds. Finally, Haftvad was Medhelan’s first label, and a very good collaboration, despite inexperience and some difficulties not depending on either me or the label. We never did anything again together, but I was impressed by Ramin’s dedication to the Dungeon Synth scene and community.

Michael: You’ve also had several self-released physical editions, including the beautifully crafted Ticinum Insubria re-release on cassette. Do you prefer leaving these physical releases to labels or was it equally enjoyable to create the releases yourself?

Matteo: While I enjoy self-releasing and being in full control when creating the entire opus from scratch, producing and distributing it, working with a label has a number of advantages that significantly reduce workload and costs, while usually making for a more professional final result. “Ticinum Insubria” itself was kind of a hybrid, as Dan Capp did the whole design and layout work while I only took care of production and distribution. I’ll probably keep releasing both ways, but if I had to choose one, today I lean more on having a good label take care of the process.

Michael: Does religion play any major role in your life and/or music?

Matteo: Rather than religion I’d say spirituality plays a major role in my life: I follow a Celtic Pagan reconstructionist path which permeates my life and gives perspective to my music. I try to live my daily life as an all-encompassing ritual, living in the world and embracing its beauty and chaos without ever straying too far away from things that really matter, always caring for those who walked here before me, those who walk by my side and those who’ll walk my steps after I’m gone.

Michael: I know this question has already been answered in a previous interview for Masmorra’s physical dungeon-synth zine, but for those that haven’t had the pleasure to browse that edition, what does Medhelan mean, and why did you decide on this name?

Matteo: Medhelan is the ancient Celtic name of the town Romans called Mediolanum, which is present-day Milan. According to Roman historian Livy, it was founded around 600 BC by the Gaulish chieftain Bellovesus, nephew of the legendary king Ambigatos, who gathered people from several different Celtic tribes to establish a settlement in northern Italy; this particular endeavor, while based on obvious tangible needs, is also loaded with spiritual significance if interpreted as a “coming of age” quest. I picked Medhelan as my project’s name because it perfectly relates to both my love for my homeland with its rich history and my Celtic spiritual path, while at the same time it speaks of the reward coming after the struggle, and of a ritual rebirth.

Matteo: All Medhelan albums were created on software synthesizers and sample libraries only. “Fall of the Horned Serpent” is entirely recorded on Propellerhead Reason 3.5 factory soundbanks! Grimrik was able to squeeze gold out of twelve years old entry level libraries, which seems an amazing feat to me. I like to expand my sonic palette and avoid repeating myself though, so future releases will likely include some hardware synths and possibly some real instruments.

Ticino River

Michael: Some of your tracks use field recordings, I wonder if you’ve had any interesting experiences while on field recording expeditions?

Matteo: This might come as a surprise, but I actually almost never employ field recordings!The wide atmospheres swelling and rumbling underneath my songs are mostly generative soundscapes, synth drones playing dissonant chords, or stuff I create myself by heavily manipulating bits of sampled sounds, different pieces of music and such. For example, one track from “Ticinum Insubria” (I won’t reveal which one!) stands atop a completely unrecognizable sample of an alpine choir song. I like to experiment with such techniques.

Michael: Are there any new releases in the works for Medhelan? Has a label been decided for the release, which could be announced publicly?

Matteo: As previously mentioned, a new Medhelan album is in the works, albeit very slowly. It will be quite different from the previous one, and again it will be released by Deivlforst Records.

Michael: Medhelan is obviously a very fantasy oriented project, especially on Fall of the Horned Serpent. What were some of your favorite fantasy stories/mythos/sagas? Do any of them play into the works of Medhelan, or are you working within a framework totally of your own making?

Matteo: To be honest, while “Fall of the Horned Serpent” and “The minstrel’s fireplace tales” are fantasy-oriented in appearance, I’ve never considered the fantasy element to hold such a primary importance in Medhelan; for example, the story in Serpent unfolds in the form of an episodic fantasy tale, ridden with echoes of northern sagas (anyone familiar enough with the subject matter will find clear connections), but it merely serves as an allegorical means to express my views and vision of life and the world, to speak out about things I care for. While I like fantasy settings, I’m not much of a fantasy reader, besides my love for Tolkien’s whole opus, but I’m very much into epic poems and literature: my must-reads include Homer’s Iliad (Hector is a figure I strongly admire and relate to, his human virtue and flaws make his tragedy the most poignant in the whole story) and the Odyssey, the Arthurian cycle, Beowulf, von Eschenbach’s Parzival, the Chanson de Roland and more.

Michael: La Tredicesima Luna translates at The Thirteenth Moon. What is the significance of this name?

Matteo: The thirteenth moon of the year, sometimes called blue moon, is the second full moon occurring in a single month, like a “bonus” moon round. It’s an event occurring only once in a few years (hence the expression “once in a blue moon”) and it’s held by certain traditions as a time favoring divination and magick. I picked the name because of the latter implications and how they relate to La Tredicesima Luna’s concept.

Michael: How long have you had the idea to release an album as La Tredicesima Luna?

Matteo: The idea for La Tredicesima Luna first came to me in 2012. It was initially supposed to be a Pagan neofolk project with dark ambient leanings. I recorded a few demos back then, which were subsequently discarded. When I decided to split Medhelan’s ambient side from its new Dungeon Synth path, it was a natural choice to revive La Tredicesima Luna from standby.

Michael: Do both projects follow similar themes, or is there a vast difference in the thematic core of each project?

Ticino Woods

Matteo: While both take a Pagan stance in concept, Medhelan is mainly based on history, Celtic culture and spirituality handled in different ways, ranging from the simple historical soundscaping of Ticinum Insubria to the full-fledged allegorical storytelling of Serpent, while La Tredicesima Luna holds a more abstract, ritual approach focused on Pagan symbolism, mysticism and contemplation.

Michael: What is next for La Tredicesima Luna? Are you working on a follow-up to Il Sentiero Degli Dei or giving the project a momentary rest?

Matteo: The follow-up to “Il sentiero degli Dei” is currently release-ready and will likely see the light some time next year through Lighten Up Sounds.

Michael: What do you think the long-term future will hold for you musically? Will Medhelan and/or La Tredicesima Luna continue to be your main focus or do you have other ideas which you would like to explore?

Matteo: Medhelan and La Tredicesima Luna will likely remain my primary focus; that said, I enjoy making different styles of music and I constantly find new musical interests, so I wouldn’t exclude anything.

Michael: Thank you so much for your time Matteo, are there any final words you would like to say to readers or anything I missed, which you would like them to know?

Matteo: Thank you Michael for this in-depth interview. I’d like to say a huge thank you to all fans, friends and fellow musicians I could get in touch with over these years, to all people who contributed their work, dedication and criticism for making Medhelan and La Tredicesima Luna shine, and to the Dungeon Synth community as a whole, for constantly caring and supporting. I’m deeply satisfied and grateful for all that. Behold the strength of the community.

