DEMONWARP

Demonwarp is a somewhat mysterious project that blends the styles of synthwave, darkwave, industrial and much more. Don't bypass them just for their aesthetics which bear similarities to that of synthave. They are far more diverse. We're pleased they responded to our email interview which we're excited to share with you. Check it out here!

Hello and thanks for taking time out for our interview. Could you give our readers a brief background on Demonwarp and the meaning behind the name?

Thank you for the opportunity. Demonwarp is a passion project that developed just a few years ago. The idea really came from a story idea. In 2666 the world is torn as portals from the rapture draw the hellish demons into a world full of AI tech. The demons merged with AI creating a power that can only be overcome by becoming the greater demon. Each song tells the story of the time before, during, or after this event. We all have Demons inside and its how we handle the demons on the inside and out. It is not just raw anger, but capturing the frustrations of corrupt power that leads to strife, that leads to a dystopian path and when in that future, what will we do to merge with the demons for power or succumb to their will.

Extra Info - I was actually deployed in a war zone and using my spare time to work on some house music productions when the idea came to me. House was my first passion as a producer, but the house music scene had lost most of its appeal with DJs filling the booths and everyone forgot how to dance and let go over the years. So I turned back to my first love, which was metal and industrial music. I grew up in the Dallas area going to shows like Morbid Angel, Deicide, Death (greatest show ever, long live Chuck), and searching with my brother for black metal you couldn’t find anywhere. Then I discovered The Prodigy and Music for the Jilted Generation, “Their Law.” I was blown away, then I dug into KMFDM, Chemlab, Skinny Puppy and was attracted to the metal combination with electronic music. Fear Factory and Ministry really had me hooked.

Your aesthetics are a little like synthwave but your music is far more diverse. What influences do you have musically and perhaps visually?

Yes I dig the synthwave toms and inspiration but really pull from films and art like Hellraiser sampled in Lust, Lies in Betrayal, Event Horizon, Aliens (great samples in the battle scenes) and artists like H.R. Giger, Junji Ito, Masamune Shirow and Hiroshi Sakurazaka “All You Need is Kill.” I’m a Philosophy major so I like to read and explore different dystopian, existential work and horror art.

Have you ever done or had interest in doing any video game or film scores?

Favorite games are Mass Effect Trilogy, Ghost of Tsushima, and Phantom Pain, so if Hideo Kojima is listening I’m here, lets do a new Policenauts or Snatcher sequel. I”m no Le Castle Vania but that is a dream, either one I would be game for.

What do you have planned for 2024?

Working on a live set with a combination of new and old material and performing. Might start out half live and half hybrid but I want to perform. I’m getting a special mask built to really bring the vibe, looking for a guitarist as well to give the audience an experience. I also did some vocals for Revizia for a new take of Lawless off his stellar album Chronicles that will be coming soon. Since I usually release singles, I’m looking to combine my new material, live developments and a few past tracks into an album for digital and physical release.

What do you think is the mark of a good remix, both from the perspective of the remixer and the artist?

Giving the listener a taste of the original and their new artistic presentation. I’m always looking for remixers and Paresis was the first I collaborated with, and he put together a huge drum and bass influenced remix on Lust, Lies in Betrayal. Also not every track is a masterpiece, so sometimes the remix can capture those really unique pieces and give them new life.

Are there any specific themes that you like to address in your music?

Like the story above, I want to have emotions connected to the narrative for each work, not just random grinds and noises. Take my latest track Possess Me, it is about a woman conjuring up a demon and the demon takes over her body, but then realizes she is a powerful witch and the witch is now in control of the demon’s powers so she can use it for the future torn world. Jenna’s voice captured the feminine beauty and power. Whether its anger, frustration, or turmoil I want the listener to feel the journey through the emotional state, never stuck always acknowledging and moving forward.

Do you have to be in any kind of mood or environment for your composition process?

I always start with an emotion maybe a single lyric line or feel I want to capture. This really helps me decide how hard or in your face the song will be, tempo, and beat structure. Warlock from my first album came about after watching the movie Warlock and I paused and replayed this one line where he is talking to a Witch about power and being rewarded and she states, “service is the reward.” Then I wanted to capture this dystopian Warlock that still did it for service of evil as the only reward.

Are there any sort of “rituals” that you do every time?

I try to make every session productive, whether its trying something new with a machine and learning something from a video, to exploring and warping sounds, to specific mixing or song work. I always try to complete an idea before I leave the room. Sometimes that idea is rubbish but I move on to something I can be pleased with.

How did you take advantage as an artist, during the covid lockdowns?

So there I was, war zone during the pandemic, working on house music, and watching movies to pass the time and my brother who plays in The Black Moriah was working on his tour with Possessed. He also loaned his voice to me when I got back on a few tracks. I knew electronic music production and still listened to metal, especially Satyricon throughout my deployment, so why not give the combination a shot. I always listened to harder edge electronic like Panacea and Chris Liberator and It really turned into expressing my inner self that was buried deep for a while and needed an avenue to vent.

Take us inside your studio and tell us more about the hardware and software you use to create your work.

Digitakt, Virus B, also using the Osiris Virus emulations, Apollo twin, Midi fighter twister for some added automation help, Shure super 55 mic plugged into Ableton with some Vital, Avenger, and Serum on top. Big shout out to Goremall instruments and there Reaktor plugins. I’m looking to expand my hardware and setup preparing for my live set. I also like digging for samples and trying to distort my own to really give a unique horror type feel. I move about every 2 to 3 years so I keep this part mobile. This is surrounded by my modded arcade machine, retro light guns, record and comic collection, turntables and cdjs. Still need a cover for my Amazing Fantasy #15 if you have one lying around.

Appreciate your interests and look forward to seeing all the Demons in 2024.

https://demonwarp.bandcamp.com/

William ZIMMERMAN
28/02/2024