INTERVIEW: Old Sorcery

It’s no secret that Old Sorcery’s Strange and Eternal is one of my favorite records of 2019. In order to delve a little bit deeper into this exquisite piece of music, I sat down with the wizard behind the project to discuss his influences, motives and future endeavors.
 
Thank you for taking the time to answer whatever riddles my mind. You are a fascinatingly busy musician, who - besides Old Sorcery - also releases material through the monikers of Megahammer (synthwave) and Warmoon Lord (black metal). Am I mistaken if I’d say that Megahammer’s love for rich, pulsing, 80’s synthesizers also shines through in the works of Old Sorcery? And if so, is it something you deliberately do, or is it something that subconsciously happens?

Thank you! I don't see the obvious 80's influence in Old Sorcery, I'd like to think that the vintage synths used in this project are mainly used in the same way as Tangerine Dream when they made their glorious soundtracks. For example, the movie Legend (Ridley Scott, 1985) is a medieval/fantasy film, but one of the soundtracks is electronic and made with synths by Tangerine Dream. While sounding 80's, the vibe that I get is magical, adventurous and in no way reminding of say, Miami Vice or any 80's cliche. Synths sound otherworldly and mysterious, so I think that they fit Old Sorcery very well.

Legend (Ridley Scott, 1985)

Imagining Miami Vice tropes while listening to Old Sorcery would give a new meaning to the 'Strange' in Strange and Eternal. Don’t get me wrong, it’s not that the album makes me think of sunglasses and big hair. Rather, sonically it reminds me of the sounds of the legendary Synclavier II synthesizer; a model that has been used for both the atmospheric wonders of Tangerine Dream and the danceable outbursts of acts like Depeche Mode.

Speaking of Legend and Tangerine Dream, if Old Sorcery would ever score a movie, which one, or what type of movie would it be?

Tough question... I have done film-composing, actually. Ranging from dramas and art-films to horror and exploitation. If I had to compose a soundtrack with Old Sorcery, I think it would be some sort of fiction or a period film. Most likely fantasy, or a medieval war film.

While obviously having their own character, it is easier to think of influences for your other projects than it is for Old Sorcery. When I listen to Strange and Eternal, it does not necessarily evoke imagery of well-established fictional worlds like, for example, Lord of the Rings. Instead, it reminds me of much more ambiguous sceneries, like Max Ernst’s The Entire City, or The Eye of Silence. The record recalls imagery of breathtaking but unstable landscapes that evoke the urge to explore. Those are, of course, my own interpretations, so I’d love to hear about any visual inspiration for Old Sorcery.

Whoa! It is indeed fascinating how differently people imagine the album visually. It is a very great compliment, that it brought Max Ernst's work to your mind! When I was working on the album, I had this little frame of a story in mind. Of course, the huge influence of Tolkien is noticeable in basically everything I do artistically, it is buried in my mind, so to say. But on this album, I was thinking of this ancient king, with his own court wizard and whose time has finally come. The story is not very detailed, and it reveals something of itself to me on every listen. What I would like, of course, is that having provided some key aspects, atmospheres, song titles, artworks and such, the listener would develop his/her own story of it.

Here are some of the visual stuff that inspired the music for the Strange and Eternal album: 60-70's horror movies, particularly Hammer films, and the so-called folk horror sub-genre with films like The Blood on Satan's Claw (Piers Haggard, 1974), Mark of the Devil (Michael Armstrong, Adrian Hoven, 1970), The Wicker Man (Robin Hardy, 1973). Weirder films like Valerie and Her Week of Wonders (Jaromil Jireš, 1970), I watched this one like 5 times during composing, Zardoz (John Boorman, 1970) and Fantastic Planet (René Laloux, 1973).

The Blood on Satan's Claw (Piers Haggard, 1974)

I recently watched - and thoroughly enjoyed - Midsommar (Ari Aster, 2019) at my local cinema, and it strongly reminded me of some of the classics you’ve just stated. Especially The Blood on Satan’s Claw and The Wicker Man came to mind. Are there also contemporary artists that inspire Old Sorcery, or is it mainly the works of decades ago that fuel your fire?

I saw Midsommar at my local cinema as well. Loved it! Nearly as perfect as Ari Aster's feature-length debut, Hereditary. The imagery, and the constant nods to old school horror! It was also very violent, and the gore shown at broad daylight was very hard to watch. Awesome... When it comes to contemporary influences, they are a few of them as well. I find myself constantly returning to the past and I have stopped caring whether it is a useful thing or a hindrance. However, modern films have their good stuff also, but one needs to take time in searching for them. I think that the best contemporary horror film is The Witch. It is the one that I keep recommending, whether you are a horror-enthusiast or new to the genre. From quite new ones, I also love The Autopsy of Jane Doe, The Ritual, The Void, Raw, Get Out, Love Witch, etc... I am not into this remake-thing, it just makes me sad. If you really want to get into horror, this current time we live in is not the best. As you can witness, this is a subject I could talk about for strange eternities, hah! The best modern movie, in my opinion, is Mad Max: Fury Road. I will never get tired of it.

As for contemporary artists in general, there are a few bands I listen to. They don't necessarily influence me directly, though. I was really blown away by Vargrav, a symphonic black metal from Finland. From new black metal bands, I also listen to Morgal and Grabunhold, to name a few. I like some of the fellow Dungeon Synth artists like Vinkaldr, Aindulmedir, Haxan Dreams. New books... well, very few. Recently, I read a history of cannibalism by Artemis Kelosaari and really liked it. Gruesome and interesting, it was written in 2018 - 2019, I think. I read quite a lot about occultism, magic, vampirism, mythology, and stuff. Rarely anything contemporary, though.

