Desiderii Marginis &#8211; SIDE-LINE

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.

Desiderii Marginis announces new ambient album on French label Cyclic Law – Pre-orders available now

Bernard - Side-Line Staff — Tue, 26 Mar 2024 12:00:31 +0000

The latest album from the Swedish ambient act Desiderii Marginis, “Bathe In Black Light”, will be out on May 3rd via the French label Cyclic Law.

The album will be available in various formats, download, a CD edition in 4 panel digipak and a double vinyl edition limited to 100 copies in Marbled grey and black, and 200 copies in black.

Desiderii Marginis, a Swedish dark ambient music project, was created by Johan Levin in 1993 in Mjölby, Sweden. Initially a solo project, it released its first three tapes — “Consecrare”, “Via Peregrinus”, and “Triptych” — in very limited editions, which were later included in the 2009 compilation album “Years Lend a Golden Charm”. The project’s debut album, “Songs Over Ruins”, was released on Cold Meat Industry in 1997. Over the years, Desiderii Marginis has produced several albums, including “Deadbeat” (2001), “Strife” (2004), “The Ever Green Tree” (2005), and more recent works such as “Vita Arkivet” (2018), “Departed” (2020), and “Serenity / Rage” (2023), showcasing its evolving dark ambient sound.

You can check already a few tracks on Bandcamp.

Bathe In Black Light by DESIDERII MARGINIS

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil.

Desiderii Marginis – Serenity / Rage (Album – Cyclic Law)

Inferno Sound Diaries — Thu, 01 Jun 2023 07:00:00 +0000

Genre/Influences: Dark-Ambient, Cinematic.

Format: Digital, CD.

Background/Info: Johan Levin strikes back with a new album of his main project Desiderii Marginis. The work is conceptual work dealing with the contradictory human capacity to do both good and evil, where clarity and insight can turn to blind overwhelming rage and how we find ourselves moving back and forth across this vast expanse of human emotions’.

Content: Desiderii Marginis creates a poignant sound atmosphere creating the illusion of desolation. Resonating dark sounds are joined by speeches around the concept of the theme. Overwhelming sound waves and heavy, droning, percussions move crescendo while string parts and field recordings are joining in. From pure Dark-Ambient towards Cinematic music this work is diversified.

+ + + : Johan Levin remains faithful to his favorite influences and elements in sounds without repeating himself. Each album sounds like living on its own while being part of a wider project. I like the apocalyptic sphere hanging over this opus which is reaching its summit at “New Flesh At The Demon Cold” and “The Hours Of Darkness”. The sampled speech parts inject a very own touch to the work while reinforcing the mysterious mood.

– – – : The work is not exactly what I consider as Desiderii Marginis’ best work in history although it remains intriguing and accomplished.

Conclusion: A fascinating exploration of the inner-self transposed into a dark sound canvas.

Best songs: “New Flesh At The Demon Cold”, “The Hours Of Darkness”, “I Was Destroying Icons”.

Rate: 7½.

Artist: www.facebook.com/profile.php?id=100062986161230

Label: www.cycliclaw.com / www.facebook.com/cycliclaw

You can pre-order the release right here.

Cyclic Law celebrates its 20th anniversary with a label sampler, ‘Cyclic Law’s 20th Anniversary Label Sampler’

Bernard - Side-Line Staff — Mon, 05 Dec 2022 12:05:24 +0000

Cyclic Law celebrates its 20th anniversary with a label sampler, “Cyclic Law’s 20th Anniversary Label Sampler”, featuring exclusive material from 22 artists on 20 tracks.

On the release you’ll find material from Ajna, Ascending Divers, Ashtoreth, Beckahesten, Curse All Kings, Desiderii Marginis, Funerary Call, Kammarheit, Leila Abdul-Rauf, Neraterræ & Dødsmaskin, New Risen Throne & Corona Barathri, Nordvargr, Øjerum, Shedir, Shrine, Sophia, Sutek Hexen, Taphephobia, Visions and Vortex.

The release will be out on December 21st as a double CD Edition of 500 copies in gatefold digisleeve with a 180x120mm poster.

Since its inception in 2002, Cyclic Law has been active in the fields of ambient, experimental and industrial soundscapes. Next to the label there is also Cyclic Press, a publishing house releasing high quality art books by international visual artists and on top it’s distributing various occult and esoterica publishing houses. The third panel of Cyclic Law is Cyclic Law Mastering which offers audio mastering services open to any style of music, but with a wider knowledge of all styles of electronic music, from ambient to techno.

Tomb Of Primordials (Album – Cryo Chamber)

Inferno Sound Diaries — Fri, 29 Jul 2022 07:00:00 +0000

Genre/Influences: Cinematic, Dark-Ambient.

Format: Digital, CD.

Background/Info: This collaborative album is the sixth chapter in the “Tomb Of Primordials”-series. The work is meant as ‘a dark exploration of the multifaceted entities of Sumerian mythology and the many dark places they inhabit.’ The work features six cuts revealing occasional collaborations.

Content: The work features sonic exposures by some familiar and famous names from the Dark-Ambient and Cinematic scene. Dahlia’s Tear,
Svartsinn, Letum, New Risen Throne, Mortiis, Inner Vision Laboratory and Desiderii Marginis are projects we all know from their works released on labels like Cryo Chamber, Cyclic Law, Winter Light ao while Skadi is a rather unfamiliar name. You’ll find occasional collaborations between Svartsinn and Letum plus New Risen Throne and Mortiis. All tracks reflect an inhibited atmosphere which sounds however ominous and even tormented.