Medhelan Links: Facebook, Bandcamp
La Tredicesima Luna Links: Facebook, Bandcamp

Nhor – Interview


2017 was an interesting and eventful year for the UK project Nhor. He pushed the atmospheric element for his approach to its minimalist limit, which resulted in a quadrilogy of EPs that formed the
Wildflowers cycle. Spring, Summer, Autumn, and Winter shed light on aspects of their respective seasons not often explored in any art-form — let alone through piano ambient music. As this portion of Nhor’s existence closes out, the artist was kind enough to sit down and give some insight into the creative process, hidden meanings and personal significance of Wildflowers.

Interview conducted by: Maxwell Heilman

Maxwell: Do you have a favorite EP out of the four? Does it coincide with your favorite season?

Nhor
: I don’t think I do have a favourite, not yet anyway. They each have their own unique mood and special moment held in time. As each season approaches, I always consider it to be my favourite, but the flowering of bluebells in Spring is always a special occasion for me, and very likely a catalyst in realising the Wildflowers concept.

Maxwell: Other than the imagery, what differentiates these four releases from one another? Are there any distinguishing characteristics to listen for when listening to the EPs?

Nhor
: I suppose ultimately this is for the listener to decide. I can hear a great deal of change, but I know how I play and write music, so maybe some things are more apparent to me, especially including the knowledge of what inspired each song, and the process undertaken to convert that into music.
I think Autumn has the darkest mood. Spring represents an awakening, Summer is more hopeful than any of the others, but I won’t pass judgement on Winter yet, not publicly anyway, I’d rather people made their own conclusions about the new EP.

Maxwell: Wildflowers are the cycle’s unifying image, yet these songs never seem to directly address them. Do you have any insight into how the Wildflowers concept lays the foundation for the music?

Nhor
: The wildflowers fit the idea, of musical ideas. Wildflowers are beautiful flowers, that bloom for such fleeting spells within their own seasons. These hopefully mirror my music, which is made more of ideas and moods than it is of “songs”. These ideas hopefully fit within their own time of the year, mimicking the short spell of a wildflower in it’s given season.

Maxwell: Even in your black metal releases, piano often takes center stage (Within the Darkness Between the Starlight comes to mind). What is your history with this instrument? What draws you to it?

Nhor: I think simply, I find it very expressive. Luckily, I don’t think it requires a lot of skill to play it as I do, or coordination to press a key (which is the basic requirement of getting a nice sound from a piano, a violin requires much more coordination to make a note sound good). I don’t mean to offend any pianists, I know there are very, very accomplished pianists out there, but this isn’t what I’m trying to achieve. I’m trying to translate the mood of myself and the seasons. Also, the piano helps me to simplify my own work, and concentrate on the melodies and notes I’m working with. If there was no darkness between the starlight, would the stars still hold your gaze? I stick to that concept in giving the notes room to breath. Nothing is more fertile than the void.

Maxwell: The Wildflowers EPs have a very raw, immediate sound to coincide with the music’s delicate delivery — almost sounding like they’re being played in the same room as the listener. Care to elaborate on what the recording process was like?

Nhor: Recording is not something I look forward to. I enjoy writing music and exploring ideas but the recording can completely change my mood and take my focus away from what I was trying to create. There is a point where the recording/mixing/mastering process becomes more of a science than an art. I tend to leave a take rolling for a long period of time, to try and forget about what’s happening and let it come naturally.

Maxwell: How did you approach writing these songs? Are any elements improvised?

Nhor: I don’t really have any knowledge of music theory, so everything is just a natural progression or elaboration on an idea. I suppose everything is improvised. It’s strange to say but I can hear the melody before I’ve written it. I then spend some time chasing those notes, trying to find them, and exploring anything else I stumble upon along the way.

Maxwell: Did you find it a challenge to impart discernible structure and unique moods to such minimalist, ethereal music?

Nhor: It’s not something I have actively tried to achieve. If I have achieved it then it has been a welcome accident. I write what I feel, and try to not plan anything, or make any rules, especially not in structure.

Maxwell: These songs are incredibly vivid within their stripped-down sound. Do you have imagery in mind when you write, or does your music paint a picture for you similar to how it does your listeners?

Nhor: A lot of the time I’m drawing from a sight or experience that pushes me to play my piano. At times the music will pull old memories of my own which then create their own space or story with their song.

Maxwell: The moon is a recurring character in the cycle. What does this entity mean to you within the context of Wildflowers?

Nhor: I don’t think it’s possible to explain it’s meaning only within the context of Wildflowers. There are so many aspects of the moon I treasure. How the full moon lights the earth, how it disappears, how its light changes through the clouds, its shifting form, its silent presence above. I wrote this short passage a long time ago:

A heavy weight upon my eyes.
A confidant of secrecy.
Soft light spills over me.
It slows my thoughts,
And it calms my wild swelling heart.
I swear that it waits for me.
So profound in its solemn vigil.
Silently it serenades me.
And it knows,
It knows my thoughts;
Of my longing to return,
And of my desires.
It waits for me.
And even when it slips beyond,
I know it will return.
And I pray that when it does,
I will be taken forever.

Maxwell: Judging by your social media, you make a point of immersing yourself in nature. Do you remember a time where you realized the inspirational potential of the wilderness?

Nhor: In my art book Towards A Light that Dwells Within the Trees I speak about how Nhor started, this excerpt from the introduction should cover it:

Many years ago, as I stood beneath the stars during a cold cloudless night, something crept behind the cabin at the foot of my garden. As I gathered myself to approach, the overgrown grounds in front of me began to rustle. The cabin overlooks the forest to the East of my house, so it’s not unusual for creatures of the forest to visit. In fact, ever since this night I have taken such occurrences and crossings of paths to be a good omen. I stood waiting for the creature to re-appear for some time but it had dissolved into the night. As I moved to return to my place beneath the stars the cabin loomed in front of me. I opened its door and stepped inside to find my father’s old piano. On the top, sat his father’s binoculars and lantern. I have been told that he knew the names of every tree in the forest and each constellation overhead; knowledge that I would later find myself drawn to. I left the door open to let what little light I could in, and also in the hope that I would see my visitor once more. After lifting the piano’s lid I remember being surprised at how close its tuning was despite the weather. Then with my fingers stiff from the cold I began to slowly play. It was there that I stumbled upon two chords that ached with sadness. I played them over and over listening to how the room began to fill with their song. I could feel the atmosphere within the cabin changing, beginning to flow out of the door and into the starry skies above. Today though, I wonder if it was in fact the wild night making its first tentative steps towards my side. One thing I do recall clearly is how the two chords sang out like the stars above. Their pale notes hung in the air, painting the room with their light; as if the stars themselves were softly appearing within the darkness around me. It was there that I found Nhor, it was in this moment that its all began.

From this, I became drawn further and further in the forests and woodland that surrounded where I live, becoming obsessed at times. This has been the case for many years now. Nhor is really an extension of my life, I’ve been inspired greatly by my surroundings, and they have helped shape me, and also helped me to answer many questions about who and what I am.