Midsommar (Ari Aster, 2019)

While I’m completely in love with your list of references, I do start to wonder if there are influences for Old Sorcery outside the realms of media. I’ve had the joy of visiting Lahti once for studies and can imagine that the more rural landscapes surrounding the city provide a solid spark of inspiration for the works of Old Sorcery. Are there aspects of everyday life - environmental or other - that knowingly find their way into your music?

Outside the realms of art, you mean? Not particularly, no. I work as a librarian now, so I'm constantly surrounded by books, films, and records. At home, it's just more of those! Nature, of course, is an inspiration. I really cherish all the times I get to walk in a forest. But sadly, nowadays it's all just work and work. I have to reserve enough free space from the calendar just to get started in creating music. Earlier in life, it was just waking up and picking up an instrument.

Librarian, Georg Reimer (1828–1866)

In a heavily romanticized sense, you do not only evoke magic through your own music but also, as a librarian and collector, you continuously surround yourself with the magic of others. Is there a form of creativity - which could be film, literature, sculpting or even the art of cooking -  that intrigues you as a creator but remains untouched due to your other activities?

Not really in any serious sense, I am a musician. What I would like to do more in the future, is writing. Fiction. Scripts for a movie, or novels. But I am not sure it will happen. We will see.

Let us ignore the urge to delve into the past and present for a brief second and address the utmost cliché but ever so intriguing question, “what does the future hold for Old Sorcery?”

A new album. This will conclude the castle trilogy that started with Realms of Magickal Sorrow. We will also continue the Old Kingdom-saga that started with Haxan Dreams on our first split. 2020 starts with a glorious triumph: Strange and Eternal will get a vinyl release, and an EP compilation featuring The Path Lies Hidden and a whole new EP titled An Inkling of Void will be released.

Having already pre-ordered the vinyl release of Strange and Eternal myself, I urge anyone who is interested in this work to do the same over here. Let’s be honest though, what is it with Old Sorcery and castles? What specifically draws you towards these creations?

There is no complicated or a deep answer to this.
I just think that castles are fucking cool.

Old Sorcery on Bandcamp

Top 10 Dungeon Synth Releases of 2019

2019 Has been a very fruitful year for Dungeon Synth. There’s been a huge amount of new projects, as well as the continuation of older torch wielders. While I have been floored by so many records this year, these 10 releases - in no particular order - made the biggest impression on me.

I would sincerely like to thank the artists, their labels and all those who’ve supported the genre throughout our past journey around the sun. Here’s to another year, another dungeon, and the synth-driven relief of time and space!

Burgen - Miserere
Gondolin Records

There is a sadness in Miserere that really comes to life thanks to its beautiful, gritty production, hypnotizing repetitiveness, and the use of low, murmuring vocals. While comforting it simultaneously evokes the urge to comfort. A blessing, a curse; a magnificent piece of Dungeon Synth.

Earthencloak - Pipe Smoke and Faery Magick
Self-released

I’ve already written about the new Earthencloack over here, but can’t stress its importance enough. This is the prototypical, heart-warming, gnome-dominant Dungeon Synth record. If you want to feel jolly and comfortable, but with just a pinch of melancholy, you need to inhale the Pipe Smoke and embrace the Faery Magick.

Fief - V
Out of Season

Dropping at the very end of this year is Fief's fifth endeavor. Harking back to the mildly energetic and uplifting atmospheres of II and III, V stands as another catchy grandstand from this ever-giving mammoth.

Moth Tower - Clavitasian Threshold
Gondolin Records

Following up on the monumental Sharpen Thy Knife, Curse The Sky is not an easy task but Moth Tower managed to pull it off. By losing some of its charmingly naive character, Clavitasian Threshold delivers a more focussed and mature narrative that grabs you from the beginning till the very end.

Nortfalke - Atmosfeer
Heidens Hart

“Dungeon Synth for the true wanderer.” If there’s one thing we need more of, it’s a proper infusion of Berlin School trance-inducing tradition into our dungeons. Atmosfeer is not just a good record; it's a milestone. I would advise this record to both the newcomers and the old garde of the Dungeon Synth genre without even blinking an eye.

Neverlur/Sequestered Keep - Under Nordljosets Straalar / Quests in the North
Tour de Garde / Out of Season

Being a big fan of both projects, I was delighted to find out they were doing a split this year. Both sides further develop their already established qualities but never feel like completely separate entities; keeping both their own character and the cohesive spirit of this split intact.

Old Sorcery - Strange and Eternal
Garavluth Records

Strange and Eternal was my first big surprise of 2019. There’s no filler content on this album, whatsoever. Throughout its entirety, Old Sorcery conjures what might be one of my favorite Dungeon Synth experiences so far. A perfect combination of the old and the new; and a bright, bright promise for what's still to come.

Silent Cabin - Gently Veiled
So Called Hell

Gently Veiled is one of the most relaxing records I’ve come across this year. Its gentle and calming character makes it easy to drift away in, while it simultaneously provides the right amount of development to keep the listener involved. Combine this with a very fitting production and you've found yourself a gem that deserves to be heard for many years to come.

Ulk - I + II
Gondolin Records

Combining Ulk’s first two EP’s was a stellar move by Gondolin Records. They perfectly complement each other, and the first one seemingly transitions into the second; effortlessly continuing Ulk’s original blend of Dungeon- and Forest Synth. Slow and intriguing, Ulk unleashes a powerful, ongoing energy that is laden with atmosphere and nostalgia.

Utred - Gothic
Citadel Of Sound

Utred's best effort till this date became an incredibly dynamic record that, not unlike Gothic architecture, reaches for the skies. You can read our interview with Utred over here but even better would be to enter Gothic's magical and dynamic realms.