+ + + : This album might be seen as a compilation although it also reflects the philosophy of Cryo Chamber meant as a ‘family’ thing. The concept and the very repressed atmosphere however sounds like an entity wherein the theme became more important than the contributors. It doesn’t take away that this work features a few great pieces like the one delivered by Skadi featuring one of the darkest cuts. Another great cut is the one by Desiderii Marginis. I also like the sophisticated and detailed cut by Inner Vision Laboratory and the somewhat Tribal-driven track created by New Risen Throne and Mortiis.

– – – : I personally expected a bit more out of the collaboration between Svartsinn and Letum.

Conclusion: Cryo Chamber definitely became the reference when it comes to create conceptual themes versus collaborations between artists.

Best songs: “Seed Of Pestilence” by Skadi, “The Faceless Bringers Of Pain” by Desiderii Marginis.

Rate: 7½.

Label: www.cryochamberlabel.com / www.facebook.com/CryoChamber

’30 Years Of Journalism – Celebration Interview’ with Peter Andersson / Raison D’Être: ‘Music Had Much More Mystery Surrounded To It In The 80’s And 90’s’

Inferno Sound Diaries — Mon, 09 Aug 2021 17:00:00 +0000

I’m honoured Peter Andersson accepted doing this interview to celebrate my 30^th anniversary as journalist. He remains without a shadow of a doubt one of the absolute masters in Dark-Ambient music, but he this year also celebrates the 30^th anniversary of his main music project Raison D’Être. So to me this interview became a way to pay homage to this genius artist. He definitely injected new ideas in the ‘Ambient’ genre, creating tormenting and sometimes disturbing atmospheres with a strong visual appeal. I often experienced his work as a mirror reflecting the inner world; a way to face our most hidden inner demons and experience feelings of despair, desolation, solitude…

(Picture credits by Kirche / Interview courtesy by Inferno Sound Diaries)

Q: 2021 must be a special year to you as Raison D’Être is celebrating its 30^th anniversary. What comes directly into mind when evoking these 30 years of creation and involvement? What are the greatest points of satisfaction and disillusion?

Peter: The immediate feeling is, wow, that is a long time, and time goes fast. Not that I ever thought I would not make music after 30 years. During these 30 years I have done a lot of music, for a lifetime. But I will not stop, so rest assure, I will continue another 30+ years if health is with me. Music is such a big part of my life, and utterly important for my well-being.

I think every new album has been a great satisfaction. Working on the music, being immersed in the creative process, realize a plan, and being overwhelmed and thrilled about the outcome, that is a lot of satisfaction in there. On the way there has been some disillusion, I guess. In the mid 90’s I thought it was possible to live on making music and to do live performances, but such a dream became impossible when the illegal downloading started, and CD sales sharply went down. But there are really not many big moments of disappointment or so.

Q: How much of the young Peter Andersson do you still recognize in your approach and spirit of composing music today?

Peter: I think I still have a playful approach when creating sounds. I have always been attracted to sounds and to make or play sounds from both real instruments and from anything that can make noise. I can’t really play any instrument, so the approach has always been to experiment. A famous Electronic composer once said: ‘if someone gave me an acoustic guitar, I would not know what to do with it except using it as a pot for a flower’. So, we see various use for the same things depending on our needs, which may differ from time to time, and this kind of limitless approach is still with me.

Q: I can imagine you must have seen a lot of things changing and evolving over the years; the way of making and producing music, the formats of releasing music (from cassette to digital), the rise of streaming platforms, the impact of social media etc… What do you think about these changes/evolutions and what do you see as the pros and cons?

Peter: Yes, it has been a revolution in many ways. Music making and distribution has become much more democratic. Everyone can do it; all you need is a computer really. There are many fantastic things with the new technology. It is also many downsides, a mess really, too much of everything, very difficult to get your voice heard or to get visible at all. It is like drowning in a sea of shit, not easy to pick the cherries.

I might be a bit nostalgic, but I think music had much more mystery surrounded to it in the 80’s and 90’s. You could almost only read about the music and artists in obscure magazines, and it could be a difficult task to buy physical releases, especially from a foreign mail order, but when you did you treated the album like it was something holy. I do not get the same feeling now.

Q: Back in time I got the feeling Raison D’Être was bringing a different kind of Dark-Ambient; I mean different from what we’ve heard in the 80s. What was your original perception about the music you composed? Did you’d specific references and criteria?

Peter: If you google a bit on the Dark-Ambient genre you will see on Wikipedia that Roger K, head of Cold Meat Industry, coined the term Dark-Ambient to describe the sound of Raison D’Être. So, if this is true then I was doing the right kind of Dark-Ambient and everybody else must have done something else or being copies of me, or something.

So, no Dark-Ambient music in the 80’s, it was called something else. I grew up and listened to the music of the 80’s in the 80’s, and of course many bands had a great impact on me and when I started to make music in the end of that decade and more seriously in the early 90’s I created something that was my own unique sound, but with influences of those older bands. It is a pretty natural process to be influenced and then making something new out of those influences. Even if I could be influenced by bands there were no perfect band. They always had some annoying element in their songs or just too much bad song material around a few good song materials.