Maxwell: With the Wildflowers cycle coming to a close, how do you feel about the past year of the Nhor project in retrospect?

Nhor: I had a clear idea in mind, and I feel that I’ve achieved what I wanted to. I’m really pleased that people have taken to the idea of me releasing my music seasonally instead of one big single release. It’s allowed me to make a very broad release, but focus quite finely on specific aspects. Also, I must thank the people who have consistently ordered everything I have ever made, and who message me with their support. I’ve received so many thoughtful messages during each season. It’s interesting to hear from people who find themselves drawn to differing seasons. Those kind of things are what help inspire me to continue to release my music.

Maxwell: Do you have anything you particularly desire your listeners to take away from these EPs?

Nhor: It’s enough of an honour for me, to know that people have chosen to spend their time listening to my music. That is something I struggle to get my head around at times. If there was anything I wanted them to take away, I suppose it would be a desire to connect further with nature, or to help maintain the bond between themselves and the natural world that they already have.

Maxwell: Can you give any information as to the future of Nhor in the coming years?

Nhor: The full Wildflowers album is roughly 1 hour 40 minutes of minimal piano. I feel I’ve explored this quite thoroughly. I have a few ideas that have come from Wildflowers, and also worked backwards to some ideas I didn’t get the chance to complete when writing Within The Darkness Between The Starlight. I suppose it all depends on what one I get around to finishing first.

Maxwell: Any final words?

Nhor: Sic transit gloria mundi. Thank you.

Nhor links:
Bandcamp, Facebook, Instagram

Erang – Interview


Interview with: Erang
Conducted by: Maxwell Heilman

Within the rapidly growing sea of creators beneath the umbrage of dungeon synth, Erang has gained a reputation for the depth and musicality of his output. Besides consistently providing incredible compositions, his boundless imagination takes his music out of this world. His impressive body of work centers around a world of his own design, which he calls The Land of Five Seasons. While respecting the DIY approach with which dungeon synth has become synonymous, each of Erang’s albums paints a unique picture of a mysterious synthesis of reality and fiction. The French mastermind was kind enough to answer some questions regarding his music, his world and the future of his creation.

Max: You often refer to the Kingdom of Erang as something that has been a part of you since you were young. Do you remember a specific moment when the The Land of Five Seasons took shape within you?

Erang: It is a bit hard to explain it with words. The Kingdom of Erang is directly linked to some places & people from my childhood and family. So I grew up with it… then, as I became adult, I’ve added to it other cultural references from old fantasy movies, books, etc. I mixed them with new events of my life, new places and also, of course, others’ creations made directly within my imagination.

So this world-building is kind of a big “monster” to me. It’s an aggregation of my real and fantasy lives mixed together…

Max: Do the recurring characters in the Land of Five Seasons hold any connections to people on earth, or aspects of yourself?

Erang: Yes, that’s exactly part of what I’ve tried to explain in the previous question. Sometimes a character is a mix of a real person name or behavior, or it is a side of my own personality mixed with a fantasy name. I’m the only one who knows exactly what’s behind all of that and I like to let the imagination of the listener wander…

Max: What role does Erang play in The Land of Five Seasons? It seems that he is more than a narrator or an observer, though one might be lead to believe that since he retells tales from that world.

Erang: Erang is kind of a ghost within this world… The Kingdom of Erang still exists, but it is not “ruled” by the character of Erang : it has a “human” king. The skull masked man is wandering through this land, he is the spirit of this land, a shadow from its golden past. Kind of an observer who knows far more than the simple mortal living within the Land of the Five Seasons… he knows about the different dimension and he knows that “Time is a Window.”

Max: How did the music come to be the medium by which you communicate this alternate reality?

Erang: It came naturally. I started making computer/synth music a long time ago by the age of 14, 15 yrs old. I’ve always been in love with raw sounds and early computer music, but always thought that nobody could care about it as it was too unpolished with fake cheap instrument like early DOS game soundtracks. So when I came across the Dungeon Synth blog and the first album of Lord Lovidicus I thought “well, maybe I’m not alone and people out there might like what I like too.” That’s when I decided to release Tome I. Many tracks on this album were written a long time before I knew about fantasy synth music.

Max: Read any good books recently? Have any literary works inspired your fantasy world?

Erang: I used to read more when I was younger, but for years now I don’t have enough free time as I dedicate all mine to my family and my music (and, of course, my everyday job).

I read The Children of Húrin two years ago and it really moved me… the ending was so powerful and beautiful.

Considering the influence of literary works on my own world I would say it is very very little: despite a few tracks name on Tome I, my major cultural influence (outside of real events from my life) comes from movies from the 80s/90s like: Willow, Dark Crystal, Conan, the Neverending Story, etc. Of course, some of them were books before but I came to them through the movies. I was watching them at a very early age and it left an indelible mark in my mind.

Max: Have you ever thought about writing a book about The Land of Five Seasons?

Erang: Well, I think about that almost everyday, yes.

The thing is that, to me, writing doesn’t come as naturally as making music. When I make music it is pure feelings and emotion… I would say that I don’t use my brain, intellectually speaking… However, when I write, I of course need to think about the words and the sentence and ideas I want to share so I need to be in a completely different state of mind which is hard for me to find in my everyday life… I would need 2 months alone in a mountain cabin to be able to write.

On the contrary, as soon as I have five minutes of free time I can instantly start to work on a track or mess with sounds. It’s like breathing to me.

So, to answer you: I’ve already started to put many ideas and scenes on paper, but it will be a very long work and I’ll need a lot of time to put all of that together into a proper book… if I ever do it.

Max: With regard to your musical training, are you self taught or do you have classical training. I ask because the classical crossover in much of your music is hard to ignore.

Erang: Definitely 100% self taught. I know absolutely nothing at all about music theory. That’s why I sometimes spend a lot of time finding the right chord I have in mind, because I don’t know the rules of progression and harmony, etc.

I’m not against theory, not at all… but this is how I am and this is how I like to make music. It’s the same way I drew as a child or made tunes when I was 14… I knew nothing but, man, it was such a blast to play with pencils or my dad’s computer…

Max: Some of the most noticeable aspects of Erang’s music are the meticulous arrangements, soundscapes, and choice of synth sounds. How does your writing process work, and what thought process goes into your choice of sounds (horns, bells, etc)?

Erang: First of all, I listen to tons of music in any style, and I’ve done so since I was a teen. In my opinion, this is a great way to “learn” if you don’t have any theory knowledge. When I listen to music, I can’t help but try to analyze it and isolate all parts in my mind… that’s also a shame because sometimes it’s hard to listen to music “innocently.” Anyway, I could divide my writing process in 3 different parts :

First, I have a melody that comes to me and I try to re-create it. It is as simple as that and I couldn’t tell you why these melodies exist or where they come from… it’s just there and I can’t ignore it.

