The long and windy road

Before I start, let me apologize for my long absence – it’s been a while since I posted anything, and it was with a reason.

First of all, lately I’ve been having health issues. Nothing to worry about, though – it’s just time and energy-consuming to find the time for all those physical examinations, especially that I have a regular 9-5 job and live in the suburbs. So, in the last couple of weeks my energy was mainly dedicated to carry on with the necessary things. Besides, I’ve been constantly struggling to find a good guitar tone – I know that once or twice I showed you interim results of my experimentation in Bias FX2 (or more recently, Neural DSP), but the battle is still raging on. All of my previously used guitar tones sounded suboptimal to me, so I tried to find new ways to achieve a robust, still crispy and clear guitar sound.

Anyway, I think I’m finally on the right track: I experimented a lot with various amp, cab and mic settings, and ended up with a clear, but robust sound.

Of wishes and motivations

I always wanted to write this post, but I never had the courage. I don’t even have it now, but still… I’m going to tell the story anyway, no matter what.

Sometimes there exist only short answers to extremely difficult problems – and a person’s inner motivation is definitely one of those hard questions that can be answered either in a single sentence or in several volumes. Still, I’m going to stay somewhere in between these two extremities. While the answer to the question “why I write and play music at all?” is indeed quite simple, my explanation may consist of a somewhat lenghty description of all the elements of the concise answer.

So why…? Well, my answer in itself is really not that complicated – at least for the first look -: I just wanted to create something really meaningful that truly reflects the essence of everything I am. While I don’t think that my other creative activities lack any meaning – I work as a neuroscientist during the day and have great hobbies to spend my free time -, I always felt that something was “missing from the equation”: the results of my activities always felt somewhat incomplete. Science is basically an intellectual challenge, and I find it cool that I can take part in research activities that may lead to disease treatments. Also, I’m currently writing a book based on decades of research (I’m not exaggerating – I’m really that maniac lol…) summarizing the history of my family with lots of personal reflections and outlooks. But this is also something that basically utilizes the intellectual part of my mind, without substantially involving the emotional aspects of my soul. As I basically am an emotion-driven person, I find it equally important to perfectly express one single feeling as to summarize 400 years of the history of a small Austro-Hungarian family. The manuscript of my book is – of course – valuable to me (otherwise I wouldn’t have put so much effort in those endless research hours in various archives…), but it has always been crucial for me to find something that incorporates both the emotional as well as the cognitive/intellectual aspects of my brain.

And this is where art crawls into the picture. It’s probably not an accident that I’ve always been attracted to art and artists – especially to music and musicians. I have always been quite happy with the scientific papers and poems I wrote (and hopefully I will be proud of my genealogy-based book too, once it will be published…), but if you read my writings, you can get to know only my “rational” side. I, however, wanted to find something more holistic that summarizes both my feelings and my thoughts: something that fully represents everything I am. And this is what I can do through music.

It’s these words and music that keeps me living, keeps me breathing” – says one of the best Life of Agony songs, and although I don’t use lyrics for my music, even I intend to transmit messages not only through sounds, but also through visual and verbal clues using appropriate cover images, song and album titles. But the overall framework is music – a framework that contains pieces from the essence of my life: feelings, thoughts, emotions, affections, memories, beliefs… and in general: everything. The creative process of this “musical storytelling” keeps me living a wholesome life and breathing healty air – and if things go in the right way, you will hopefully better understand me through my music than words. You will understand not only the easily digestible superficial information, but also those things that I’m unable, afraid or simply ashamed to tell you in words. You will understand the “real me”. The question – of course – arises: what is this desperate urge of self-expression? In a world where identity gets a rightfully increasing attention, I identify myself a music maniac, who condenses and presents his inner self using this particular type of art. But if I try to identify the source of this drive to express and share myself, I often end up with Jack Kerouac’s immortal words: “I’m writing this book because we’re all going to die“. Well, I’m writing my book of music, because we’re all going to die – I’m going to die, too. But before I die, I feel the urge to create something that I think is “really me”. It’s not because I consider myself more talented or better trained than anyone else. It’s also not because I think that my thoughts are worthier to share than anyone else’s thoughts: I don’t feel the need to compete with anyone (only with myself). I just learned the hard way that all my efforts to create something proved to be (at least partially) dead ends – except this one.

Please, listen to me, and understand me. There is something immortal behind the surface of things, and I will do my best to find it, condense it and present to you.

And death shall have no dominion.
Dead men naked they shall be one
With the man in the wind and the west moon;
When their bones are picked clean and the clean bones gone,
They shall have stars at elbow and foot;
Though they go mad they shall be sane,
Though they sink through the sea they shall rise again;
Though lovers be lost love shall not;
And death shall have no dominion.