What I wanted to do was something perfect, for me 100% perfect. Something that I could enjoy that was not annoying. If it were annoying, I could do something about it because I created the song and had access to how the song was constructed.

Q: What did you keep in mind from your early compositions? Was there a specific way of working and how did it evolve throughout the years?

Peter: Back in the earliest days it was much about melodies and rhythms, so it started mostly by composing a melody or a rhythm and evolve from that. The equipment was just basic stuff and functions. I had no experience whatsoever so there were many trial and error moments. It could take many hours to tweak sounds because the displays were so small. I remember the first sampler I used, poor quality thing and expensive special sized floppy discs to save sound, one sound on each side of the disc. Instead, I sampled the sounds from the cassette sources each time I wanted to work on a specific song and remember all the edits. I had all such edit information written down on a paper, but it was difficult to get it right. So, each time it sounded a bit different just because of loading the sounds.

I did plenty of tracks in the beginning, I could do one a day for a month or so. Things were complicated back then, but songs were simple constructed, so it was a straightforward way to work. And maybe I was unpretentious back then, I just did things. It was just fun making music, so I did a lot of music.

Now is a different story. I am much more aware of what I am doing and what I want. I try to make it all perfect. I do not make loads of tracks just because it is possible. I follow concepts and are aiming for certain goals. And now, the equipment is high class, almost anything I possible, tweaking sounds on a surgical level, and it is easy to recall a track with one button. The tools become more advanced for every new album, so gradually my sound universe became larger for each time. Today I start with making a lot of sounds, tweak them to perfection. I am not so much into melodies and rhythms now (at least not for Raison D’Être), it is more about creating specific atmospheres with intriguing sounds. Compositions are much more complex today than in the early years. The sounds are also much more complex and varied. I strive to get an organic quality of the sounds. Maybe things were more spontaneous in the early days, a free feeling just doing stuff, but I like to have some goals with things, think about the whole package and follow concepts.

Q: You got directly signed to Cold Meat Industry, which was a leading label from the Dark-Ambient genre. CMI has been often introduced as a ‘big family’, but how did it really feel and are you still in touch with some CMI artists?

Peter: Most of the bands were really close, so yes, it was shaped like a big family. When we went on tours in the 90’s and early 00’s we were like 15 bands in three minibuses and it was great. Of course there were some fractions and people who preferred some better than others, but still we were a solid gang. Most of us also originated from the same region in Sweden, probably helped and strengthened the family bounds.

Occasionally I acted like a support centre, people from many of the other bands called me and asked how do to things. Simple things like how to connect this equipment to that equipment, or more complex like what do you think about this working method instead of doing it in another way. I am still impressed that some bands could even make any music at all because they had no knowledge how their equipment worked. Now, when CMI since not exist anymore I still have good contact with many of the bands, especially Brighter Death Now, Deutch Nepal, IRM and Desiderii Marginis. Sometimes I see people from other CMI-bands, when there are occasionally bigger festivals with CMI theme, then we got a chance to see each other again. It’s always a great time.

Q: I know it’s always difficult for artists to give a favourite album and/or song, but I can imagine there must be productions/songs, which are more important to you than others? And which song/album would you chose to make listen to people who don’t know your work?

Peter: For me, my latest album is always the most important. I mean, that is my latest creative and psychological development and something that I recently put all my effort into, and something I can relate to because it is now. It is difficult to say something means anything to me now that I did 25 years ago. It did mean something or everything back then, but not now.

If I must say an album of the past I would say “The Empty Hollow Unfolds” because it was voted to be the best release ever on Cold Meat Industry. So, that albums mean a lot to my listeners, and it has a pretty unique sound that stand out from every other album from Dark-Ambient bands done around that time. For a newcomer I would probably choose something more easy listening, like “In Absence Of Light” from “In Sadness, Silence And Solitude”.

Q: I a previous interview you said to be fascinated by the inner world; dreams, subconscious and unconscious, archetypes, symbols and imagination… It all reminds me to the psychology courses and the work of Freud and Jung. Do you feel related with their work and what’s the importance of the inner world in your life vs. artistic life?

Peter: What is going on inside us, in the inner world, is absolutely fascinating and important, because it is completely about oneself and there is a lot of hidden potential inside us, I believe.

I am not much into Freud, but to Jung, his world is much more diverse and complete. Jung is basically fundamental for understanding Raison D’Êtreand my own personal life. I see no difference between my life and the artistic life, they are one and the same. I use music as one way to get knowledge of my inner self, and Jung’s theories are there for guidance. I do not say that Jung is right or so, but he offers interesting tools to make the inner life better understandable and to realize the one’s true self.

Q: In which way does the ongoing pandemic has an impact on your personal inner world and its connection with music creation?

Peter: Well, for me the pandemic did not change much really. I live pretty much isolated in the forest so I would not even notice if the civilisation would end, it almost feels like that at least. In Sweden we did not close down things in the way most the rest of the world did. We just try to keep distance here, without having any lockdown, curfews, or other drastic restrictions. So, I still have/had to get to my work, but with optional working from home if I can.

So, life is and was pretty much normal, and did not affect the creativity in any particular way. I guess it must have been very difficult to be inside a small apartment for months only to get out a few times to buy stuff at the supermarket. Not inspiring at all, and I suffer with those who experienced a lockdown.

