Infinexhuma is one of Dark Ambients most spectral artists. Producing a variant that captures the true essence of Dark Ambient music, while always coming up with ideas that catapult his brand of bleak atmospherics beyond comprehensible realms. Each release presents a diverse blend of haunting drones and soundscapes while fusing in intricate nuances that entertain the listeners pallet for extended moments in time. I recently had the pleasure of interviewing the audial administrator of noise terror that IS Infinexhuma. He give us the low down on the projects beginnings, influences, and what all’s to come. Hope you enjoy this as much as I did putting it together.

1. Thanks for taking the time for this interview! One thing that I’ve been wanting to know is, what does the name Infinexhuma mean and how did you come up with it for your project?

Infinexhuma refers to Infinite Exhumation, a process widely experienced by many inhabitants of this earth, a process that breeds monotony and lack of will. Around the time of the initial host death, a doorway in limbo was opened via this concept, more so a realization that this process must be broken, emphasized by the trapping within a limbo state being the most accurate example of the horrors of unbroken monotony, the journey is, was, will be the beaking. The sounds are only evidence and passive teachings channeled through this host, It is and is not music, it is and is not metaphorical, it is and is not real.

2. How did you get into Dark Ambient music and what was the influence that made you decide to start your own project?

I recall approximately 10 years ago, at the time operating a different and now defunct music project, short naps were taken during studio work. During these naps I would listen to some more subdued black metal or perhaps just throw on a horror film for the score. Later I discovered a website called darkambient.de I believe it was called, that became the go-to for the naps after that. Later of course there were multiple stages to the evolution from lightly experimenting to heavy listening to diving into field recording to eventually releasing a first album to discovering scenes etc. Learning the composition structure of such music was a long process as well, as it was new to me, not in terms of listening, but in terms of production. The energy for Infinexhuma grew while the old project died, some influences include (yes some are by the same person); Inade, Lustmord, Ark Tau Eos, S.P.K., Archon Satani, Atrium Carceri, Sjellos, Noctilucant, NERATERRÆ, Tangerine Dream, TG, Altus, Gustaf Hildebrand, John Carpenter, Deathpile, ProtoU, Sabled Sun, film scores, Yen Pox, Terra Sancta, Apocryphos, tomandandy, Enmarta, Council of Nine, A Murder of Angels, Halgrath, Alphaxone, Svartsinn, Kolhoosi 13, Dark Matter, Crawl Unit, Subklinik, Kammarheit, Keosz, Blood Box, Trepaneringsritualen, Apoptose, Beyond Sensory Experience, Raison D’être, Visions, Vestigial, Phonothek, Monocube, Phragments, Therradaemon, Nordvargr, Brighter Death Now, MZ 412, The Human Voice, Paleowolf, Ramleh, Opeth, Ulver, Enmarta, ALLSEITS, Northaunt, Hilyard, Sephiroth, Desiderii Marginis, Phurpa, Northumbria, Psychomanteum, Gnawed, and likely more. Many obscure projects have been discovered over the years, ones that would evade the objective (and often disliked by elders) classification of dark ambient. The tiers and styles and authenticity within this obscure genre could be elaborated on as my perspective and knowledge on it continues to grow and be enhanced, however this would lengthen the interview to perhaps an unhealthy limit. I later began to hit the starting point of a full circle and felt comfortable drawing influences from unrelated genres I knew more pre Infinexhuma, mostly energetically and not so much in terms of the speed and rhythms.

3. The debut album from Infinexhuma, ‘Crossing’ is a well crafted experience that easily rivals albums from more seasoned artists. How much effort and production experience went into delivering this album?

