Eric van Wonterghem interview about his EXPO project: ‘EXPO is the counterpart from the Monolith and Sonar sound’
Some artists need no introduction; their track record speaks for itself. Mention The Klinik, Absolute Body Control, Monolith, or Sonar, and Eric van Wonterghem immediately comes to mind. His newest project is EXPO. Under this moniker, he released the debut album “Interconnection” on his own label, Prodam Records, in late 2025. With “Interconnection”, the Belgian electro pioneer moves into electro-ambient territory, sounding quite different from what we have come to expect from him. This is no conventional dark-ambient record either: Eric keeps his own sonic stamp on every composition. What struck me most is the power radiating from these soundscapes, a quality I associate with the best drone-inspired music. The album asks more of the listener than most of Eric’s earlier work, and it keeps revealing new details with every listen. Reason enough for an Eric van Wonterghem interview about the origins, ideas, and future of EXPO. (Courtesy by Inferno Sound Diaries)
Yet this is far from a conventional Dark-Ambient release. Instead, Eric has infused the compositions with his own unmistakable sonic identity and artistic vision. What struck me most was the sheer sense of power radiating from the soundscapes—a quality often associated with the best and most visionary Drone-inspired music. EXPO may be less immediately accessible than most of Eric’s previous work, but it is a compelling and rewarding album that reveals new layers with every listen. It marks an exciting new chapter in his career, and one can only hope it will be followed by further releases. That alone makes this the perfect moment to sit down with Eric and discuss the origins, ideas, and future of EXPO. (Courtesy by Inferno Sound Diaries)
Eric van Wonterghem interview
Q: Eric, over the past 40 years or so, you have been involved in numerous projects and have experimented with different genres. EXPO appears to be your first venture into a more Ambient-Electronic and Cinematic sound. Had this been an idea you had been considering for some time, and how did EXPO actually come into existence?
Eric: I always liked to experiment in many different styles in Electronic music. I am fascinated in sounds since youth, the Ambient sessions I do make that more often in the studio it is like my therapy. I also like to explore the power of one type of noise or one filtered note played on a instrument, or listen to percussive sounds put into effect pedals , it can create an ‘out of this world’ endless new sounds. Mostly these sessions are just made in that moment and disappear after that, or many end up now onto harddisk as since last year I did record many real time sessions having a small multitrack connected to the equipment.. nothing more to do then push the record button to capture that moment.
One weekend I decided to use a recording like that and put it out on vinyl under the name EXPO (of sounds) a name I choose as a base for all the sound sessions I do. So Happy it is released on vinyl instead of putting it on the data shelf between the rest…
Q: What are the main ideas and concepts behind the EXPO project and the album “Interconnection”, both thematically and musically? How did you translate those ideas into the music itself?
Eric: For this project I use minimal instruments or machines to create sound sessions and atmospheres that I like to hear away from the rush, work and party world. I think it would fit nicely in a small (art) exhibition or an abandoned place where I can simply enjoy making this sound without feeling the need to live up to the listeners’ expectations. It is that all and everything in this world is somehow connected and influence other things, and I need as much time light and I also need darkness. In a way EXPO is the counterpart from the Monolith and Sonar sound. Working on different projects makes me feel more complete as a musician. I don’t think I could stay with just one project for my entire life, even though, if you’re aiming for success, that’s probably the best approach.
Q: I understand that approaching an Ambient composition is very different from writing a track for Monolith, for example. What have you discovered about yourself through this process, and is there anything you learned as a composer while creating this album?
Eric: Oh I am always into discovering or tryout new ways, super interested in all this new technology. For EXPO I stepped away from song structure what give an unbelievable freedom to let just focus on sound and ambience. For myself I discovered in this moment it’s a very nice way to express myself as an artist.
Q: Looking at the song titles on “Interconnection”, the album seems to present a rather dark and dystopian view of the world we live in today. How do you personally see this rapidly evolving world, especially at a time when so many people are struggling with mental and emotional challenges? And in your view, is the situation really that different from the 1980s, when you first started making music?
Eric: It is terrible what goes on for many nowadays, leaders take away security from the people, add higher taxes, higher payments, make bad choices and all must accept it..,,.. Still I refuse to involve all this in my music as for me it is the only place to get away for a moment. In the 80s when I was young it didn’t affect me so much, having more energy, go the weekend out, back to work on Monday and making plans for the future. It is a big difference. In choose the title “Interconnection” in another context. It’s about a connection between different systems that need the other to function well.
Q: So the title suggests connection, communication, and networks, yet many of the tracks evoke feelings of tension, solitude, and uncertainty. Do you think modern technology has truly made humanity more connected, or has it simply created the illusion of connection while people become increasingly isolated from one another?
Eric: With or without the technology? As I got ASS, isolation gives me peace in my mind, it really is.… But I know it’s a problem for most people to get isolated so I keep this short 🙂
Q: Dystopia often seems to have become reality, a reality in which machines—and I’m thinking especially of artificial intelligence—are increasingly taking over tasks once performed by humans. On the one hand, this feels closely connected to the theme of “Interconnection”, while on the other hand AI itself has become a creative tool, as I suspect the album cover may have been generated with the help of AI. How do you look at this development critically, both as a human being and as an artist?
Eric: For the music I need to be creative myself. As I said I am interested in sound, creating a song or noises, even if it takes time to get some idea in the mind out on the recorder.
In my opinion AI used in music is a gift for those who directly want to skip the joy of making music and like to be posers on the stage more then creating something.
I know AI can make better tracks then me. If you think in time and money, it’s perfect for many.
The sleeve from the album is made by Rafael aka 400 blows a graphic designer who made it all from scratch. However after that I let AI make some video loops starting from that sleeve design and edit this in a video program mixed with the sound to have some EXPO videos on Youtube/music
Q: Do you have specific plans to bring EXPO to the stage, perhaps in combination with visual artists or multimedia elements? How do you see the future of this project evolving?
Eric: One day I like to do that, but I guess it will stay in a small cosey setup. I give it time as it’s more important for me to compose the tracks and I like to put it on a limited vinyl and hopefully I’ll be able to do it again.
For all my projects I had in mind at some point to work with video artists, designers, performers, extra musicians, but it’s not easy to travel and cover costs with new projects.
We will see what future brings, but I hope it will be still a lof of things:)
I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.
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