Q: Next to Raison D’Être you’ve been involved with an impressive number of side-projects. Which ones are still active today and where does this need to get involved with multiple projects comes from?

Peter: I do not want a particular style of music to limit my ideas. Creativeness may go any direction and you do not know what it will bring, but something. It is an ocean of possibilities. Nevertheless, I do not want to confuse people. So, I have a lot of projects instead.

Sure, I could have used one project name making various styled music and albums, but what about the audience. Some people say they cannot hear much difference between let us say Raison D’Êtreand Necrophorus. I think it is a vast difference. It is totally different concepts, methods, directions and sounds. Sometimes they are crossing, but that is just on short term or mere coincidental. A band like Controlled Bleeding could change direction on every new album, and I just got confused and almost sad. So, I do not want to make the same mistake for my followers.

My side projects Cataclyst, Svasti-Ayanam, Panzar and Grismannen are not alive at all. Stratvm Terror has been dead a little while, but it has slowly come alive again. Bocksholm and Necrophorus are slow projects at the moment, but things are happening soon. It is only Atomine Elektrine and Raison D’Êtrethat have been active lately. So, still several side-projects to nurse and care for.

Q: How do you make the difference between all different music projects and how do you switch from one till the other?

Peter: I almost never work with more than one project at time. I want to fully concentrate on one album, not run two or more different albums or projects the same time. So, having a lot of projects have not really caused me any confusion and the switching is easy since I complete an album before starting another one with another project, and having some rest in-between.

Q: Most of your work always had a very strong visual appeal, but how strong is your connection with visual expression and arts? Is there a work (movie, picture, painting…) you feel related with and, which in a way could symbolize your work as musician and especially Raison D’Être?

Peter: When composing I do not visualize my music very much. I might evoke some imagery, but it is less important. The starting point when composing is often just words: the title and basic concept. Then I follow my intuition and emotions response. However, many tells that my music got a very visual expression, and that is probably true for not only my music, but the whole Dark-Ambient genre. I often create dramatic atmospheres or soundscapes which may evoke sinister or beautiful things, and that is pretty much what can sometimes be seen in a movie or a picture or a painting too.

Paintings has been inspiring, for example the darker work of Hieronymus Bosch. At least in the earlier stage Bosch paintings could symbolize some of my work. In the mid 90’s I did a homage to Salvador Dali, by selecting six of his paintings to score (released by my side-project Necrophorus). That music needed to be visualized the very moment it was created.

Q: But you composed music for ‘film and exhibition’ so what have been your experiences so far? Does the production need a specific and/or different approach than for ‘normal’ productions?

Peter: It is indeed different making music for film and exhibition. Until now I have only made scores for my own short films, so it would probably be different to work with professional made movies.

For scoring film I have needed to adapt the music to frames and the story, follow the movie frame by frame. So, the score is very bound to the movie and its visual components. In normal production cases there are no visuals to adapt to, but the music can induce visuals to appear in the eye of the beholder, but that is something else. Music for exhibition is a bit more of a free bird than music for movies, but still many things to care for, many rules.

The exhibition music should enhance the visitor experience for everyone without being disturbing. The mixing should be done in the exhibition room using the final speakers. Length must be adapted to the typical length of a visitor experience. I prefer making music free of any rules or framing but I must admit it can be very interesting to make music with some limitations or under certain conditions, if the theme is interesting enough.

Q: You this year released a new Raison D’Être album entitled “Daemonum”. As most of your album titles, this once again sounds very intriguing. What did you try to express and how do you see this album in the wide discography of the project?

Peter: Basically, the whole “Daemonum”-album is a journey from start to end, a dive into the subconsciousness that goes deeper for each track, much like my previous albums “Alchymeia” and “Mise En Abyme On “Daemonum” the search is for the Shadow archetype, specifically the Anima/Animus representation. Each track renders one step on the path to finally reach the Anima/Animus. On such a journey one must face different parts of the unconsciousness, and not all pleasant things, one’s weaknesses for example. But for each journey one become stronger and has better understanding of the inner self. I am much into the ideas of Carl Gustav Jung as we talked about earlier. I have been dealing with his psychoanalytic theories in many, if not all, of my previous albums. So, this is another journey inside the subconsciousness, now dealing with the secrets of the Shadow archetype in form of the Anima or Animus (which is that inner voice, a Daemon). This is a part of how to get better knowledge and find hidden potential within ourselves, and part of the process of self-realization, which is the very foundation in the Raison D’être project itself. As with every new album, I see this as the pinnacle of Raison D’Être. I try to keep pushing things forward, so the next album will be even better, and be the next pinnacle moment. Each album is like climbing a mountain, when you are on the top you see another higher mountain ahead of you to climb.

Q: What are you doing in between two albums? I mean what keeps you busy next to music?

Peter: I am resting, accumulating energy for the next creative output. I do a lot of mastering jobs for bands and labels. I try to avoid such work during the making of an album, but in-between albums I have some spare time. I have a regular job as well, being an exhibition producer on a museum. I cannot live on music alone. And I have a girlfriend, house and garden that needs care. So, I am far from doing music all days, it is just some weeks of the year that I put on music making. That is why it can take three years to complete an album.

Q: How do you expect yourself evolving after 30 years of Raison D’Être?