Second way of doing, I listen to a track I like and I’m hit by a specific sound, or melody or atmosphere within it. Then I try to re-create it, and almost 100% of the time it ends up being completely different… and if it’s too close to the original, I skip it.

Third, I just run my computer and browse my instrument and synth, I mess with sounds and preset… and, lots of times, a “sound” inspire me to create a melody and that’s how a track starts.

If I think about it I would say that the third one is the most common to me.

I always try to put in each song a small thing that is a bit different from my previous work or from what I’m hearing around… just to keep me entertained.

Max: Have you taken notice of any more recent dungeon synth projects?

Erang: I’ll be honest: I haven’t really listened to dungeon synth for a while now. I know it may sound strange but it’s the truth. I follow the “news” and always give a quick listen to new releases here and there, but I don’t really listen to full tracks or albums. However, I could say that if one wants to check interesting projects, one can just go to Bandcamp with the “dungeon synth” tag and find a lot of brilliant stuff right in the first page and so on. Many new and old artists make great stuff, so the best thing is to check Bandcamp, I guess. And the Dungeon Synth Archives channel on YouTube as well.

Max: Are there any dungeon synth artists that inspired you to pursue that style?

Erang: That’s the following of my previous answer: right now I feel a bit like I need to take a step back from DS… I don’t know… it’s maybe not the right time to do so because Dungeon Synth gains more and more interest everyday but, musically speaking, I’m not really excited about what I hear.

Let me be clear, because I don’t want to sound pretentious: many people and artists make clearly great work. The problem comes from me. It’s just that, most of the time, when I listen to DS, it sounds like I’ve already heard it before… Furthermore, as the genre is stuck in the medieval fantasy imagery, to say it fast, you always end up with very similar stuff and the same topics, etc.

So, because I’m into it and making music since early 2012, the problem comes from me: it’s not fresh enough to my ears anymore. That’s also part of the reason I’ve started to experiment with synthwave with 2 of my albums… and that’s probably why the next Erang might be the last… at least for some time… still not sure about that.

Max: If you were to introduce someone to dungeon synth for the first time which of your albums would you choose? If you prefer, you can use an album by another artist.

Erang: About another artist I’ll go with early Lord Lovidicus, probably Quenta Silmarillion. Concerning mine, well, that’s hard to say because they are all different. But I’ll go with Tome I because it’s the one that started it all, and with “Within the Land of my Imagination I am the only God.”

I take this opportunity to tell you that Within the Land… will be available physically in CD really soon (with Kingdom of Erang as well).

Max: Two of your more recent albums have a synth-wave leaning. What inspired that change? Do you have any curve-ball artists outside of the DS/fantasy ambient/medieval ambient sphere that you enjoy?

Erang: The change was inspired by two things: a need of fresh air and the fact that, in my mind, the Land of the Five Seasons always took place between different ages and dimensions. An alternative future of it has always excited in my mind and I wanted to express it in music. The two synthwave albums are part of the “LAST AGE” of my world. And the next one will be the 3rd and last album of the “LAST AGE” era… but it won’t be synthwave because of a twist that you’ll know soon.

Recently I’ve really enjoyed HOME (album, Odyssey) and I’ve been listening to a lot of David Lynch music during the last weeks, some COIL as well.

Max: Dungeon synth has much of its roots in black metal, yet you don’t seem to run with that crowd. Do any black metal bands tickle your fancy?

Erang: Being a teen in the early 90’s I’ve grew up with metal as well as electronic music and other genre. So I’m not a metalhead per se because I’ve never been “addicted” to one musical style only but I was listening to big names like Megadeth, Metallica, early Rammstein, and other stuff as well because my older brother was playing guitar in a metal band. But I wasn’t listening to black metal as a teen. I’ve only gotten into it six years ago and I love several bands: Burzum (a case where I really love the music but I can’t stand the man’s ideas and propaganda), early Dimmu Borgir, Enthrone Darkness Triumphant and Isengard. I love Summoning of course, some Windir as well and probably other bands I’m forgetting right now. As you can see, it’s always black metal related to synth and atmosphere.

Max: Your website features a section dedicated to covers people have done of your music, so it goes without saying that you appreciate people wanting to try their hand at your output. Do you consider the fact your art inspires others to reimagine it to be a milestone with regard to your influence in the dungeon synth community?

Erang: I don’t know what influence I can have or if I have any, but I know for sure that it’s always a pleasure and an honor for me when people make covers of my work. It’s always something surprising that someone on the other side of the world tried to make a cover of one my songs.

If some of your readers want to make a cover of me and need some midi files, they can just drop me a mail on the “contact form” of my Bandcamp page. I’ll send it to them when possible.

Max: Speaking of the dungeon synth community, to what extent do you think it exists? Have you seen these solitary artists begin to connect more?

Erang: Dungeon Synth has changed a lot during the last few years and the community has definitely got bigger. I remember a time when I was releasing an album on Bandcamp and there were only 1 or 2 pages that showed up if you wrote the tag “Dungeon Synth.” There was no Facebook group and Andrew’s Dungeon Synth blog was almost the only source of info. I have no problem if the scene is big or small as long as there are people making cool music.

Concerning the community, I’m not really a “community” or a “social network” guy. I’m on them because you can’t avoid it if you want to share your music. That’s why I put it online, because I want people to listen it: that doesn’t mean I would do anything for that and I wouldn’t put my face on a cereal box to do so (if some people from the Dungeon Synth board are reading, this is an inside joke for you). I don’t adhere to the culture of Facebook discussions on Facebook groups. I’m not against it and I find it cool when it leads to interesting discussion, but I didn’t grew up with it so it is not in my nature. However, I like to go in the FB group or in the forum board and read posts, I do it almost everyday. I would like to participate more sometimes because I don’t want to be the guy who posts only when he releases an album, but most of the time I post about new releases.

Max: Do you have any future plans for Erang that you would like to share?

Erang: Yes… This is important. I’m currently working on the last album from the “LAST AGE” era and that might be the last Erang for a while (except if something really inspiring comes across my way I will reconsider it). This album will explain many things concerning the Land of the Five Seasons and I’m sure the fans will appreciate it. It will be Dungeon Synth/Fantasy Music but with many surprises. I’m very proud of the music I have so far, and it will probably be my “darkest” album.

In addition, 2 of my albums will be available soon physically, in CD : Kingdom of Erang and Within the Land of My Imagination I am the only God.

That will be a lot of work to end the year and, after that, I think I deserve some sleep and silence…

Max: Anything you’d like to say to wrap things up?

Erang: Every time I receive a message from people telling me what my music means to them, it’s the best feeling on Earth. I’m not selling thousands of albums, but it’s still unbelievable that people from all around the world can project themselves into the world I’ve created. They are definitely a part of this world. That’s why I truly thank all of them for their warm support!

… Imagination Never Fails… the Kingdom is ours!

Erang links: Official websiteFacebook, Bandcamp, Youtube

Martin Bladh – Interview (re-pub)

This interview was originally published in January 2017 on Terra Relicta – Dark Music Webmagazine. Tomaz has been kind enough to allow me to re-publish the interview here on This Is Darkness!

