Phantom Heir is a solo project that emerged during the 2020 lockdown, blending atmospheric post-metal influences without adhering to specific genres.
.jpg)
1. How
did Phantom Heir come together as a band, and what inspired the unique blend of
contemplative atmospheres and visceral tenacity in your music?
Phantom
Heir was born in 2020, during the initial lockdown of the COVID-19 pandemic.
The songs I’d been working on up until that point had been very loose and raw
in their production and sound; just audio sketches with no real plan in mind.
In a way, the lockdown measures were an act of providence, as they forced me to
commit to making the music work.
I’d always
been a fan of atmospheric, post-metal types of bands — from Godspeed You! Black
Emperor to Neurosis and beyond. What I enjoyed most about that style of music
was how artists like those and others managed to transcend listeners with the
sounds they created. It felt like being transported to another realm, and it
inspired me to go and craft my own interpretations of that feeling.
2. Your soundscapes are guided by conceptual narratives. Can you share some
insights into the themes or stories that influence your music?
A lot of
the songs I write are based on wherever I am in my personal life. It might
sound surprising to some, since most of my music is predominantly instrumental;
how can you tell a story without lyrics?
For me,
it’s just about conjuring a feeling that is both visceral and genuine to
wherever I am emotionally and mentally at that point in time. And, of course,
I’m always inspired by the world around me — other films, albums, experiences,
people, and so forth. A lot of these elements of inspiration are subconsciously
recorded and catalogued by me, internalized and waiting for the right moment to
materialize as something new and worth sharing.
3. In a music scene often defined by genres, how do you approach defying
conventions and creating a style that is truly your own?
I’m
generally not really thinking about genre when I sit down to write. Some of the
things I write might be more aggressive and direct, or they might be softer and
more ambient. Perhaps they’re influenced entirely by an album I’ve been jamming
to a lot, or by a film I saw recently. All of these might shift the tone or
nature from my last record or release, but it doesn’t really bother me. I see
this project as a forward continuum, always moving onto the next thing of
interest to me.
If I solely
focused on just making doom metal albums over and over, for instance, I suspect
I’d run out of ideas fast and get bored. That isn’t to say this is a bad thing,
necessarily — many artists I love dearly produce a consistent output of sound
and style that firmly cements them in one or two genres, and it sounds great! I
suppose, for me, I’m just always so intrigued by a lot of different things and
want to explore where that takes me.
4. The emotional depth in your music is palpable. How do you go about infusing
your compositions with such intense and immersive feelings?
Thanks, I
really appreciate you saying that!
A lot of
this infusion has to do with extensive layering of instruments, creating
this sort of pulverizing “wall of sound”. I think, perhaps subconsciously, this
is why I latched onto heavier music to begin with. If there aren’t any lyrics
to carry the narrative forward in a song, for me, that means something else
must act as a substitute. Heavier music fills that absence for me; the crushing
distortion, the low tuning, the abrasive rhythms — I think these all speak
to not just anger or aggression, but also the intensity of whatever feelings
one may be dealing with at the time.
It could be
an overwhelming sense of sadness, or grief, or even joy; the many layers I add
to each composition function as this sort of representation of a buildup of
emotions. Each instrument, whether a synth, guitar, or otherwise, corresponds
to this different voice or attitude I’m attempting to convey. The tricky
balance with all of this is to ensure the melody and harmony still remains
intact, otherwise it just becomes a barrage of noise — which isn’t always a bad
thing!
5. Can you discuss the creative process within the band? How do you collaborate
to bring together diverse elements and create a cohesive sound?
It’s just
me, so I’m handling every aspect of the creative process — from songwriting to
production — entirely on my own.
It’s rare I
have a clear idea or intent when I start the writing process. I’ll often just
spend a lot of time noodling around, experimenting with plugins or pedals,
trying out new ideas that may go nowhere at all. I try to do this at least once
every day, even if it’s only for 15 or 30 minutes. It sort of becomes an
exercise — like calisthenics for the mind and soul.
