Chain D.L.K.: One of the meanings of Vestigial is, “Relating to a body part that hasbecome small and lost its use because of evolutionary change”. In your caseit seems to me that you were inspired by human de-evolution. What wasyour intent in choosing that term?
Vestigial: The first intent was related to the term “vestige” and the dichotomic meaning of the word “vestigial”. I was fascinated by the “biological” evolutionary concept and its transposition to “physical life” related to the degeneration of our so called civilization…
Chain D.L.K.: Dark ambient music succeeds if the musician is able to create a newsonic world. What is your “world” made of?
Vestigial: The Vestigial imaginary is strictly related to our reality and what was before that: starting from a point of view where our society “enslaved to progress” leads to a complete meaningless existence. I’m truly fascinated by the way civilization builds its cultural and technological structures and dogmas and how it tends to consider them as tools to live life in a more efficient and easy way.
Chain D.L.K.: Your MCD has been mastered by Andreas Wahnmann and your first album byPeter Andersson. How important has their work been to you?
Vestigial: I love the way Mr. Wahnmann works on his creations even as musician and as producer; I chose him because of “Aeon” mcd and the split vinyl because the sound was fitting perfectly his way of work, and because he did the production on all the Loki Foundation releases. Regarding Peter Andersson he mainly oversaw the final details but I tried to do the initial mastering by myself. I am still not completely satisfied with my skills but I’ll try to improve it for the future releases.
Chain D.L.K.: What was the sound like of your pre-master demos and how has the sound changed?Can you talk about the different steps of the process of creating such a multi-layered music?
Vestigial: Regarding “Aeon” the sound before mastering was lacking in many frequencies, mainly the bass ones, the general sound was a bit harsher than the final result. The mastering gave more power and cleaning and more recognizable details to the whole record. Regarding the latest release I learned how to get a more distinct frequency layering, more crystal-clear definition of them and especially the bass sounds right from the beginning stages, so the mastering step was easier to solve and has more room to improve the general result. About the composing and mixing process I still have to find the way which really satisfies me but basically I start recording field sounds then I sample and process them; from that point I begin to give a structure, I let them flow into the software sequencer screen and many times improvisation plays a great role in this process! Afterwards I add synths, even analogue if needed for bass frequencies or digital, it depends on which kind of final effect I need…Basically I build the final track structure only when I have a clean “picture” of how the song should sound in my mind or at least I try doing so…
Chain D.L.K.: The artwork of “Translucent communion” makes me think about themes like:the fall of a modern culture and the return of an ancient pagan society.What kind of ideas you wanted to suggest?
Vestigial: You’re almost right in getting the meaning from the cover; the main concept behind the artwork and of course behind the record is on one hand the technocratic vision and “slavery to progress” of our existence and on the other our ancestral origin before the evolution of civilization began, which probably will remain after the zenith of all this. I also believe that this point has been reached many times already. And all our technological efforts are nonetheless the physiological manifestation of our subservience to all this futile “progress”. Mine is not an apocalyptic or pessimist view on current society; on the contrary I think that this course is strictly symmetrical according to a kind of “harmony” and balance with nature, ever since man appeared on this earth. Nature’s manifestations are only the cold testimony of all human behaviour and its destructive power increases in accordance with human efforts and intentions to change its effects and transform them. All this is so “harmonious” to my eyes and seems to be a part of a perfect universal design and, who knows, this could also include our total extinction too…
Chain D.L.K.: On these days it is really difficult to make an interesting dark ambientproject. With your first releases you managed to create an interestfor Vestigial thanks to your sound but how do you see it evolving?
Vestigial: Dark ambient music is a difficult field to explore because its confines are so strict and doesn’t allow too much space to come out with something that could sound as “original” if we can say so… I tried to apply all the main elements of this field in my music so as to construct as much as possible some personal creations without destroying so many barriers of this genre, I don’t have any kind of “revolutionary” approach to the music, I only want to come out with something that satisfies to start with!Right now I have no idea in what way to evolve Vestigial sound because I let my inspiration flow at composition time and then experiment new solutions. As far I can tell you now the new stuff will be more aggressive, still droning but with harsher elements, still organic and with cryptic “melodies”, I’ll tend to compose more structures experimenting more on field recordings and some new strange equipment. I would like to reach the result of composing real “songs” and not just “tracks”!
Chain D.L.K.: Who are the people you’d like to collaborate with?
Vestigial: Ehm, too many to name them, in the industrial/dark ambient field I would say Inade and Lustmord but I also enjoy projects like Burial, Bitcrush, Dryft or Deaf Center for example but also with bands like Sunn O))) or Isis, why not? In the future I want to collaborate with some other artists for sure!
Chain D.L.K.: The visual side seems to be really important to you. Have you everthought of creating videos for your music?
Vestigial: Yes, I have just created a video reel for live performances but in the future this subject will gain an even important role in the complete Vestigial vision; it’s really important for me let images and music speak the same language so that the musical concepts follow in line with the motion graphics! This will be an important step for my project to allow more sensorial perceptions to stimulate the audience!
Chain D.L.K.: What’s next for Vestigial?
Vestigial: My second full-length album of course! I could not be more satisfied with the reactions and the feedback I received for “Translucent Communion”, the sales seem really good for a debut cd and I did some live performances around Europe, experimenting new sounds in the live context and that was great for me! There will be some other gigs but I’ll mostly concentrate on the next effort!Thanks a lot for the interview and the interest in my project and keep up the great work with the magazine!!!
[interviewed by Maurizio Pustianaz] [proofreading by Marco Pustianaz]