Obviously, it is no longer the case that for good Black Metal you necessarily have to go to Norway. Over the past few years, Chile, for example, has claimed an increasingly prominent place in the international Black Metal scene. One of the bands that can definitely take some of that credit is Vindalf. Two albums by this one-man operation have made my top-15 of recent years and the latest album (released by Signal Rex) is another one that the aficionado of quality Black Metal cannot really ignore. It was therefore only a logical step to put some questions to Vindalf…
Hi Vindalf and welcome! For a couple of years I have been listening to your music, so inviting you for an interview was a logical decision. Let’s start with a bit of an analytical question: if you have to describe your music to someone who is unaware of Vindalf, how would you do that?
Vindalf is and will always be a manifesto against all forms of “modernity”, whether in the “good or new sound” or the fine production. It is the flaming banner against the ecclesiastical. It is the virgin canvas painted with impure blood.
Despising the trends and fashions that may affect the genre, the aim is to keep the flame alive that was once kindled in ancient days, preserving the pride of the old movement, dark and impious.
Vindalf is and will always be the absolute contemplation of the purity and darkness of ancient days. Maintaining the raw sound and, of course, leaving behind fine production. To me, this is the correct way to create and uphold this cold and dark kingdom, just as it once was.
Something about Vindalf that strikes me in particular is that your music, as a whole, feels very consistent in quality. How do you feel that your work relates to each other? What do you think are the most significant differences between your albums?
So far, all of Vindalf releases share a coherent vision both lyrically and technically. Each one has followed different creative and production processes, but always with the same goal: to stay true to the essence of primal Black Metal, respecting the pillars of the movement without losing its spirit. All albums have been recorded and produced by me, with an intentionally raw approach, far from polished perfection or expensive studio standards.
The early productions were more raw and less refined, while in the more recent works, I have refined the equalization and mastering of nearly all instruments, which represents the only significant difference in the sonic approach. Despite this technical evolution, my commitment remains firm: I reject the pursuit of a modern sound or a fine production.
As a whole, your music, like most of your compatriots for that matter, feels very European. Scandinavian to be exact. And to be more precise: from the mid to late 90’s. Is this something that you can relate to? Is there anything that inspired you most when you started Vindalf?
As you said, that marked both my career as a musician and as a person, significantly changing my perception. The first time I heard or came into contact with the style was through the early waves of 90’s Norwegian/Scandinavian Black Metal and Old Dungeon Synth.
For a long time, Black Metal accompanied me in various ways, and I felt that it was the art that combined all that darkness and purity, transforming them into something truly unique. I wanted to create, or in some way, honor what I had first heard: a feeling of unification with the innermost self, an absolute contemplation of the inner nature, an absolute contemplation of darkness, and a tribute to the gods. Something that only Black Metal could achieve.
A big part of your musical DNA, obviously besides Black Metal, is a medieval sounding sort of music that is somewhere between late 90’s/early 00’s Dark Ambient and nowadays Dungeon Synth. How important is that sort of music to you, both as a person (consumer of music) and as a musician?
I have always been a great fan of this style, Dungeon Synth. I have always been fascinated by its epic aesthetic, as if it were a fantasy story. Currently, I enjoy discovering new projects every day that come my way, always being surprised by the number of great projects out there. This makes me reflect and remember the early days of vindalf, even before it could be called a “musical project”. Dungeon Synth was the only source of creation I wanted to pursue at that time, without neglecting that darkness that had always been in my mind. I was trying to replicate the Dungeon Synth I first heard at a very young age.
Black Metal and Dungeon Synth have always shared a deep connection for me, a mystical and immortal alliance, to which I have always been a devoted follower. The mystical and magical nature of the unknown lands of Dungeon Synth and the purity and darkness of Black Metal, making both equally important and purposeful in Vindalf when creating a mystical, somber, and pure atmosphere.
Maintaining the realms of Black Metal and Dungeon Synth was and will always be the path I intend to follow until the end of days, because without the much-valued Dungeon Synth, Vindalf would not be what it is, not at all.