(Dylan Thomas)

2022 in two sentences

Well, this is (more or less) the naked truth: I had approximately 18.500 streams in one year, which – I think – is not that bad at all. Let’s see what 2023 holds for all of us!

Happy New Year!

Now when 2022 slowly ends, I want to thank you from the bottom of my heart for the support and love I’ve received from you throughout this year!

2022 was a busy year, full of exciting activities that finally enabled the release of two (well, tbh one and a half lol…) Darkwave albums: the remastered Hexapla* and Missa Innominata. I’m so grateful for each and every one of you who walked with me on this path and helped me to achieve it all by continuously supporting my work! And… although I don’t really like to make big New Year’s resolutions, one thing became absolutely sure by now: 2023 will be dedicated to the release of a brand new album, the third full-length Darkwave release!

Thank you for being here with me. Have a great New Year’s Eve party tomorrow and stay tuned for 2023!

See you in January, friends!


*Removed from the discography, when the remixed/remastered Hexapla was released in 2024.

Merry Christmas!

I wish all of my friends, supporters, followers – and all members of this little community – a merry Christmas and a successful, happy New Year! Thank you for being with me, and see you in 2023!

Inspirations (4)

(4) All Is Lost but Hope: The Literature That Inspires Me

It might sound unusual, but I often find an intimate and direct connection between certain texts and my musical ideas. In fact, more often than not, literature and music intertwine in my mind in ways that are difficult to separate. I’ve always been a bookworm, and every novel, poem, or even song lyric I’ve read has shaped the way I perceive not just art but life itself. These inspirations span an incredibly wide spectrum, covering vastly different genres and themes. Yet, if I had to distill their essence into a single line, I’d borrow the words of Virgin Black, pioneers of gothic metal: All is lost but hope.

Nova vis ad diem novum nascitur 
Penitus veneficium versatum revincitur 

(Lacuna Coil: Veneficium)

This duality of loss and hope has always captivated me. I occasionally experiment with writing poetry (Hungarian speakers can find a few older ones here), and I’ve found it much easier to express these emotions through words than through music. That said, sometimes I doubt these poems will ever become lyrics for my compositions, even though some were originally intended for that purpose. Beyond differences in rhythm and structure, there’s also the simple fact that I don’t want to lose the nuances of the Hungarian language in translation. Still, those who read them might catch glimpses of my thoughts – fragments of sadness, with occasional sparks of resilience.

Perhaps this balance between melancholy and defiance is what drew me so deeply into Lacuna Coil’s music over the years. Their ability to merge tragedy and struggle with grandeur and catharsis resonated with me profoundly. Even after countless listens, Veneficium still hits me with the same force, to the point where I felt compelled to have its Ancient Latin intro tattooed on my arm.

It’s no coincidence that books with an underlying sense of sadness or tragedy have always inspired me the most. Yet, the stories I cherish never dwell in suffering for its own sake – they always offer a sense of transcendence, a way forward. When people ask about my favorite books, I struggle to narrow it down, as my literary influences are as diverse as my musical ones. Among my most beloved authors are literary giants like Erich Maria Remarque (Three ComradesArch of Triumph) and Antoine de Saint-Exupéry (Night FlightWind, Sand and Stars), but also lesser-known and unfairly overlooked writers like Marguerite Radclyffe Hall (The Well of Loneliness). My fascination with melancholic atmospheres is also reflected in my admiration for early horror pioneers – Bram Stoker (Dracula), Mary Shelley (Frankenstein), and Edgar Allan Poe (The Fall of the House of UsherThe Cask of Amontillado).

Beyond these, I’m continually captivated by G.K. Chesterton (Heretics), whose paradoxical brilliance never ceases to amaze me, and the dreamlike, otherworldly storytelling of Jorge Luis Borges (The AlephTlön, Uqbar, Orbis Tertius) and Gustav Meyrink (The GolemThe Angel of the West Window). J.R.R. Tolkien (The Lord of the Rings) transports me to a world of mythic grandeur, while Jack Kerouac (On the Road) invites me on an endless journey of discovery.

At first glance, these authors may seem to have little in common. Their backgrounds, themes, and philosophies are wildly different, but I’ve never found it difficult to connect with vastly different perspectives – whether in literature or in life. I’ve always sought unity with others through emotions and shared human experiences rather than ideological or theoretical arguments. To me, emotions always take precedence. While I hold a strong worldview of my own, I find genuine connection far more important than rigid intellectual divides.

And this is where music enters the picture again. As much as I resonate with books and poetry (and even write them myself), I still see music as the ultimate form of emotional expression – one that transcends the limitations of language entirely.

Without veering into the depths of linguistic philosophy, this is simply who I am.