Peter: Well, yes, what to expect? Maybe that things make more sense in life, deeper understanding how things are connected, and I have a more mature approach to things in general than 30 years ago. But I am not sure, it can be the other way around really.

Desiderii Marginis – Departed (Album – Cyclic Law)

Inferno Sound Diaries — Thu, 20 Aug 2020 18:30:20 +0000

Genre/Influences: Dark-ambient, cinematographic.

Format: Digital, CD, Vinyl.

Background/Info: “Departed” can be seen as a milestone in the history of this project driven by Johan Levin. It indeed is the tenth full length of the Swedish artist, which two years after the great “Vita Arkivet”-opus strikes back with a new work meant as a ‘soaring meditation on mortality’.

Content: “Departed” clearly features classical elements of dark-ambient music. The work reminds me of the magic of the project’s early releases, composing overwhelming sound waves and ghost-like atmospheres. The darkness is accentuated by some mysterious choirs, which you’ll notice running throughout some cuts. There also is a passage with delicate piano playing, which also empowers the spooky format of the album.

The opus features six tracks, but the digital- and CD formats both have a bonus of 3 more cuts. You will discover reworked edits of familiar tracks featuring the famous “Deadbeat”-track originally released on Desiderii Marginis’ second album (2001).

+ + + : Johan Levin is clearly getting back to the essence of dark-ambient music; an obscure sonic voyage elaborated with haunting atmospheres and multiple little noises and other details. Some cuts create an intimate, but morbid atmosphere. It totally matches with the concept of the album. “Through A Forest Of Empty Armors”, “An Immense Hardened Shadow” and the reworked version of “I Am Without Rule (Sum Sine Regno)” sound pretty grimly. The reworked version of “Deadbeat” is another attention grabber and I especially like the kind of trumpet sound, which has something icy and like predicting a nearby disaster.

– – – : It’s hard to find minus points, but I just want to mention the third track “The Silence Of A Thousand Years”, which couldn’t convince me. No reason to complain!

Conclusion: “Departed” sounds like back to basics; an album in the purest dark-ambient tradition and reminding us the genius of this Swedish Master in the genre.

Best songs: “Through A Forest Of Empty Armors”, “An Immense Hardened Shadow”, “I Am Without Rule (Sum Sine Regno)”, “Deadbeat – MMXIX”, “Departed”.

Rate: (8½).

Artist: www.facebook.com/Desiderii-Marginis-172940436056471

Label: www.cycliclaw.com / www.facebook.com/cycliclaw

‘Click Interview’ with Oestergaards: ‘An Almost Morbid Fascination For Dystopia’

Inferno Sound Diaries — Sat, 09 May 2020 17:00:52 +0000

Oestergaards is the solo-project from Swedish artist Tomas Östergårds. The dark-ambient sound of Oesteraagrds evokes the golden years of Cold Meat Industry. There’s a similar taste for dark- and obscure atmospheres. I got the opportunity to discover this artist by his debut album “Rötterna” (2018). There’s a new EP out now entitled “Moloken”, which has been released on Tomas’ own label Dovle. The title of this production can be translated as ‘depressed’, ‘distressed’, ‘sad’, ‘melancholy’… The themes have been transposed into an anguishing and sinister piece of music confirming the talent of this artist. If you like dark-ambient music you for sure gone like Oestergaards.

(Courtesy by Inferno Sound Diaries)

Q: Can you briefly introduce us to the universe of Oestergaards and what’s your personal background related to music?

Tomas: Good question, what is Oestergaards’ universe? I’ve never thought about it. I would say a step into my deepest thoughts and my emotional world, my main form of expression. Oestergaards is simply the gloomier side of myself. A world where there are no boundaries, no right or wrong, unrestrained and free. A place that I enjoy.

When I was growing up in the 80s and 90s, I got in touch with the electronic music scene. I was fascinated and became a big fan of the early industrial music scene. I discovered the Swedish record label Cold Meat Industry in the early 90s and fell in love with their obscure and uncompromising releases, I had never heard anything like it. A whole new world opened to me as a teenager from the northern countryside in Sweden. Some of my favorites were, and still are, Aghast, Brighter Death Now, Deutsch Nepal, Raison d’être and Desiderii Marginis.

During most of the 00s and 10s, I played guitar and sang in various bands, some kind of folk-rock and country-punk, believe it or not. None of the bands released anything. The electronic music fell a bit into oblivion during that time, but have fortunately found a way back into my life. You could say that the circle is finally closed.

Q: I found an interesting quote on your site claiming ‘A dystopian world of sound with essences of Hälsinglands rural society and the desire to get away from the traditional trodden musical paths’. Tell us a bit more about this goal and what don’t you like in ‘traditional musical paths’?

Tomas: After almost twenty years in different bands, I was totally tired of adapting to other band members, I guess we became adults and other things became more important than playing in bands. Like milking cows and raising children. At the same time, I also got tired of the traditional ways of creating and writing music. You know verse / chorus / verse / chorus / bridge / chorus and so on. It was totally uninspiring. I searched for something new, bought some synths and effects pedals and started improvising abstract soundscapes. At the same time I rediscovered artists I’ve listened to in my youth and I wanted to do something similar, but in my own way. I spent two years testing and learning the gear before I started recording what eventually became ‘Rötterna’.

Q: Your music is clearly inspired by the darkest side of ambient music. What inspires and drives you to ‘go dark’ and what do you want to express this way?