Eventually I’ll reach a moment where I can latch onto something worth pursuing and I’ll keep pushing it further and further until I have a composition. This can vary; it might be a short song, or a long conceptual piece with several movements. Sometimes a song or sketch will sit untouched for months or years before I find a home for it. So it’s important that I’m never too precious about getting married to one idea and belaboring its production; giving each of these creations space to breathe and grow is essential. A lot of times this means just trusting the chaos of the process and letting the order be determined by the songs and where they want to go.
6.Phantom Heir is described as both thought-provoking and exhilarating. How do
you balance these two aspects in your music, and what message or experience do
you hope listeners take away?
I always hope that my music resonates with others in some way, makes them feel something they weren’t expecting or anticipating. It doesn’t have to fit within the narrative or feeling I’ve outlined for a particular song or release, but it’s comforting to know that I’m sharing something potentially inspirational or motivational to others. I think that’s a powerful thing, to share a kindred energy and understanding with someone. It’s a reaffirmation that no matter how alone or isolated we may feel, there is at least someone else out there who shares a truth with you.
7. Are there specific artists, genres, or experiences that have significantly
influenced Phantom Heir's musical journey and approach to creating music?
Definitely. There’s far too many artists out there to list, but off the top of my head, the ones I often go back to are: Swans, Chelsea Wolfe, Russian Circles, Isis, Cult of Luna, Vildhjarta, Humanity’s Last Breath, Converge, Deftones, Nine Inch Nails, David Bowie, Björk, The Haxan Cloak, Anohni, The Ocean, Black Swan, The Soft Moon, Mulatu Astatke, Khruangbin, Interpol, The Body, Algiers, Sunn O))), Earth, and so many others.
I find myself listening to more ambient or downtempo things more than ever these days. I find it comforting to let music enfold you like a warm sound bath, almost. It’s a form of meditation, I suppose.
8. Your music is often described as standing out in today's music scene. What
do you think sets Phantom Heir apart, and how do you navigate the challenge of
being distinctive in a crowded industry?
The visual
aspects of Phantom Heir are just as crucial as the music I make. The visual
design, artwork, typography, layout — all of these things contribute to the
atmosphere and narratives I build. It’s important that these are in constant
sync and dialogue with each other, and are something I want to continue
building upon with increased ambition and fidelity.
A lot of heavy music, whether metal or hardcore or its derivatives thereof, is visually — and often stereotypically — defined by images of skulls, death, gore, violence, horror, Satanism, and so forth. A lot of typically negative imagery. This has its place, and I’m not even offended or put off by it, but it does make me wonder what happens if you strip that type of dark visual criteria away and replace it with the unexpected. It’s not a rule or boundary by any means, but if I can, I’m more interested in telling aesthetic stories we aren’t used to seeing in heavy music than I am being inundated with — or contributing to — the usual paradigms over and over.
.jpg)
9. How do you see the relationship between your conceptual narratives and the
overall listening experience? How important is storytelling in your music?
I think it’s important to set the tone and framework. It helps inform the listener what they’re about to get into and where that might take them, but beyond that, I try not to be too prescriptive and linear with my music. I think the best creative works respect their audience and don’t diminish their intelligence by spoon-feeding them. I believe we as a species share a collective desire and curiosity to fill in the gaps with our own creative ideas and — even if we don’t like what we see or agree with it — can start a dialogue that takes the narrative to new dimensions.
10. Can you provide some insights into the future of Phantom Heir? Are there
upcoming projects, collaborations, or changes in direction that fans can look
forward to?
I don’t
want to reveal too much just yet, but I have several exciting new projects in
the works that I’m very excited to share over the next year. Beyond that, I’m
always looking for new collaborators and ways to expand my community. My goal
is to start releasing physical items and vinyl releases, as well as perform
live over the next few months, so stay tuned.
Musique | Phantom Heir (bandcamp.com)
Post a Comment