Interview with: Martin Bladh
Conducted by: Michael Barnett

Martin Bladh is a multi-faceted artist. Over his years in the public eye, Martin has worked on numerous visual, musical, and performance art projects. He entered the public realm through his power-electronics project, IRM, with Erik Jarl, and later joined by Mikael Oretoft. He would soon join forces with Magnus Lindh creating the musical force know as Skin Area. Martin has also done musical projects with Sektor 304, entitled Ruby, and with Bo I. Cavefors, entitled The Island Of Death, as well as a number of his own personal musical projects. Delving into the medium of film, Martin has created a handful of videos, many of which can be seen on the DVD accompanying Epicurean Escapism I. He also played a large part in the production of the feature film, Gasper. In the visual art world, Martin has joined forces with Karolina Urbaniak, starting Infinity Land Press. Through Infinity Land Press he has already participated in the production of a number of books, including The Rorschach Text, To Putrefaction, No Breath Of Sound – The History Of Drowning and Darkleaks – The Ripper Genome. With all these projects in the works along with more that I haven’t even mentioned, and others which haven’t yet found their way to the public eye, Martin Bladh is a very busy man. I am honored to have the multi-media artist take a little time out of his dizzying schedule to answer some questions about his art and some others which lead in a more personal direction.

Michael: I have to admit from the start, I was a bit nervous to conduct this interview. So often these days in entertainment, artists follow their own path, without much attention to overarching themes or the history of art. I get the feeling when observing your various forms of art, that there is a serious depth, hidden meanings, allegories, which all need to be taken into account to fully appreciate your body of work. Do you have a formal education in the arts, or has this always been a natural passion for you?

Martin: I’m interested in the history of art, and yes, I’ve studied it at the university as well. Even though you don’t need the faculties I really believe this is something people need to know and understand, before they can call themselves “artist,” or using words such as “important,” “urgent,” “brave” or “original.” I also went to so-called art school for some years, which was, and is nothing but utter BULLSHIT that should be shunned like the plague. I’m sure that at least 95% of all this silly playground nonsense does more damage to the so-called artist to be and the art-world in whole.

Michael: Considering my previous question, do you find that fans often notice the underlying meanings?

Martin: Well, I’ve different kinds of fans. Some of my “music fans” are mainly interested in noise and the pitch of my voice. I mean if you haven’t bought the latest IRM and Skin Area CD’s, read the lyrics and looked at the artworks you have a very vague idea about the content. You can’t listen to an MP3 and experience it, that’s just impossible. Then of course you wouldn’t count as a FAN if you didn’t buy the actual record, right? Saying that, my work has a vagueness, and ambivalence to it, it points you into specific territories but it doesn’t have one specific meaning.

Michael: Are you equally happy to see fans enjoying your art, regardless of their understanding of the underlying meanings?

Martin: I don’t like laziness, which is a huge problem these days. There’s too much information out there and it’s too easy to get it; that instead of really analyse a subject people are just scratching the surface and move on to the next download. I mean, the day people will start to buy kindle art-books everything is fucked! But of course, it’s always nice to be appreciated, even if it’s only for having composed a curious tune, or a framed decorative piece of tapestry.

Collage Inspired by Rembrandt’s The Blinding of Samson

Michael: You have recently started a company, Infinite Land Press, with Karolina Urbaniak. Would you like to tell readers a little bit about the goals of the press and some of the recent publications?

Martin: Me and Karolina Urbaniak started Infinity Land Press back in 2013 as a means to publish our own material without having to deal with any middleman. I still lived in Sweden back then and Karolina was based in London. Our first book To Putrefaction (2013), a romantic ode to death and decay, was strictly limited to 50 copies. We then got the idea to publish books with other artists that we admired, such as Dennis Cooper, Michael Salerno and most recently Philip Best, and collaborations between ourselves and other artists – Karolina did Altered Balance with Jeremy Reed and The Void Ratio with Shane Levene, and in the beginning of 2017 me and Jeremy Reed’s book Darkleaks – The Ripper Genome was released. We usually deal in strictly limited editions because that’s what we can afford and stock in our office (which is our living room), and we’ll continue to publish as long as we find material that’s interesting enough. Our credo: Infinity Land is a realm deeply steeped in pathological obsessions, extreme desires, and private aesthetic visions. Having disappeared over the horizon from the nurseries stocked with frivolous babblings of apologetic pleasures, Infinity Land is foundationally a geography configured by the compulsive, annihilating search for impossible beauty.

“True beauty is something that attacks, overpowers, robs, and finally destroys.”
Yukio Mishima

Michael: As I’ve already alluded to, your artistic vision is truly multi-faceted. You have released everything from books, to DVDs, to albums. You have also done some stage shows which combine aspects of all these projects. Can we look at your entire body of work as part of a whole? Is there an over-arching vision which anchors all these ideas into one central theme?

Martin: I like the Wagnerian idea of the Gesamtkunstwerk, where different artistic media bleed together into one synthesis. It might be a weakness, but I’ve never felt satisfied by expressing myself through a single media, and I’ve vivid memories of the suffocating frustration that I went through from the period 1998 – 2003, when sounds and lyrics was my only outlet. The multimedia expression has become an absolute necessity for me, if you read my books DES and The Hurtin’ Club you know what I mean. And yes, every new project I do has a specific content which I try to filter through these various medias.

Michael: Out of all your musical output over the years, I was the most intrigued by your work on Ruby with Sektor 304. The vocal style was totally different than I had experienced on IRM or Skin Area albums. I wonder if you could give us some insight into that album? How it came about as a collaboration between you and Sektor 304. Also, I wonder what your connection is to the character named Ruby, the main focus of the album.

Martin: I’m glad to hear you saying that as I believe it to be highly underrated. The Sektor 304 guys contacted me back in 2012, and wanted me to send them a guest recording for a live broadcast they were doing for the Portuguese radio. When I heard the result I was very pleased and asked them if they wanted to collaborate with me on an album. I remember making clear from the start that this would be something different from what I’ve been doing with IRM and Skin Area, and the guys were very sympathetic and excited about that. The whole narrative and background story of Ruby (the name’s got an alchemical inclination) came out of a clinical study from the late 50ties, about art therapy and schizophrenia which I’ve read. It was based on dialogs between a psychiatrist and patient, how the patient’s explained his painting for the psychiatrist and the interpretation process involved. I kind of re-wrote this material for my own purpose, which (obviously) took it into even darker territories, and that was the birth of the androgynous Ruby.

Michael: I had the pleasure of witnessing an IRM performance last year, on the APEX Fest Tour. The performance was magnificent. You had an extremely theatrical stage presence, which seemed almost choreographed, everything from your facial expressions to body positioning, and the handling of the two microphones. Do you put a lot of preparation into your live sets for all your projects or was this a natural presence which just seemed to be calculated?