Tomas: I have always been drawn to dark expressions in music, art, film and literature. I have an almost morbid fascination for dystopia. It’s not hard to find inspiration today, just go out on random social media and you’ll find just about anything. There are dystopian and dark tendencies everywhere, politically, socially, religiously and culturally. It’s easy to get depressed. I try not to read on social media or see news on TV, because there is a huge risk that my brain will overheat. The idea with Oestergaards has always been to provide a soundtrack to our present and near future, seen from a rather pessimistic point of view. I don’t want to be pessimistic, but it’s hard not to be, when we’re surrounded by idiots. The only thing I can do is to ignore it as much as possible and to be creative. Express it in my way.

Q: Your latest work “Moloken” has been introduced as ‘a kind of psychic exorcism, a settlement with depression and anxiety’. It all looks like it must have been a very personal work. Can you give us some details and how did you transpose a state of being into sounds and songs?

Tomas: Yes, “Moloken” is a very personal one. After struggling with mental illnesses such as exhaustion, depression, anxiety and social anxiety for many years came a turning point in my life where I began to feel much better. I started going to a very good psychologist, training Muai Thai and met a wonderful partner. I felt that I wanted to have a musical ending with that time in my life. A kind of ritual to leave that darkness behind me. Musically, it was a process of finding appropriate sounds, field recordings, samples and voices. You can hear me breathing and mumbling from real anxiety attacks, lonely sighs and wheezing out invoked spells to get rid of the torments. I have tried to recreate the feeling in the body during a depression through icy sounds, the shaking of the grumble, the heavy squeezing bass and panic-roaring noise. But also the calm and apathy that comes after a seizure. The sound of walking alone in the woods, trampling on stones and dried branches. The sound of a sizzling radio as if you were the last person on earth. Looking out over an abandoned world.

Q: I noticed Simon Heath did the mastering of “Moloken”. I can imagine “Moloken” could have been released on his label (Cryo Chamber) while you finally self-released it on Dovle Records. How comes and what are the plans and aims with Dovle Records?

Tomas: I don’t know, I never asked Simon to release it. But I don’t think that “Moloken” fits into Cryo Chamber’s concept of themes and cinematic soundscapes, it lacks storytelling in that way. I wanted him to master the record and he said yes. I have great respect for Simon and love his various projects, the collaboration between him (Atrium Carceri) and Pär Boström (Cities Last Broadcast) is probably the finest in the whole dark-ambient community in my opinion. For me it was interesting to hear how the songs would end up sounding through Simon’s ears, he is a true professional and he did an excellent job.

I wanted “Moloken” to be the first release on my own label. The reason I started Dovle Records was because I want to have a label to release my music on, both as Oestergaards and upcoming side-projects. Where I have full control over the creative and artistic process, where I can set my own deadlines, be spontaneous and don’t have to rely on anyone else. I like to work fast, from recording to release. One example is my latest release “Borrowed Time (A Collection of Forgotten Obscurities)” which was released only digital via Bandcamp a couple of weeks ago. A compilation album with live tracks and old improvisations. It took three days to release, from idea, selection, cutting the tracks, to mastering, produce the artwork and finally release it.

I have never reached out to the bigger record companies to release my music. Sure, I’ve been thinking about, but it hasn’t come to me. Maybe I’ll do that for my first full length album. Of course, if anyone is interested, it would be interesting to release my records on a larger label. I’m always open to collaborations and new experiences.

Q: Your debut album “Rötterna” (2018) was released on digital platforms and cassette format. The contrast between streaming and cassette is quite interesting; something modern and trendy at one side and a pure underground format at the other side. I would like to get your opinion about it and especially about artists moving back to cassette and vinyl?

Tomas: For me, music has always been important in physical formats. I want a product to hold and smell. The reason “Rötterna” was released on cassette was mostly because it was fun. And a cost issue. I don’t even own a cassette player. In my world, vinyl is the ultimate format, both in terms of sound and cover. “Moloken” both sounds and looks better on vinyl, I think. I try to buy as much vinyl records I can afford from artists I like. The number of artists releasing vinyl just seems to increase, to my delight. Then I have to say that streaming is a fantastic complement, to always be able to bring good music, wherever you are.

Desiderii Marginis – Deadbeat 2018 (CD Album – Cyclic Law)

Inferno Sound Diaries — Tue, 12 Mar 2019 20:00:46 +0000

Genre/Influences: Dark-ambient.

Background/Info: This album from Johan Levin aka Desiderii Marginis was originally released on Cold Meat Industry in 2001 and featured 10 songs. It also became a work that increased the recognition of this dark-ambient composer from Sweden. Next to the recently released new opus “Vita Arkivet”, “Deadbeat 2018” will take us back in history. The work has been remastered and the CD format features 2 extra songs (that were already available on a digital re-release from 2014).

Content: When you listen to this album nearly 20 years after its original release you rapidly understand why Desiderii Marginis became a reference in the dark-ambient music genre. “Hardbeat” features all essential elements of great dark-ambient music; overwhelming, anguishing atmospheres, drones, industrial sound treatments, spooky-whispering vocal passages and obscure field recordings (or samplings).