A couple of thoughts on a foggy Saturday evening

Numbers can’t describe anything that belongs to the qualitative domain of our reality. Still, I’m quite speechless to see that there are 11 people out there who listened to my songs so many times that it qualitifed me to be one of their Top10 artists. And what is even more amazing, I became one of the Top5 artists of 5 of my followers! A special, huge thanks to all of you guys!

This year proved to be a busy one: I remixed and remastered my first album and created a brand new one. Also, I substantially upgraded my gear (both on the hardware and software side), learned mixing and mastering and wrote a bunch of new songs for an upcoming album. Besides, I had official duties (as most of the independent artists, I also have a regular 9-5 job to make a living that I can spend on guitar gear and software upgrades LOL…) and started to write album and concert reviews as well as do interviews for a Hungarian metal webzine. Taking all these activities together, it was fun but demanding – and now I feel like I have to prioritize my diversified duties.

First of all, I want to further polish my mixing/mastering skills. I’m not at all unhappy with the sound of my albums (especially after the quality rise with the remastered Hexapla), but I see quite clearly the direction I’ll try to take in the future. I aim for a more brutal, thicker and deeper guitar sound – therefore I already started doing experiments with my BiasFX 2 virtual guitar rig. Also, I upgraded my virtual drum instrument and try to achieve an even clearer and more polished mix. I always considered my musical journey as a way of continuous experimentation and improvement, so I’m not ashamed to admit that I still see a quite large space for future development both on the musical and production side. While the development of a songwriter and guitarist is a rather organic process, I wanted to facilitate my production skills by subscribing to one of my favorite mixing and mastering resource page run by the well-known mixing engineer, Chris Selim. Following the years of self-education, I think it’s time to take the next necessary step, and internalize organized learning material to acquire all the details that only a skilled, professional mixing engineer can hand over. I’m quite confident that the new guitar and drum sound together with an improvement in my mixing abilities will result in a dramatic increase in the sound quality of the forthcoming album.

And finally, what is even more important: I will release a new album next year. I still don’t know, when, though – I try not to stress myself with the preparations (although I already recorded a quite huge amount of guitar tracks, I’m sure that only a few of them will appear in the final mix). I plan to put together a darker, sadder material than you could hear on Missa Innominata: it’s not that my thoughts became somewhat darker recently (they were always like that LOL…), but this time I feel like showing you guys something from this side of my mind. You’ll find more pain and sadness with various feelings of loss, loneliness, helplessness and guilt on that material, wrapped in heavy-weight, killer and sometimes slightly dissonant (almost jazzy) guitar themes. Still, I hope you’ll like it as much as you like my previous albums.

2022 on Spotify

It seems that 2022 was a pretty good year for me, at least in terms of Spotify listens, sharing and downloads. If we compare the number of streams (254 vs. 3800), listeners (48 vs. 455), total listening time (20.3 vs. 420 hrs) as well as the number of countries where my songs were played (13 vs. 55) in 2021 and 2022, respectively, then the difference is clearly visible.

To be honest, I’m quite speechless now. I never create summaries on such numbers – not because I’m not interested in the progress of my music, but simply because I’m too engaged in practicing the guitar, creating new songs or learning new skills like sound recording, mixing and mastering. My numbers may not seem particularly high compared to well-known bands with professional promotion, but for an independent solo artist who can dedicate only part of his free time to these activities, they mean the world. Sometimes it seems hard to find something really meaningful in this world, but music is definitely one of those few that carry a very special meaning and give me constant inspiration and joy.

Thank you all for making it possible! Thank you for listening to my music and being with me on this exciting journey – and stay tuned, as the new stuff is already on its way!

New gear, new sound

Recently I performed a couple of major updates on my gear. To cut a long story short, significant changes were made both on the hardware and software side.

Firstly, I was constantly struggling with the suboptimal output sound of the VST instrument I used to simulate drum sounds in Cubase (the DAW I’ve been using since the beginning) with. No matter how hard I was trying, I couldn’t improve the final drum tone beyond a certain point – and despite all the improvements, I found this particular point still somewhat suboptimal and artificial. Then someone (actually a professional musician, whose opinion I value very much) suggested me to switch to Get Good Drums. I, therefore, started to use “One Kit Wonder – Metal” from this company, and the result was immediately (without any further mixing and/or mastering) amazing. Secondly, I changed the original pickups in my LTD EC-256 guitar to Seymour Duncan’s Pegasus and Sentient passive humbuckers, which resulted in a dramatic and immediate improvement in the quality of the rough guitar sound. And thirdly – following years of using pre-programmed guitar presets – I started to experiment with setting up my own virtual guitar rig using the Bias FX2 amp-and-effects processor.