Martin: Nothing I do on stage has been prepared or choreographed beforehand; but I’ve done these performances for quite some time now; so I might rely on my body memory. The only so called “preparation” I do is to drink, and let the alcohol sensation peak when I go on stage, I guess it’s somewhat similar to an Dionysian frenzy, and I really work myself up when I’m up there; so I’m not really aware of my body postures or facial expression until watching the reproduction of the show afterwards (which I do very seldom).

from DES: Sad Sketches

Michael: Continuing on the topic of the APEX Fest, I was delighted to read in the “Through My Eyes” article (you can read that article here) on Santa Sangre Magazine: “Any moment of 2015 you’ll remember on your death bed? The city of Baltimore. I never seen anything like it in the western world. A hellhole. Amazing.” Obviously, coming from Baltimore, I found this remark quite interesting. Baltimore, as with much of the United States and Europe, is currently undergoing a lot of social changes and realizations. I would be interested if you could take that previous statement into a bit more detail, and describe to the readers exactly what you found so different about Baltimore.

Martin: Ha, ha, well I guess that statement was a bit unfair, cause I only saw some of the roughest parts of the city, which actually reminded me of photographs of Berlin 1945, with whole building blocks caving in on themselves. I know there’s another side to the city as well, but I never seen anything like it neither in Western nor Eastern Europe. I remember asking the organiser for a pharmacy and she told me there was one just a couple of hundred meters away, but to get there I should take cab because otherwise it might be too dangerous.

Michael: In 2014, your most enduring musical project, IRM released Closure… through Malignant Records. You also released the track, “Triptych”, which is a sort of crash course of the whole trilogy which included: Indications of Nigredo, Order4 and Closure… Since finalizing this chapter of IRM, have you begun to work on something new, or is IRM currently on hold as you guys focus on other projects like Skin Area, Jarl, and Infinity Land Press?

Martin: IRM haven’t worked on any new material since finalising Closure… , and I’m not sure when we’ll start again. Everything is a bit more complicated since I moved to London and the other two guys are still in Sweden (living in different cities). Our records are recorded and put together very carefully, and the process of making the last two full length albums was very time consuming. Me and Magnus are actually in the process of putting together a new Skin Area record though, and we work on it every time I visit Sweden.

from Gasper

Michael: I recently reviewed the Pale Thorns debut album, Somberland. Pale Thorns is a solo-project by Magnus Lindh, the other half of Skin Area. When I spoke with Magnus, he mentioned that you had looked over his lyrical content on the album. We both agreed that your lyrics are totally unique and deliver extremely powerful imagery. I wonder if you can think back to when you first started writing lyrics. Were you a child when you first put the pen to paper, or did this come later in life as you started IRM with Erik?

Martin: As a kid I had a very vivid imagination, but I was more keen on drawing than writing. It was back in 1992 that I made my first attempts to write – coloured by the second wave of Black Metal – and from what I remember, they were hideously bad. It was later when I started to nurture a genuine interest in literature that something happened. Oedipus Dethroned (2000) would probably be the first serious example of some kind of craft.

Michael: Which writers or filmmakers have been the most influential on you throughout your life? Has this list changed much over the years as you have become an adult?

Martin: As a child I was obsessed with comic book- and James Bond villains, the only “books” I ever read were things like Flash Gordon. When I was a bit older I discovered H.P. Lovecraft and horror films. Then writers like Sade, Burroughs, Lautreamont and Mishima together with filmmakers like Stanley Kubrick, David Lynch and Pasolini turned everything topsy turvy. And then as an adult, “mature” man, I might settle for writer such as Antonin Artaud, Georg Trakl and Jean Genet, and as for film Ingmar Bergman, Fassbinder and Michael Haneke.

Michael: Sweden seems to be a place where so much unique talent enters the public realm, especially when it comes to the darker side of media. What do you think it is about Sweden which produces such dark and introspective artists?

Martin:That’s what an outsider sees when he scratches the surface, dig a little deeper and you’ll find that most of it is rather harmless and PC, filled with individuals who have a morality quite similar to your own mother’s. But yes, there are a lot of acts that originate from Sweden, and some of them are really good. A lot of it might have to do with luxury angst; to live in a safe and pampered society might give you a desire for controlled danger as spice to the boredom of everyday life. Then when it comes to medias such as literature, film or conceptual and visual art the country is a desert – total shite that is.

from Darkleaks – The Ripper Genome

Michael: You have since relocated to London, is the U.K. a more fitting home-base for your operations?

Martin: I’m closer to Karolina, and it’s of course much easier to run Infinity Land Press from here. I have two day jobs and I’ve never worked as much as I do now, but because of that I’m pricing the time I spend on my “real” work much higher.

Michael: Do you think the apocalypse is coming, if so how do you think it will happen?

Martin: Some kind of apocalypse is coming our way, but even the apocalypse isn’t the end…

Martin Bladh links: Official website, Infinity Land Press website, Infinity Land Press Facebook, IRM Facebook, Skin Area Facebook

Northaunt – Interview with Hærleif Langås

Hærleif Langås is the man behind several dark ambient acts, including: Northaunt, Therradaemon and The Human Voice. I was lucky enough to pick Hærleif’s brain about some of his inspiration over the years, information about upcoming releases and the frailties of the human condition, among other things. An interview with this Norwegian artist, one that has dedicated so much of his career to music of the coldest variety, seemed like a fitting way to give us a bit of rest and distraction from the scorching summer months.


Interview with: Hærleif Langås
Conducted by: Michael Barnett

Michael: Of your various projects, it is safe to say you are best known for your work as Northaunt. Northaunt goes all the way back to 1996. This has been a pretty impressive life for the project. Do you still hold many of the same visions of what Northaunt is as you did back when the project was founded? In other words, have the focus and themes of the project stayed the same over the years?

Hærleif: I think it has. Although I found it difficult to describe in words the first years, I just knew that I wanted to create this, explore these moods and thoughts and recreate it in sound. Musical elements like melody and beat were tools to do that when I set out, I was never much into instruments and such, I just learnt what I had to – to make what was in my mind. Northaunt has always been about nature and my existential questions I think, the melancholy in the music comes from the feeling I think many have that something is wrong or missing in our lives, an uneasy feeling that we can’t seem to shake. We blame each other and we blame material things we don’t have, but personally I think we are like a fox that has never seen the outside of its cage, running in circles, knowing something is wrong… eating its paw off in desperation. I think we are lacking the same thing as the fox… Northaunt also describes landscapes, the light and darkness of nature, places I have been and places that I long for. Many people long for nature or a more natural way of life, of course, but what are we really longing for? Is it that we want to escape the human condition? Achieve the peace or harmony that we perceive nature holds somehow? And then it is that sneaking suspicion, that this peace is just a man made idea, that there is no escape, and nature in all it’s beauty is indifferent and merciless. These things can keep you up long into the night…

Michael: Do you feel that the landscape and climate of your country of Norway are very important to your musical inspiration and creations?

