One thing that is really unique about the artists on the Cryo Chamber Label, is that they all have their signature sound that distinguishes them amongst their label mates. Tineidae brings a fresh, exciting sound that is perceptible in several ways. For one, there is an invigorating fusion of Berlin School, trance, and other facets of electronic music that create a futuristic sea of emotion. There is also an abrupt sense of dystopian landscapes that are crushing in every way. That being said, Tineidae has become a premier up-and-coming Dark Ambient artist that you won’t want to miss. I had a chance to catch up with the rhapsodic producer to find out more about this exhilarating project, it’s beginnings and what the future holds.
1. I really appreciate this interview opportunity. Tineidae has already released a few really impressive albums on the mighty Cryo Chamber label. How did that relationship come to be?
Hey and thanks for the questions! Cryo Chamber is a bunch of creative people with quite a specific aesthetic, that I myself dig. I liked some of the older stuff of Atrium Carceri released in Cold Meat Industry era (in fact that was one of the first dark ambient projects I have enjoyed listening to). Naturally after some time I had a change in the sound of the project that seemed to be fitting. So as per usual, I looked up Cryo Chamber demo policy and sent in my demo (which was EXO at that time). It was a gradual development and there was communication going on between Simon and me, but in the end he quite liked it and so EXO was set to be released through Cryo Chamber.
2. ‘Exo’, released in 2020, had such a massive, dystopian sound – which perfectly matched the times of the beginning of the COVID pandemic. Did you explore a lot of Dark Ambient tones or situational events when coming up with your signature sound?
Ah man, it’s hard 😀 I’ll be honest, I don’t really remember what led me to it. It’s just more bass-heavy ambient, I guess. I wasn’t really aiming at something specific, as most part of it I think was created still when pandemic wasn’t a thing. But yeah, it played nicely together, esp. that I like heavier and darker feel in music in general.
3. You impressively blend in subtle bits of Berlin School and Trance. What are some of your influences for the Tineidae project?
Funny that you mention trance, and actually you’re quite on point 🙂 For Berlin School electronica part, I think most of it comes from the time when i was a kid and my parents and i liked to listen to a lot of 80s electronica on cassetes or vinyls. And for trance, yeah, all the supersaw trance of 2000, but also later post-industrial stuff (aggrotech, rhythmic noise, dark-electro etc.) were all heavily focusing on synth leads with that trance-like feel and that is the kind of music that i like to this day. I just like catchy melodies i guess.
4. Before Tineidae, were you involved with other musical ventures?
There were some, yes, fortunately none of those are on the Internet anymore (or at least I hope so). At around 2007-2008 when I was quite under influence of post-industrial (and esp. goth industrial on peak of its popularity), there was one project where together with another guy we were making music (something akin to aggrotech) and I was on vocals. It was fun, there even were some local gigs, but ultimately I stopped enjoying it after a few years. Later on there were two other bands (some black, some death metal) where I tried as a vocalist, but I think I attended a few practice sessions at most and didn’t really feel like it was my thing.
5. Since you mentioned Black and Death metal, do you there there is a parallel between extreme metal and Dark Ambient music?
Oh absolutely. Someone was asking me on discord some time ago about what it feels like to release stuff on Cryo Chamber and be part of its roster, and I was joking that it often feels like a chill-room for tired metalheads, as a lot of artists are or were involved in different kinds of extreme music.
6. Earlier this year, we saw the release of ‘Mothership’ which greatly expanded on the ‘Exo’ sound. What was the process like going into producing this album?
It was indeed an attempt to expand the setup and have some more bits of lore here and there suggested by the track names. The sound turned to be a bit more aggressive (at least now when i listen and compare, i feel like it is), unintntionally, likely again due to the heavier influence of industrial and other dark electronica i’m into lately. We’re not done yet tho 🙂
7. What kind of world/dimension do you want your listeners to experience when listening to your work?
I don’t like to have things overly specific, as this way every listener has their own story in mind that unravels with each album. For me personally it is a story of distant future where people drift through space living aboard huge motherships, harvesting resources from the planet’s atmosphere, discovering new habitats and lifeforms.
8. “Behind The Seal” is my favorite track from ‘Mothership’. There are so many explorations in this track that make it stand out amongst the others. What was your vision for this particular track?
For people who are still living on the planet’s surface, Mothership is more of a mystery, they only see its lights slowly drifting in the night sky every once in a while, knowing nothing about what’s actually happening inside. As the album is retold from a point of view of a new recruit who comes aboard the mothership, it is that moment of unveiling the greatest mystery of his life (as no one ever returns back from the Mothership).
9. In terms of the equipment that you use for recording, did anything change between albums or did you use the same gear? Can you describe what your recording setup is like?
The setup is rather minimal – field recordings are done with good old Zoom h2n, some sounds come out of Roland JD-XI, some from a bass guitar meticulously tortured by different exciters, but like 95% is in the box (VST synthesizers and effects, samples etc.). Actually i think i even got the whole process of making at least one of the tracks during live-streams (uploaded to my youtube now), and that one was 100% in the box (okay maybe some odd field-recordings or other noises from “outside” sources, but that’s about it).