In my review of your latest album, ‘Undying Order Of The Black Flames’, I wrote that those Dark Ambient/Dungeon Synth parts can kill the natural flow of an album and it feels as if the album was recorded in a few separate sessions. Still, at least to me, these things didn’t really bother me. I attributed that on your song writing skills. Can you share your thoughts on that?
The ambient tracks were composed and developed over several sessions, each spanning approximately four days. Every piece underwent more than three significant revisions, as the initial results often failed to fully capture my vision. However, the creative process remained consistent: each composition was born in darkness and under the mantle of night, following a ritual of inspiration.
The outro, ‘Nirnaeth Arnoediad’, was recorded in the early days of Vindalf, around 2017, using a 1990’s Casio keyboard that I no longer use.
Despite technical and temporal differences, each song shares the same approach, reflecting the same dedication to the sonic or atmospheric essence.
Although certainly not new to the Vindalf formula, I felt that those Dungeon Synth “intermezzos” were quite a bit more epic, more orchestrated if you will. I drew a parallel with Graveland in my review, with the way more epic nature of the pieces it feels closer to what Graveland started to do since, say, ‘Creed Of Iron’. Is this a comparison something that only exists in my head and perception, or did these part get increasingly more attention? Or is it simply just a matter of improved musicianship?
I am a great admirer of Graveland and its music, specifically for its chillingly epic touch. However, it is not a direct inspiration. In my case, I sought to create a more orchestral and impetuous style of dungeon synth, one that would demonstrate the might of dark hordes marching triumphantly.
It should feel like raising the darkest banners, and like a thunderclap that illuminates the heavens.My complete inspiration, as I always say, comes from Wagner, whom I consider the greatest artist in history.
If you immerse yourself in the complete works of Götterdämmerung or Walkürenritt, you will discover that they transcend mere feelings of grandeur. These compositions awaken a profound sentiment, a genuine connection that envelops you in the immortal glory of ancient times, binding you purely to the true, forgotten gods.
Judging from your album’s titles, it seems your non-musical inspiration comes from the darker side of our existence and medieval times. Although subjects like anything related to the occult and cults are pretty much the average theme for the lion’s share of the Black Metal bands, I am quite curious to know what these things mean to you? Assuming you don’t just string some cool sounding words together: in general what drives you?
For a long time, I have been a devoted follower of various occult paths: the Runic path, ancient Odinism (distinct from Ásatrú), the Way of the Four Swords, the Draconian path, and certain practices of medieval magic. I will not delve into the meaning of each, as they are deeply personal spiritual paths whose very nature lies in remaining hidden, beyond the reach of light.
These paths have shaped my spirit so profoundly that I chose to honor them through the canvas of music.Through Vindalf, I seek to give form to ancestral and eternal hatred in all its facets, awakening the slumbering forces of personal darkness. Vindalf is the absolute unification of music and magic, with no tolerance in between.
Vindalf perfectly fits to the ruling old school Black Metal aesthetics: black and white covers, corpse paint, swords… Personally I really love the picture of you on a rock in the show with your sword held high. How important are such visual aspects of the genre to you?
Photography and visual art, in general, hold significant importance for me, going hand in hand with other artistic expressions. With a single image, painting, or photograph, you can represent an immense world purely through visuals. When accompanied by music, it becomes even more essential, as it forms a union crucial for generating an atmosphere or creating a world.
In Black Metal, it’s not just about atmospheric work—there is also theatricality and the importance of what is conveyed visually. In my case, I wanted to follow in the footsteps of the early photos of the style itself: a dark theatricality worthy of a dramatic work, accompanied by unique shots in minimal light. This enhances the bond between music and visuals, making it even stronger.
Photography in Black Metal, to me, transcends mere photography; it becomes a unique form of expression where one sheds their common mortality, allowing the inner god to emerge along with the makeup, which transforms into war paint that honors ancient times. In Vindalf, photography is approached with professional care by an expert photographer dedicated to capturing and paying homage to what once was—the golden era of the ’90s. This sacred effort to honor those times aims to create a worthy offering.
