Melkor Interview: ‘A mixture of Cinematic, Ambient and atmospheric sonar explorations’
Melkor
Behrad Fountain (Melkor) is an Iranian interdisciplinary artist and philosopher from Persia. His debut album, “Udkraxsha”, was released in 2024 by PharmaFabrik Recordings. The album weaves together philosophical inquiry and sonic experimentation, resulting in a remarkably mature and meticulously crafted work that blends Dark-Ambient, Cinematic textures, and Drone. The Melkor album “Udkraxsha” is marked by an icy, austere atmosphere, guiding the listener along an obscure and introspective path toward the darkest mysteries of the universe—and, by extension, of our own existence. Intrigued by the depth and intent behind the work, I decided to explore Melkor further and reached out to him for insight into the concepts and ideas that shaped the album. (Courtesy by Inferno Sound Diaries)
Q: Can you give us some more background about yourself and how you first came into contact with music, eventually leading to the Melkor project? And what does the name of this project actually stand for?
Behrad: I embarked on my musical path nearly 15 years ago, beginning as a drum player. Two years later, having acquired an understanding of music theory fundamentals, I began the composition process with my focus shifted towards the digital aspect of music. Meanwhile, I was the side vocalist and percussionist for a Black-Metal band. Subsequently, I solely channeled my musical enthusiasm into exploring dark tones nuances and concentrated just on composing Cinematic, Ambient and atmospheric music.
Melkor is my alias, and the entity which incepted my first identity. Melkor, the Dark Lord of all epochs and the ultimate god-king of the vast Blackness, epitomizes the quintessence of darkness and blackness, as is the intrinsic nature of my music, true essence of darkness.
Q: How would you describe your music, and how do you approach creating it? What are the influences—musical or beyond music—that may be shaping your work?
Behrad: Philosophical foundations are the core to my music. I generally tie a gnostic & philosophical phenomenon, subject, object, issue, etc. with sounds, by sigil of the blackness. That’s the way I approach a composition! I always try to explain a massive concept by music. On another side I just share conceptual and experimental expeditions to dark spaces, Blackness, and the origins of creation.
Q: Tell us a bit more about how your debut Melkor album “Udkraxsha” came to life, and what you were trying to express musically and perhaps conceptually with this work?
Behrad: UDKRAXSHA (/ʊdkrækhʃʌ / – black pantheon) is traversing into distant astral dimensions, far removed from the world of light. It is a revelation of a long-held secret. A concise narrative about the ascent and descent of the black macrocosm, where once original myth, lore, esotericism and grandeur emerged. Blackness is present everywhere and has encompassed the entire existence, as well as the Creator. Every track in this album has a story and a visual art. The album comes with a visual booklet.
The process of this Melkor album production initiated at the end of 2022 through composing the melodies. Through the first season of next year, I engaged in design and tuning the sounds process. Arranging was a challenging task that took much time, after seven months eventually the journey was completed. Visual artworks and booklet were done a month before release.
Q: This Melkor album was released quite some time ago. How do you look back on it today, and were there any specific instruments, production techniques, and/or atmospheric elements you used for this release?
Behrad: Every time I listen the album it comes to my mind how did I conjure that! It aligns exactly with my intended meaning. I did my best for this album. One could assert that the culmination of all my finest techniques and skills at that time has been distilled into these ten tracks. I don’t work simply on my music and for this one, I dived especially deeper.
A notable feature of this album is its diverse array of sounds, ensuring that listeners experience more than one stylistic approach across single tracks and throughout the whole album as one track. The album is a mixture of Cinematic, Ambient and atmospheric sonar explorations. The purpose of this complicated composition was to accurately convey the atmosphere of the mentioned macrocosm and its realms.
Q: How difficult is it for an Iranian artist to gain recognition and build a reputation in the West? And what can we imagine when it comes to the contemporary Dark-Ambient and Drone scene in your home country?
Behrad: I believe it is up to the mind that arranges the tones. It is the artist who should maintain the worth of the artwork, regardless of the difficulties. I don’t consider gaining reputation as a goal, respecting to art and the artwork will eventually make the recognition, but there should be an Art. Also correct presentation of the artwork is a mission of the artist to the artwork. It is not simply done when the production is done.
I personally have kind of a solitary lifestyle. My primarily focus is on developing my theories. Although I am not apprised of the prevailing trends in social interactions, it is evident that contemporary Iranian music is experiencing considerable transformation. I don’t remember a period like now, during which an abundance of events, meetings, street concerts, and various opportunities for engagement with diverse styles and perspectives have become so attainable.
Q: What are you currently working on? Is there new Melkor material in the making, and how do you see Melkor evolving in the future?
Behrad: I have an extensive vision for future endeavors. It is a hard process. In my pursuit of founding a record studio-label, it is difficult to determine the exact timing and methodology; nonetheless, there is a transition occurring within the Melkor project.
I am not sure if this is a syndrome or an alternative issue(!) but I struggle with releasing new tracks. I dedicate efficient effort to my music, ensuring it is completed to a high standard; however, I have reservations about its release! Not even a simple upload on one platforms! The tracks stay still and only for me, my own, my precious!! There is another fact about my music: most of my released tracks have an alternative version, which includes a variety of unique alterations specifically tailored for myself! It is just my treat with my music.
However, I am currently releasing a 30-minute track that is significantly distinct from my previous works, a Middle Easterner song. Barbat, Synth, Harp, Pad are the instruments. It is a spiritual travel experience which Tibetan have called that state: ‘Bardo’.
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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