1. So your latest release Mélamar is a stylistic departure from Fatanyu towards a more chaotic black metal approach but it still retains the same melodic foundation. What were you seeking to achieve on this release?
Mélamar serves as a middle point between the contemplative aura of Egledhron and the abrasiveness of Fatanyu, tracing a path between the two polarities. Bringing these elements together helped in solidifying the spirit that pervades on the previous EP’s, and also bringing a broader sense of direction for future releases.
2. Irillion has always established itself as a flowing black metal act with smooth tremolo picked riffs operating in layers yet at times the songs tend to explode into full on death metal such as on “Velo de lo Profundo” or “Fatanyu” how do you reconcile such opposing approaches?
Most approaches come down to experimenting with dynamics, having ideas that transform over time and are able to descend into the depths of whichever emotion the music aims to evoke. This often leads to some flirtation with doom or death metal riffing, albeit in a way that makes these approaches organic instead of opposing for the sake of just mixing styles.
2. Irillion is deeply entrenched within the works of Lord Dunsany, what is it about his books that draws you to them?
I grew fond of Dunsany for the vast and dense landscapes portrayed in his stories that one can only dream of. They served as a great inspiration for bringing an otherworldly presence to my music. I highly recommend checking out Sidney H. Sime’s illustrations for many of Dunsany’s works, truly amazing stuff.
3. You are the founder of Nocta Producciones, tell me where did the idea to start your own record label come from and what are you attempting to achieve?
Finding a label that was committed enough for releasing Fatanyu on physical format was becoming a frustrating endeavor, so I decided to just do it myself. The name was suggested by Coatl as a reference to the Swedish band Craft, as they called themselves Nocta for a few years before switching to their current name.
The label has grown slowly but firmly since its conception three years ago, experimenting with different types of production. Being that it’s mostly a one-man operation, its reach has been quite limited. Most of the catalog is composed of local projects I’m involved with, either as a performer or producer. There have been a few physical releases, usually handcrafted and in very limited quantities. It has helped by serving as a main hub for a lot of output produced with limited equipment. Lately the label has delved into other forms of art like photography and video recording.
Currently there are plans for collaborating with other projects, so it’s very likely that Nocta will stay active for a bit longer.
5. You played on Cóndor’s Nadia, could you tell us how that went?
A good example of being in the right place and at the right time. Ten years ago, I was called to fill in on bass for Cóndor’s very first gig because the guy they originally contacted for the role stopped replying to the rest of the band. By the time I got involved, the entirety of Nadia was already written and ready to record. I learned the tracks a couple of days before the gig and started recording the album just a few days after that. I got the chance to record the bass tracks in one day. During that time, I was very close to moving to another country, so my involvement with the band was cut short; it all happened within a very short time span. Nadia is an album that I hold dearly in my heart, I’m truly glad I got to be involved in it. Listening to it now still brings a powerful wave of nostalgia to me.
6. You play bass in Al Rinach 333, could you tell us more about that project?
Coatl and I got acquainted with Themgroth at some point during the pandemic. He was looking for musicians as he was interested in transforming Al Rinach 333 into a live band, drenched in occultism and hatred. A demo and the full album “Arkanumbra” have been conceived so far from this collaboration, both of which have been released on Nocta. An EP is now in the works.
7. Could you explain how your composition process works?
Music echoes emotions and thoughts I experience, and I have found several ways to portray or approach them, using different instruments and indulging in genres that I’m passionate about. Specifically, for Irillion, I need to be in a particular state of mind, a place of infinite solitude, so the music that comes out feels like an echo of the spirit. It doesn’t happen often, which is why having other projects is good for working on ideas that don’t necessarily come from the same corner of my mind as Irillion. Once I’m in that trance-like state, the music flows in abundance and in many forms. I tend to record the ideas that come up in those specific moments, and then arrange them in such a way that feels like a narration. Even the simplest of riffs can convey the most abstract emotions, if you arrange it to be that way.
8. What are your plans for the future?
There is a lot of activity planned for this year in terms of releasing new sonic madness. Hopefully, that will also mean more live shows, and a growing reach of maniacs who share the same enthusiasm for fast and loud stuff. Whatever the future holds, I intend to keep making music until I’m dead.
9. Any final words?
Go follow Nocta Producciones. Gloria al Catatumbo.