The snowy mountain photo was taken by the same photographer, Arvak. We sought to showcase the power of Chilean nature, which is deeply important and sacred to me. It is a land worthy of demonstrating that Chile has nothing to envy from Scandinavia—and this can only be achieved through the lens of photography.
As far as I have been able to find out you only release music under the Vindalf moniker and you haven’t put out a huge amount of demos and splits. These days the opposite is quite en vogue. Musicians tend to have at least a hand full of bands and projects as well as pushing one release after another. How do you feel about that and is not jumping this band wagon a deliberate choice?
Well, I wouldn’t know exactly how to feel about it, since my intention has never been to flood the scene with releases or demos just for the sake of it. For me, the work must be complete before I even consider publishing it. Every Vindalf album is an expression of my innermost self, and as I’ve said before, they aren’t merely albums. They are contemplative journeys through impious paths. The same applies to other projects—I have been and am involved in other musical ventures where the inspiration remains the same. However, Vindalf is different because it is a part of me, an inner god, and a powerful external force to which I will always dedicate more time than anything else.
There’s nothing wrong at all with releasing content or demos frequently if that’s what bands genuinely want—it doesn’t interest me personally. I just hope they don’t become “famous” with demos and incomplete works (as often happens). For Vindalf, the canvas must be fully painted.
While exact information might be lacking, it is hard for me to believe Vindalf is really your first band. I am not exactly asking you to kill the magic behind an anonymous band, but I am curious what your musical journey so far looked like and how you ended up settling with Vindalf…
Of course, Vindalf is not my first band, but it is my first venture into creating something of my own. Throughout my life, I have been involved in numerous Black Metal bands and projects, both as a musician and a collaborator with local bands as well as bands from other countries.
But before all these bands, Vindalf came first—the project I created in 2014, long before I ever considered forming something with another musician. My idea was never to create a Black Metal band with others; my vision from the beginning was always to create it alone. That was the core idea before any involvement with a group.
For about a year now, I’ve had the opportunity and fortune to play drums and accompany my comrades in Tagirion Est Tiferet (a Chilean band) for live performances as well as in creative processes. If the winds are favorable, we may record an album in the future. I am deeply grateful to be part of such a solid and professional band.
Aside from that, I have no plans at the moment to start another project, as I prefer to dedicate far more focus and energy to Vindalf.
Having a huge output is something that tend to happen even more with one-man operations, such as Vindalf. I always like to think that making music on your own has the disadvantage of lacking feedback from a like-minded individual that can serve as a filter or mirror. How does the process of writing music work for you?
I decided to create Vindalf entirely on my own simply because I have always been a somewhat solitary person. I’ve always enjoyed being alone to some extent, especially when it comes to creating music and experiencing solitude during the creative process, knowing that something will be born, immortalized, and completely yours. This is something I do not feel the same way about in a band with multiple members, and I doubt I ever will.
For me, composing and working alone is in no way overwhelming—it is a pure way to connect with myself and greatly helps in creating without pressure or conflicting opinions. I have always felt very comfortable with it. The compositional process is, in my opinion, the most important part, which is why I dedicate significant time to it until I reach a solid idea I can build upon. There have been entire days spent planning ideas and experimenting with instruments without arriving at anything concrete. For that reason, I sometimes take my time, so to speak—I always try to avoid composing anything forced or overly insistent, as nothing good will come from that approach.
I have often considered bringing in additional musicians for live performances, as I wouldn’t rule it out in the not-too-distant future, where it’s obvious I cannot perform alone. However, they would only be temporary session musicians. Vindalf was born and will always remain a one-person project, from beginning to end.
In my review for ‘Undying Order Of The Black Flames’ I started with saying that Lord Valtgryftåke might be the most prolific Chilean Black Metal musician, but that the quality comes from you. Of course I didn’t mean to exactly compare the two of you, but if we look at the Chilean Black Metal scene, how would you describe it? And how do you relate to the other Chilean bands?
Personally, I believe that Chile is a country that has nothing to envy from Europe or any other nation. The vast and glorious landscapes found here are just as beautiful as those in Scandinavia or elsewhere, and when it comes to music and its exponents, we also have no reason to feel inferior to anyone.