+ + + : “Hardbeat” feels a bit like waiting in front of the gates of hell. It’s an anguishing sound experience tickling men’s fantasy to move throughout unknown fields. This is great sonic darkness composed with noticeable industrial sound treatments and ghost-like sound waves. The drones are injecting an extra scary touch. The album is also diversified featuring one great track after the other.

– – – : In my humble opinion, Desiderii Marginis never has been a stereotypical dark-ambient project. It always is a wider mix of influences and that’s why it sounds a bit unique.

Conclusion: There’s nothing wrong with re-releasing masterpieces! “Deadbeat 2018” still has its original magic!

Best songs: “Deadbeat I”, “A Bolt Out Of The Blues”, “In harm’s Way”, “Mantrap”, “Unlcean”.

Rate: (8).

Artist: www .desideriimarginis .net / www .facebook .com /Desiderii –Marginis -172940436056471

Label: www .cycliclaw .com / www .facebook .com /cycliclaw

‘Click Interview’ with Desiderii Marginis: ‘Back To The Roots Of The Genre’

Inferno Sound Diaries — Fri, 01 Mar 2019 18:00:48 +0000

Johan Levin is active under the Desiderii Marginis moniker since 1993. His dark-ambient music project got signed on Cold Meat Industry and became one of the numerous ambassadors from the ‘Karmanik’-label roster. Desiderii Marginis’s newest opus entitled “Vita Arkivet” has been released on Cyclic Law and reveals a familiar dark sound, but still a very intimate atmosphere. Time for a chat with Johan Levin.

(Courtesy by Inferno Sound Diaries)

Q: You’re not the kind of artist releasing a new album/production every single year. I should think you need a break after each new work to get new inspiration and reflect about your next creation, patiently collecting sounds etc. How is it really all about and how do you proceed?

Johan: – Well that depends… If I already have clearly defined ideas or sketches for the next project I may very well get started on that right away after finishing something, since I rarely work on more than one project at a time. But of course, due to a lot of practical reasons it makes sense to take a little break after completing an album. You get requests to perform with your new material, to do interviews such as this one, you have to manage a lot of orders and promote the new release in all kinds of ways. So yes, there are normally different kinds of activities requiring your attention. However, after a while things calm down and you feel compelled to begin the creative process anew.

Q: What can you tell us about the background, creation and eventually concept of “Vita Arkivet”?

Johan: About a year and half ago a family member was diagnosed with a rare type of cancer, and the prospect was very bad already from the start and he did pass away in the beginning of December 2018. So obviously death, not as a distant prospect, but as a certainty, has been not only in my mind, but also those closest to me for quite some time. Music is a way for me to ventilate and process things so it was pretty much inevitable that it would influence my work at this time.

Q: That probably explains why I experienced “Vita Arkivet” as one of your darkest-, but still most intimate works to date; a bit like penetrating the secret universe of someone. In which way do you see your music –and more especially this album, as a mirror of your soul/state of being?

Johan: My music and my own person and mind are inseperable and always have been. To somehow detach myself from my music and create with a sense of distance has never been my intention, or my wish for that matter. What I do is an extension and an expression of myself and what’s preoccupying me at a certain time, it’s another way for me to process things.

Q: You’ve always used a mix of equipment (analog, digital) and different kinds of sound/noise sources. How did the writing of the new work happened?

Johan: I wanted to take and use the most classical and iconic elements of dark ambient, but also the most sincere ones, to come up with something that had a very strong sense of honesty, melancholy and intimacy -to go back to the roots of the genre and try to bring about some of the old magic that it can so well convey, given the proper attention. For this album I felt the hallmark ambient elements, the choirs, church bells and cathedral reverbs felt more appropriate than ever.

Q: “Vita Arkivet” was originally meant as a digital release only, but finally got a CD- and vinyl pressing as well. I can imagine it’s important for you as an artist to get your work released as a physical format, but what’s your perception about this evolution in music business?

Johan: In the end it is of course the listeners who decide in which format they prefer to listen to music. Thats said, a physical release I think reveals a certain confidence in the work present, and perhaps it suggests a bit more thoughtfulness. The artwork, liner notes etc can also function to enhance and elaborate the subject matter of the work and its context. Making a record is a bit of a gamble financially and putting it out there shows that you mean business, and I think most people aknowledge that.

Q: You started composing ‘dark-ambient’ music during the early 90s. How do you see the evolution of this music throughout the years and your own evolution as musician?

Johan: Personally I think I have grown immensely both in terms of how I begin preparations for a new album and how I eventually realise it. I’m enjoying that process as much as I ever did, but nowdays I feel that I have a clearer sense of direction and a better grasp of my own creativity. As for the evolution of the genre as a whole it is my impression that it has both widened and become more compartmentalized. There exists a clearer definition of what dark-ambient is and certain sub-genres have evolved out of it, which I guess is a natural development when any artistic movement grows.

Desiderii Marginis – Vita Arkivet (CD Album – Cyclic Law)

Inferno Sound Diaries — Tue, 01 Jan 2019 19:00:40 +0000

Genre/Influences: Dark-ambient, cinematographic.

Background/Info: Active since 1993, Desiderii Marginis (Johan Levin) can look back at an impressive discography, which started during the golden years of Cold Meat Industry. The Swedish artist now strikes back with a new album on Cyclic Law.

Content: Desiderii Marginis always has dealt with the darkest tones and most disturbing atmospheres. This new sonic travel doesn’t sound that different and invites the listener to join in for icy tones, humming voices, epic blasts, mysterious voices, and also fine noises. The work features 5 tracks, which you feel progressively growing.