Hærleif: Maybe this sounds strange to some but yes, I think it is the great contrasts between nature, the big open landscapes, and us – that makes this tick. It makes our problems seem small, it broadens our perspective on things.

Michael: Do you think you still would have made this kind of music if you lived in some other country, maybe in a warmer region?

Hærleif: I wouldn’t make the same music I think, something different in a related genre probably, I have other inspirations 😉

Michael: I was lucky enough to witness your performance in Philadelphia back in 2015 during the APEX Fest mini-tour. Your performance was quite powerful. You used a variety of different elements to bring the sound together from analog devices, to your laptop, to an electric guitar. Do you find live performances to be a rewarding experience as a dark ambient musician? Have there been any great highlights or memorable moments for you during your years of performing live?

Hærleif: Thanks, but I must admit it’s not my cup of tea. I mean it’s nice when it goes well but it’s usually nowhere near what it should have been. An ambient concert should be relaxed and inspired, but too many times it has just been a stressful experience for me. All the traveling and work that went into preparing the music for a live concert (which maybe is more than people think, after all the music is made in a studio) all culminates in an evening where so many things are out of your control – most of the time you are booked on the same night as bands in different genres, meaning you’re basically just lucky if the venue and the sound-system, or even the crowd, are prepared for ambient music. Last time I played was in Montreal in 2015 and I doubt Northaunt will play live again.

Live in Riga 2008

Michael: You gave fans an update a while back about work on a new Istid album through Glacial Movements label. Will that be coming along in the near future, or do we still have a while to wait?

Hærleif: The album is done, I worked really hard to have it finished by early 2017 since it was supposed to be released this year, but when it was done I got a mail telling me the release is postponed till January next year, I was quite disappointed.

Michael: One of your side-projects, Therradaemon, released its debut Den Mørke Munnens Språk in 2011. This project also made an appearance on the Cryo Chamber collaborative album Azathoth, inspired by the works of H.P. Lovecraft. Can we expect anything new from Therradaemon in the near future? Is this still an active project?

 

Hærleif: Not in the near future I think, I have a few unreleased tracks, both in the same style as the first album, very dark, massive drone based stuff, but also some tracks that are shorter and more “violent”, I will probably have to separate these into two albums. But… there’s no time to finish any of it at the moment I’m afraid!

Michael: Silent Heart, your most recent album and the second by your side-project The Human Voice, seems like it would be the perfect fit for a vinyl release. Can fans have any hope of seeing this happen in the future?

Hærleif: I agree, that would be great, but I don’t know man. I usually leave those decisions to the label people, who are supposed to know better than me what is in-demand and economically feasible. I don’t feel super confident about that, but I barely have time to make the music so for now my focus is on that. I can’t do everything myself even if I would like to sometimes 🙂

Michael: Silent Heart is probably your most emotional work to date. Was this a goal from the start or did the album slowly and unconsciously move in this direction?

Hærleif: Most of the album was recorded at night at various times over many years, not meant for any special album or even project, I just recorded what I felt at the time. I was getting more and more into piano playing and piano based ambient and liked it a lot, but It was not until I listened to all of those recordings, that I realised that maybe it was possible to make a whole album of this type of music.

Michael: You use your own photographs for most of your albums. The Infinite Fog digi-book re-issue of Barren Land has a beautiful set of photos contained in its booklet. Are you as passionate about photography as you are about music?

Hærleif: Sure, these days I do more photography than music actually. I think good cover art is very important, I prefer making my own (this has been one of my main motivations for getting serious about photography) but will use other people’s art if they illustrate my point better. Everything on an album should help express whatever the artist wants to say, and why would people buy physical albums if not for the cover and the information in it? It’s not for the music, music you can download or stream anywhere. That’s how I see it.

Michael: There is so much to the act of capturing field-recordings and photographs, taking an expedition to certain places looking for that special sound or just the right time and location for a photograph. Do you have any favourite places that you seem to constantly revisit throughout the years to capture these moments?

Hærleif: For a few years, I used to go to a lighthouse on a little island far out into the sea where me and my girlfriend stayed, recording and taking photos and just living. Its too expensive now, but I keep going out to the coast, visiting islands and remote regions. I like the ocean a lot. Other than that, I hike a lot in the woods and from time to time the mountains and other parts of Norway or abroad. I like to visit areas where not a lot of people go. So I come back to these same type of places, but not the same place so much. This interview is delayed now because I just came back from Iceland, fantastic place!

Whiteout in Spitsbergen, on the Svalbard archipelago.

Michael: Have you had any particularly interesting experiences while on one of these sorts of expeditions? An encounter with some wildlife? Getting stuck in a storm?

Hærleif: For inspiration I moved to Spitsbergen and lived there for a while. I experienced the dark winter months (when no light is visible in the daytime). This was strange and fascinating. But the time after this – and before the sun returned above the horizon – actually made a deeper impression. In this “blue period” of the year the days are only noticeable by a soft blue light over the snow-covered mountains, I remember this and the silence and the whiteouts vividly… an almost surreal atmosphere I will never forget. Sleeping in a tent in the bush on Greenland, waking up to the deep rumbling of falling ice in a nearby glacier, hoping no polar bears are around, these all come to mind too.

Michael: Would you like to describe a little about your studio-space? Is it in your home or somewhere else?

Hærleif: It’s not very fancy, just a computer and a bunch of “sound-objects”, instruments and recording equipment spread around my living room ready for use. I believe one should dedicate the best space in the house for what you really, in your heart want to do, most people just put all the furniture in the living room around a TV, and guess what they spend the most time doing…

Michael: Do you have any kind of rituals that you perform when sitting down to work on an album? Burning incense? Meditation before beginning a session?

Hærleif: Not rituals, but it may essentially have the same result. I prefer working at night. Preparing for composing may, for me, mean to take a hike along the coast or in the woods to clear my mind, then turn down the lights (I’m a very visual type of person so I’m easily distracted by things) to focus on sound and mood.

By the Skógafoss waterfall in Iceland

Michael: Are you into films? Any particular directors that have had a great influence on your life or your musical output?

Hærleif :I like a lot of films but it’s mostly just entertainment for me.

Michael: You wrote The Borrowed World split with Svartsinn after you both found inspiration from The Road by Cormac McCarthy. You’ve already told us a bit about that experience [You can read that article here]. Are there any other books that have had a similarly profound effect on you?

Hærleif :I often read 3-4 books at the same time. So over the years, quite a few books have inspired me in some way. It’s difficult to pick one or even a few books. For a long time I read biographies and tales of people who had to survive/work in arctic regions by necessity in the ’30s – ’40s, old books about people who, through these experiences, developed an interesting perspective on life.

Hærleif looking for photography opportunities at the harbour in Trondheim

Michael: The Road, and thus The Borrowed World, are based on life after an apocalyptic event. Do you think our world is headed in this direction? Do you think that time is coming soon? Do you have any premonitions about how it may happen?

Hærleif: Not really, a lot of horrible stuff will happen for sure, this is the safest prediction you can make judging from history.

Michael: Thank you so much for your time Hærleif, I will leave the last words to you.

Hærleif: Thanks for reading. Thanks for showing interest in my music Michael!

Links to Hærleif’s webpages: Official WebsiteBandcamp
Northaunt: Facebook, Discogs
The Human Voice: Facebook, Discogs
Therradaemon: Facebook, Discogs

Exclusive: New Asath Reon Track Revealed + Q&A

Asath Reon is the latest artist to join Black Mara Records. I’ve been following the progress of Michal Polgar, the man behind Asath Reon for several years now, and we’ve become friends over the process of many chats about dark ambient and related topics. Michal and Black Mara Records allowed This Is Darkness to publish an exclusive premiere of one track, “The Damned”  from the upcoming album Buried Visions which is set to release on 10 August 2017. I also decided to take this opportunity to pick Michal’s brain and give readers a bit of background on the music, the man and the message behind Asath Reon. I hope you will all enjoy!

“The Damned” by Asath Reon, from the upcoming album Buried Visions

Michael: Congratulations on the upcoming release on Black Mara. This looks like a pretty impressive debut. Are you happy with everything leading up to the release?

Asath Reon: Thank you Michael, I’m glad you have such a positive view on the release. Of course, I’m really happy about it. There were no difficulties or negatives in the creation process and I enjoyed working on it.

Michael: How would you classify the sounds of Asath Reon?

Asath Reon: Well, this is quite hard question. This music in general is characterized by most people as meditative, ritualistic, spiritual, or even ominous. But about the sounds its a bit different. The intention is to highlight the ritual instruments and their sounds. Classification of this is complicated, because their scale of use and their effects on the human psyché and beyond is very wide.

Michael: How long have you been into ritual/dark ambient music?

Asath Reon: I have been in this kind of music since 2013.

Michael: Is this your first endeavor as a dark/ritual ambient artist?

Asath Reon: No it´s not. When I discovered dark ambient music, I felt this is something more than music. I wanted to participate in it, because I knew there is a sea of feelings and thoughts to express. 2013 was the beginning, I had no project yet, just a few songs I put on Youtube. Then after that, a new project was born, named Morvranh. It was my first project, and in 2014 since there was support from many people who liked it, I continued to create music. Also, 2014 brought my first physical release, under the wings of Forest Path Records. Then there was a second project we were working on with Ruairi O´Baoighill named Order of the Black Dawn. This project had a physical release on the Noctivagant label. It was a pleasure to get in touch with people from various labels and also artists. Every person gave me inspiration and we were working on something very important for us, we were able to influence each other. I’m really glad for all of these experiences and the things we share. After all of this I realized that ritual ambient is something I really want to do, because it can evoke the deepest messages. That’s why Asath Reon was created. And I have to say, the approach to Asath Reon is much different from these other projects. My music-creation process has improved since 2013 and that’s why I can focus on recordings of, lets say “ritualistic” experiences, the things going on are much more complex. This word, ritualistic, is just an idea. With my improved skills in music-creation, I am able to produce sounds that can give a whole new concept to the songs.

Michael: What sorts of hardware was used in the creation of Buried Visions?

Asath Reon: There are a lot of instruments. I used two of my kangling trumpets, singing bowls in combination with bowed singing bowls, percussions, drums, chimes, mouth harp, other metallic objects, conch shell, vajra-shaped bell and more. As for the hardware, I used IC recorder with a studio microphone connected with two adapters, my laptop with DAW, keyboard, lots of plugins and of course my voice.

Michael: How long have you been working on Buried Visions?

Asath Reon: I started to work on it in 2016. But the concept was in my head earlier than this. The idea and specific way of expression of the whole project were things that needed to be here before the actual recording process could begin.

Michael: Is there a particular meaning behind the name Asath Reon?

Asath Reon: Yes, but it´s very subjective and has a deep meaning only to a very small, secret group of people in my country.

Michael: Do you expect future releases to follow the format of this album? Or, do you think that you will move into new territory for your next release?

Asath Reon: I’m glad for this question. I have to say, that for releasing this album with its whole idea and concept, working with the Black Mara label was simply the best decision. After Dmitrij, from Black Mara Records, asked me about it, I knew this would be the best suited home for the Asath Reon project. It was not because of how nicely Black Mara are doing their physical releases. It was about the treatment of ideas, the way of approach to the mentioned concepts, eye for art and what would be the best solution for the variety of aspects during the whole releasing process.

Michael: Can you explain a little bit about the physical release, as it comes with a handmade book?

Asath Reon: The album comes with a booklet of photos which I made, and a pendant with the eye used in the symbol of Asath Reon. All of the photos are thematically on one wave. They depict ritual objects, places, and archaeological finds along with a combination of old cultish ideas, funerary rites, and necromancy. That’s what the project is about. The photos give a better idea of the topic and the music. With the photos you can hear the music deeper and with the music you can see the meanings of the pictures.

Michael: How has your experience been so far working with Black Mara?

Asath Reon: I wish I could thank Dmitrij and all the Black Mara family enough for supporting the project. The road to release from the beginning of the Asath Reon idea was accompanied by many conversations with Dmitrij, who has always been very pleasant and helpful. I’m really happy about it and we are still in contact and have become good friends. We have the same perceptions of art, music and many other things. He and Black Mara are doing a wonderful job, and as I said in a previous question, all of the positive attributes should be known in the wide spectrum of music and ideas they are giving to people.

Michael: Do you have any musical influences that have had an impact on Asath Reon?

Asath Reon: Of course. There were plenty of artists and projects I used to listen and influenced me in thinking. I would mention Jindøich Spilka from Druhá Smrt, Endvra, Funerary Call, the Aural Hypnox label, Kammarheit, Metgumbnerbone, Vidna Obmana, and many many others.

Michael: What is the perfect environment for listeners to enjoy your music, alone in the dark, during meditation, etc.?

Asath Reon: This is very subjective, but worth trying at least one time is in the woods, or in a calm enviroment at night, in a calm state of mind, with concentration and with a good set of headphones.

Michael: Are there any rituals you perform in preparation for creating music? Such as burning incense, meditation, intoxication, invoking a god, etc.

Asath Reon: Yes. Most of the sounds were recorded whilst I was performing a ritual. Mostly it was recorded in the woods, on the place you can see on the picture in the booklet, or in the video teaser. I also use incense, and create in a dark environment, mostly at night, when I’m ready to compile the recordings. There are also several natural entheogenics involved in the rituals, but they are used occasionally, because of everything that they can tell and everything that needs to be ripened in the head. That’s why they are only used occasionally and during these times I can’t record anything and I have to be in a “clear environment” to understand the meanings. These kind of rituals produce much more than mere recordings.

Michael: Thanks for your time, I will leave the final words to you!

Asath Reon: Thank you too Michael. It was a pleasure and I wish good vibes for you and for all the readers.

Asath Reon links: Facebook, Bandcamp
Black Mara Records links: Facebook, Bandcamp, VK

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