The Chilean scene has grown and will continue to grow over time, as there are bands that have made a significant impact, proudly showcasing what this country is capable of producing. Fortunately, there are still bands that respect what was created in the early days, keeping the Black Metal scene in Chile strong and alive. This has transformed local Black Metal into a united alliance with a common purpose: to keep the flame burning. This is why I share a strong connection with certain comrades and local bands, where mutual respect prevails. We share the same ideals and have gradually formed an inner circle that will endure through time.
Speaking of which, for quite a long time the Chilean metal scene was mainly known for its big and outstanding Death Metal scene, over the past few years Black Metal seems to be particularly on the rise. How do you look upon such developments in your native country’s Extreme Metal scene? Did you also follow the upcoming Death Metal bands that started around halfway of the 00’s?
Black Metal is steadily gaining prominence in extreme metal here in Chile, and in a positive way. As I mentioned before, there are bands that deserve far more recognition than they have received, as they uphold the standard of what Black Metal truly is. However, not everything is as good as it seems…
I believe that, unfortunately, Black Metal today (and in Chile) has not only shed or forgotten some superficial and even aesthetic elements, but it has also discarded other, even more important aspects. Thanks to pathetic trends and sometimes treacherous social media, it has become a kind of teenage fashion, with bands viewing the movement as a weekend pastime. Ridiculous apps have turned the style into music for immature kids seeking attention, pretending to be “rebels”.
And there are underground bands, both Black Metal and Death Metal, that are purely financially driven, aiming for their much-desired “fame”. It truly seems pathetic to me. I have seen many bands and projects within the scene with drunken musicians who have transformed into simple rock/glam bands with “makeup”. All the unnecessary modernism in Black Metal and extreme metal has influenced Vindalf. It has influenced me not to forget the past and the old ways. For Vindalf, Black Metal is a declaration of war against false gods and the cross. It is the resurgence of the traditions that were destroyed, and I would rather be dead than be part of a trend or famous at the cost of being a pathetic man.
Leaving that aside, I have never been a fan or follower of Death Metal. I don’t dislike it at all, but I am not a fan.
As a whole, how do you think your Chilean origin influenced you as a musician and how does this cultural background translate, if at all, to Vindalf’s music?
I believe that my Chilean origin has had no influence whatsoever in my career as a musician, as the music that predominates in this country is trash. The musical and artistic culture here is almost nonexistent, with a mediocre level of respect for something as simple as art. People are used to consuming whatever is handed to them by television or social media, which, of course, consists of useless content.
Now, any teenager can make “music” with a generic beat and lyrics about crime, drugs, and women—essentially, no meaningful content. The worst part is that the majority of people like it and are consumers of that kind of garbage. I owe my career as a musician entirely to my parents and friends (or close individuals), because thanks to them, I had a deeper connection to music from a young age. Not just enjoying it, but also appreciating art in more personal ways, sharing mutual knowledge about everything related to art.
This made creating Vindalf something sacred, not just a fleeting teenage project, but a project that will be immortalized forever. Chile is a country I am quite proud to belong to, but I owe absolutely nothing to its contemporary culture or its failed modernism.
Of course I am curious to know what your next step with Vindalf will be? I am writing these words at the very end of 2024, so, will the next year be another active year for you?
For me, at the end of each year, Vindalf burns in the flames of the past, only to be reborn, renewed, with the dawn of the new cycle. Every experience, every lived idea, becomes a lesson and ash, feeding a constant evolution that shapes its spirit and expression in all aspects. New physical editions will see the light, as well as new releases (which are already in progress), and if the winds are favorable, a live performance.
The journey is only just beginning…
This is it for now, thanks a lot for sharing your thoughts and time with me. Any last, closing words?
Thank you very much for the recognition and the opportunity. Eternal thanks to the dark and unholy souls of Vindalf’s inner circle to the very supporters of the project for their endless support. DEATH AND ETERNAL LIFE.
Death to the followers of the dead god and his false cross, may dark blood flood the firmament and may the ancient darkness rise again!