+ + + : Dark-ambient music can also have something very intimate, getting you the feeling to penetrate in a secret and very personal universe of the artist. That’s precisely what I felt listening to “Vita Arkivet”. The composition gives me the impression of an imaginary spider web where the music is getting imprisoned. The obscure atmosphere has a strong visual appeal. This album stands for a truly sound chemistry, which reaches a climax on “Capsule” and “Eulogy”.

– – – : There’s no real diversity between the tracks; you get the impression that you are listening to one single cut made of 5 chapters.

Conclusion: Desiderii Marginis confirms great composing skills and this particular taste and talent to accomplish a poignant work, which is here accentuated by some epic blasts and arrangements.

Best songs: “Capsule”, “Eulogy”, “The Scattering”’.

Rate: (8).

Artist: www.facebook.com/Desiderii-Marginis-172940436056471

Label: www.cycliclaw.com / www.facebook.com/cycliclaw

Mortiis offers 1994 album ‘Ånden som Gjorde Opprør’ for free download + massive Cold Meat Industry Fest !

Bernard - Side-Line Staff — Fri, 02 Jun 2017 17:30:02 +0000

Mortiis will present a live reinterpretation of the 1994 release “Ånden Som Gjorde Opprør” this fall at the Cold Meat Industry 30th Anniversary celebration in Stockholm. The event will take place on the 3rd & 4th of November 2017 at Klubben.

To celebrate this the “Ånden Som Gjorde Opprør” can now be downloaded for free right here.

“Together with CMI founder Roger Karmanik we have now gathered more acts signed to the famed Cold Meat Industry than any other festival has ever managed to and we intend to make this event the ultimate Cold Meat Industry 30 Years Anniversary!” says Mortiis, and he continues: “I don’t just want to do the record as it was back in 1994, but rather excavate it from 1994 and drag it into the new light of the current world, while retaining the atmosphere of the original sound.”

Other artists performing at the event are Arcana, Archon, Satani, Brighter Death Now, Coph Nia, Desiderii Marginis, Deutsch Nepal, In Slaughter Natives, Mothhound, MZ.412, Ordo Rosarius Equilibrio, Raison D’Etre, Sanctum, Sephiroth and Sophia.

You can order your tickets right here. Below is the posterartwork for the festival.

Desiderii Marginis – Songs Over Ruins (CD Album – Cyclic Law)

Inferno Sound Diaries — Sun, 09 Apr 2017 19:30:37 +0000

Genre/Influences: Dark-ambient.

Background/Info: Desiderii Marginis became without a shadow of a doubt the most successful formation of Johan Levin. The Swedish artist got involved in The Wounded Meadow and Lost In The Woods, but in 1997 when he unleashed his debut album “Songs Over Ruins” on Cold Meat Industry, he got an instant recognition for his music. This album has been now re-released on Cyclic Law. Johan Levin remastered the tracks. Next to the CD format the album is also available as a strictly limited vinyl (in 2 editions).

Content: I perfectly remember this album, which was just one more addition to the great roster of Cold Meat Industry. Desiderii Marginis composed an overwhelming dark-ambient music with some ritual elements on top. Some mystic chants passages might remind you of Raison D’Être, but globally speaking this project was moiré diversified although a pure dark-ambient formation.

Crashing sounds, multiple little noises, pure ghost-like atmospheres and ritual like bells will lead you into a dreamy universe and then into pure horror.

+ + + : “Songs Over Ruins” remains my favorite work of Desederii Marginis. It was a diversified work featuring all requested ingredients to accomplish a dark-ambient masterpiece. The atmospheres move from reverie towards haunting passages. This work was totally accomplished and remains a reference in its music genre 20 years after its original release. I enjoyed the somewhat ritual flavor hanging over the tracks, which only accentuates the mystery emerging from this work.

– – – : “Songs Over Ruins” is an album, which remains close to perfection so I can’t really think of any single minus point. It’s maybe less darker than some dark-ambient masters, but that’s not really a point.

Conclusion: Time goes by, but masterpieces remain! “Songs Over ruins” brings us back to the essence of dark-ambient music and a heroic period of the great Cold Meat Industry ‘family’.

Best songs: “Entombment”, “Ephemeral”, “Songs Over Ruins I”, “Chrism”.

Rate: (8½).

Band: www .facebook .com /desiderii –marginis -124477254315200

Label: www .cycliclaw .com / www .facebook .com /cycliclaw

Desiderii Marginis’ out of print album ‘Songs Over Ruins’ album reissued on LP and CD

Bernard - Side-Line Staff — Thu, 19 Jan 2017 20:00:55 +0000

Desiderii Marginis long out of print debut album from 1997 “Songs Over Ruins” is given a proper re-issue via the Cyclic Law label. The material was remastered by Johan Levin himself and holds new artwork. The reissue is being released on CD and on a limited edition LP.

Note that the 11-track CD is limited to just 500 copies and it comes in a 6 panel digipack with matt finish. The 10-track LP is limited to 250 copies with printed inner sleeve and matt finish cover.

You can purchase this album right here directly from the label!

The album was literally a landmark in the genre, with it’s desolate, minimalistic and grief stricken odes to religious and spiritual burdens.

Below are previews of this album: