Darkwave is my experimental music project, rooted in old-school metal riffing yet open to a vast spectrum of musical influences. While it maintains deep ties to progressive and thrash metal, its dynamics often diverge from the genre’s traditional framework – such as the relentless momentum driven by tight rhythmic structures. Instead, Darkwave blends elements with strikingly different tonal and emotional qualities, ranging from thrash, power, doom, and symphonic metal to classical, folk, electronic and even jazz motifs.
This fusion of styles is rarely premeditated; rather, it emerges as an organic interplay between instinct and intention, reflecting both my creative impulses and the influences that shape my songwriting. Walking the razor’s edge between conscious artistry and subconscious inspiration, I believe that identifying a composer’s core influences offers insight into the philosophy behind their work. Though my music is fundamentally intertwined with thrash metal, my inspirations extend far beyond – reaching into the realms of hard rock, NWOBHM (New Wave of British Heavy Metal), and even classical and Gregorian music.
For me, this evolution began with intensity, then shifted toward complexity, fundamentally reshaping how I perceive music. The intricate interplay of the Shermann-Denner guitar duo and the towering, ominous soundscapes of Tony Iommi left a lasting imprint on my artistic vision. Yet, it was the late Jon Lord’s genius – his ability to bridge the gap between old and new, tradition and modernity – that left the most indelible mark on my creative mindset. This perspective led me to artists who seamlessly merge musical worlds, from Mekong Delta’s Suite for Group and Orchestra to Atheist’s jazz-metal fusions. Over time, I recognized a third essential dimension beyond intensity and complexity: a dark, monumental, and deeply emotional atmosphere – often melancholic, always grandiose. This quality not only defines the music I create but also echoes throughout my favorite literature and poetry.
At this intersection, where instinct and intention blur, music becomes more than composition – it transforms into a distinct entity of thoughts, emotions, and aspirations. My approach to music, art, and life itself is rooted in this realization. I resonate with G. K. Chesterton’s 1905 reflection on the loss of universals: “We are more and more to discuss details in art, politics, literature… Everything matters – except everything.” The essence of any artistic creation lies in its core philosophy; technical details in composition, performance, or production are merely its byproducts.
With Darkwave, my ultimate goal has always been – and will always be – to convey emotions and ideas with and without words. Because nothing bridges the human soul more profoundly than music itself.
“When words fail, music speaks.”