Well, in fact the real first work was Chaotic Depth, the low volume 2016 unmastered version that is, which itself took approximately three to four years of work, not much of an impact, but I believe the process of “peaking” can be reversed for some artists, some achieve the proper transmission of their message with a first production, others take several to weed out what is not to be said, Brian Williams actually said this in an interview, quite refreshing. Anyways, Crossing, the crossing state, a collection of earth captures from what we call the Pacific Northwest. Crossing took several years as well, however a period of sharp acceleration was implemented towards the end. Much of this work was guided by intricate harmonics within the field recs, which gave a solid and consistent base for workflow, and that avoided any creative blockages. This was the true state of transition between this and that world, the energy was aided by a concept I often discuss, is your visual and physical perception of music based on environment, for example Snowy Court, was an actual Snowy Court, a Japanese garden in a strong snowing winter season, aside from the of course the sounds of subtle snowfall, the energy that was there during the recording process, remains (to me) on that recording and follows all the way to the studio, providing an energy base for the track, and I believe this cannot be recreated, despite the sounds being identical, it will lack the energy. This work was mastered by the great Robert Rich.

4. “Broken River” is my favorite track on that album, as it uniquely combines field recordings, drone, haunting textures and a sense of melody. What was the story behind that particular track?

As The Snowy Court, it was in fact a broken river, the first portion of rocks shuffling was traveling to the water, traveling within the break of the river, guided by subtle harmonics, messages beyond the mind. The whole album could have been better in terms of technical production as now I am vastly more advanced in this regard, but for the sake of giving credit where it is due, the “speaking” was natural, clear and very simple.

5. Do you document your own field recordings or sample from other sources?

I use 99.99% original field recordings, samples are seldom used, and if they are, their obscurity would prevent anyone from ever acquiring knowledge of the original source.

6. In 2019, you teamed up with Neraterræ for a remastering of ‘Chaotic Depth’? I can definitely hear his influence on the album but how did this exquisite teaming come about?

In fact, it was more of a gift from fellow creator NERATERRAE, I believe I had given some unused pieces of music and in exchange for this he presented to me a mastered version of this album, alongside I believe a track for a dark ambient compilation. He was featured on his personal favorite of the album, overall it was quite a pleasure to listen to and motivated me to execute a full digital release. Again, none of it thus far is what needs to be said, I could destroy all Infinxhuma material tomorrow and it would not matter, I am attached to nothing, especially material of the past that is now deemed inferior, and in my personal opinion not so good anyway.

7. On 2020’s ‘Arcade’ release, it seems like you went for a more minimalistic, retrospective sound. The results were simply amazing, in my opinion, but what were your expectations with this release?

Very true to the Infinexhuma path, yet in a realm above many of the human compulsions and matters, hence its more neutral and overseeing vibe. This release was expected to sound good, the sound was a heavy focus of this work, the depth and intricacies within the drones were (and are) one of the most fascinating things within music to me. Many planes were explored on this, a perhaps more space oriented cousin to Crossing.

8. There are a variety of instruments used/heard throughout this release. What all do you play on this album – and other albums for that matter?

Arcade had some synth layers as I had not yet adopted the principle of operating on samples only, however likely some guitar, for sure some throat singing on a specific track, but as well likely many many field recordings and their most prominent harmonics brought to the frontlines.

9. Speaking of gear, can you walk us through your studio setup?

Which one? Ha, well

1) DAW/post production, I have an ASUS laptop with decent power, a large casio used as a midi controller and practice at times, Yamaha Hs8 monitors, a few focusrite interfaces, A tape dubber/player, a novation (mini) pad with midi pots, a large bass amp, a condenser mic with multiple filters, a digital reverb unit, two guitars, a V-Drum kit, some brass and wood instruments

2) Practice/Live Prep, of course many of the mentioned and those I will mention can and are often moved in between rooms, but fundamentally I have a Eurorack box, forgetting how many hp total, three Yamaha mg102 mixers (the old school ones without usb and digital effects and crap), many effects and generator pedals, passive ¼ mixer, a few dynamic microphones, a marantz 201, a Roland SP-404 SX multiple (actual) drum pieces, a large collection of carefully selected windchimes, more wood instruments, bells, singing bowls, a Behringer Neutron synth and one more mackie mix8 (not the sturdy VLZ construction). Of course a soldering station for minor repairs and eurorack builds, contact microphones.