10. Going back to ‘Mothership’, another track that I find truly impressive is “Manufacturing Facility”. The dynamics of that track is so massive and the sampling sequences are quite mesmerizing. Do you approach each track with a particular idea or do you build a story and find ways to connect each track?
Thanks, yeah that’s a neat track. Usually there is a rough idea it all starts with and there are different approaches to try and implement it, sometimes it takes a good bunch of attempts to get somewhere. In this particular case it all started with a sound design session, which means, i just get some sound source and try to destroy it with a variety of effects, modulations and what not, all while recording it. Then a resampling comes into play, where I pick the parts that I like the most and do another bunch of processing and mangling and modulations and what not. The process continues till I arrive at something that feels particularly close to what I have in mind, or if not I may restart it from scratch. In this case I had a bunch of “best picks” from one of such sessions, that sounded quite mechanical to me. At that time I already had an idea of a space inside the Mothership that would be some sort of a factory or a refinery unit, so all these things pretty much started falling into their places after some time spent arranging and playing with moods and melodies. In other tracks I sometimes start with melodies instead, and continue developing ideas with more focus on melodies, but resampling and sound design usually still find there way in.
For the second question, I tend to have an idea first and at least try to lead the sound that way (it doesn’t always work tho and sometimes music just starts living on its own, which isn’t bad either)
11. Most recently, you released a collaboration album with Drifting In Silence called ‘Simulation’. How did this partnership come about?
Derrick has found me on facebook and IG some time after ‘Slowly Drown In Static’ was released. at that point I haven’t heard his music yet, we had some chats about music in general, he’s just a cool human being who happens to have a similar taste in music. At some point we started discussing the possibility of a collaborative release, and yeah he had some amazing ideas and so he was more like leading the way and we started working on it (slowly, with some breaks at least on my end due to IRL stuff and having several other projects ongoing at the same time – bad time management skill, simply put).
12. Musically, both Drifting In Silence and Tineidae are sonically different, yet the combination of these projects work quite well. How did the two of you collaborate on the actual song building?
As I mentioned, Derrick had some really good ideas, and some jams and drones recorded in his studio – those were a starting point. Some tracks were in my opinion pretty much ready, so i probably added just a bit of flavor, and others we worked on different layers, sometimes adding sometimes taking out things, or even splitting and rearranging some of the longer tracks giving them different feel and texture. There was quite a bit of experimentation and trusting the gut feeling so to speak on my end, but i feel like for the most part those experiments turned out pretty good.
13. Do you have any plans to collaborate with other artists in the future?
I love collaborations, really, often to the point that I start too many and have hard time finishing any of those in a timely manner. And so this year several of those came out and some yet to come out at the end of this year, and there are still several ongoing and I can’t wait to share more info about those when they’re more fleshed out.
14. Speaking of collaborations, I just realized that you took part in last years’ annual Cryo Chamber Lovecraft release, ‘Dagon’. What was that experience like?
The whole collab is akin to a big brainstorm process, but in musical terms – all artists have some ideas and generate sounds and drones that are fitting the narrative or overall atmosphere,and then those are used as building blocks to form a bigger picture. It’s a pretty cool opportunity, esp. for a more sound-design-driven approach (as not everything has to be a drone or a melody), and you get a chance to focus on the fine details of each sound as much as you want to. Also limited sound pool lets you find different ways for implementing creative decisions as some of the sounds may be out of your “comfort zone” and you have to figure out how to make it work the way you want it to.
15. When not creating music yourself, who are some other artists (any genre) that you enjoy listening to?
Without a specific order or priority: Access to Arasaka, Sole Massif, 0 0 0, Belief Defect, X1-Y2, LORN, Cresil, REZZ, Tzafu, Swarm Intelligence, Maenad Veyl, Swarm Intelligence, Braden Koksal, Filmmaker, Jim Kimchi, meii, Prox.Bleep, Carpenter Brut, Sierra, Restive Plaggona, Pact Infernal, Godspeed You! Black Emperor and stuff in that vein.
16. If not done so already, are there plans to bring Tineidae to a live setting?
Likely the other way around (at least for now) 🙂 Back in the days of Tympanik Audio, I had some live shows and performances here and there. Currently with all the stuff happening IRL I doubt I’ll be able to properly prepare for live events, so instead i’d rather focus on production more and stream the process for anyone finding any helpful info in it.
17. Again, I truly appreciate your time and most of all, the fantastic music that you produce. Do you have any final thought for your fans or anyone else that may be reading this article?
Thank you so much for the questions, and you’re very kind. Stay true to yourself, put the most effort into what makes you feel complete or fulfilled, make your dreams into goals and plan on how to realistically achieve them (if possible of course), and most importantly try to keep your physical and mental health in check. Cheers!