3) Mobile, I often use the mackie mixer when recording in tunnels or bunkers (if accessible enough to bring power as well. In my car I have constantly my Sony PCM D-100 for intricate and high quality (safe terrain as I’ve killed a few) field recs, a Zoom H-1 for more rugged and rough locations, quick on the fly recs, and as well to be used in conjunction with the Roland CS-10EM (recommended to me by Gnawed) binaural earphones/microphones for unorthodox binaural recs as I use them in reverse, thus far at least. Next, I carry a Zoom H3-VR for not the most accurate or heavy duty ambisonic work, but interesting nonetheless after decoding, A gopro with a special discontinued Sennheiser MKE-2 underwater microphone and another deeper diving somewhat shabby hydrophone for some cool underwater stuff. A tablet for on the fly Hexen Modular patches, to be used with a smaller JBL cylindrical sound bar, as well a larger JBL ONE portable rechargeable “PA” speaker.

10. Back to the music, on last year’s amazing release, ‘Frontier’, you have a variety of guest musicians that provide some captivating input for several tracks. Did you have a particular sound or theme in mind when working with these talents?

Perhaps only for the Blood Box collaboration, I have always had a very special appreciation for Blood Box and much admiration for their smooth execution of the dark and light mixture throughout their work. This was what I was seeking on our collaboration. Minimalism was sought out for the CEKE collab, and energy for the NERATERRAE one, all I believe were excellent works.

11. I have to ask you about “In The End”. It’s so different from everything else that you’ve released, yet sounds as if it fits right in with the theme of the album. Is this a direction you may be interested in going in with this project or perhaps under another name?

I have huge respect for those that are dedicated and naturally immobile on a specific stylistic path, however as the journey continues, I become more aware of how this is difficult, and not needed for me. They are all artifacts, just sent through a host, a messenger that will one day go back to dust, some artifacts will be slow and brooding, some will be destructive, some will be energetic and within rhythmic structure. There will be more.

12. On your YouTube channel, you have a lot of live performance videos uploaded. This is something that’s not quite common in the Dark Ambient community (yet). How is it pulling off a Dark Ambient show while keeping it creative?

Many live works tend to stray from typical dark ambient, but at times have been very true to the exact style. Live is a heavy opener of creative doors, a heavy generator of energy, a powerful opportunity to give further insight into the Infinexhuma path, however there are often limitations, obstacles and at times failures that are not present in a studio setting. Embracing the failures and the death of expectations allows energy to be recycled and properly reutilized for exploration.

13. How often do you play live and do you have any plans to venture out on a larger scale for performing live?

Live services are conducted perhaps ten times or so a year, there have been some large scale events however there will be more, international service is within the scope as well.

14. We’re mid-way through 2022 and haven’t experienced new Infinexhuma material yet. Do you have something planned and what would be the direction of the material?

It has been some years now, and much work has been discarded, and much more will be created and burned, until the exact energy beam is captured. Artifacts are being prepared, yet completion is far and the time of unveiling is undetermined at this point.

15. As far as large scale collaborations, do you see any releases of this kind in the future? If so, who are some artists that you’d be interested in collaborating with?

There will be more co-operations along the journey and path, yet at this time I cannot elaborate on any who will contribute to the exploration. I will state that there are considerations, and some that may leap to genre crossing branches on the great tree of music

16. I really appreciate your time and letting us know about all things Infinexhuma. Any final thoughts for those that will read this interview?

Thank you for your effort and everything you do for the community of creatives, this will one day be read by artists hundreds of years beyond our existence as historical art exploration.

Links:

https://infinexhuma.bandcamp.com

https://www.instagram.com/infinexhuma/?hl=en

https://youtube.com/channel/UCWLRzVnGUKF78rEX0KiXysg