INTERVIEW: Voidloss


The HXAGRM label celebrates its three years of experience in electronic music with this limited edition vinyl from our artist Zigler, with remixes from Vertical Spectrum and Voidloss.

Four cuts in the physical edition plus two more in the digital one. If you buy the disc, you get the free download code.

The release begins with The Eternal Damnation, solid kicks and sub-bass frequencies as the starting point, a single-note syncopated main sequence, and subtle drone action that fit this dancefloor weapon.

The second cut is Caligine on the Vertical Spectrum version, adding tension and sharpness to the original vibe in a pure mental style.

Hoax opens the B side, delayed kicks, leaked acid sequences that mutate and evolve into hysterical mood. Voidloss goes industrial and breaks in his remake of Judas Betrayal providing the dark portion in this EP and a

touch of experimentalism.

In the digital version we have the original versions of Caligine and Judas Betrayal. The first is an adrenaline-pumping exercise in continuous sequences and rhythms, while the second is a proper science fiction techno track.


We have had the pleasure of interviewing Voidloss, and this has been the result.


Can you tell us a little about your experience? Where are you from / how did you get into music?


From London, England. Oh I think I have always been into music. My older sister played a lot of cool stuff when I was young, post punk, electropop, new wave, hip house.

I started playing drums when I was 11. Music has been in my life since I can remember. I guess my real obsession with electronic dance music began in the illegal raves of london where I went on to join a soundsystem as a part of the United Systems Collective in the 90`s. It`s a very long story.


How is your sound evolving?


Constantly. These days my main focus is on 170bpm and Grey area (music that has 3 bpm at once, 85, 127.5 and 170), I spend a lot of time experimenting trying to make acousmatic sounds. Sounds that have no easily discernible source. So sythns that don`t sound like synths, samples that don`t sound like samplers and so on. Lots of contact mics and field recordings.


How do you feel that your music influences or impacts your listeners?


I don`t know. I hope my music inspires people to try different things, to experiment, and that it communicates to them some kind of emotion.


What can you tell us about your “Bitterest Kiss” remix of “Judas Betrayal” by Zigler for Hxagrm Records?


I wanted to keep the aggressive nature of the original and combine some different influences of UK Breakbeat Hardcore, Techno, Drum and Bass, I wanted to make the remix something different and unexpected.



What projects are you working on right now?


Oh too many. I`ve actually just finished several projects for my various aliases, and just finished a long period of experimentation for the new Voidloss 2.0 sound, where I am trying to take techno in a new direction. I`m about to start another Industrial Doom EP, a follow up to my Doom album as The Voidloss. Once that is done I want to make a completely instrumental Voidloss album with influences from contemporary orchestral music.


Where are you and what have you been doing now?


Erm. London. I`ve been mastering all day and have just played a computer game to unwind - Seven:Days Gone By, just for the record.


Has that sound changed a lot in recent years? What is your musical criteria?


I think my sounds has evolved and changed a lot. I have few criteria. My main criteria is to always try something different and try not to be cliche, to only make music when I have a strong emotion or message I want to convey or translate. To always remain underground, exploring the lesser explored regions of music.


Do you feel safe now to play a more experimental sound?


Whenever I feel safe that is usually a sign that it is time for me to move on. I don`t like safety in art. I would rather try and fail than just conform and play safe.


We all know that the digital revolution has affected sales, but has it affected creativity?


For me no. Sales have never been a concern for me. I just make music and put it out there, I`m not bothered if it is vinyl or digital or tape or whatever. If anything digital has probably given me more freedom as I don`t need to conform to the specific limitations of physical media such as level, length, stereo width or whatever. With digital I can make a track that lasts for 3 hours and is completely binaural if I want (I don`t want).



Can you tell us what your present and future projects are?


Well, I have some aliases with releases coming out over the next year or so, I do these anonymously so I can`t really say too much. But in the future I have a double vinyl album coming out under an alias that has a few releases out now. My Heretic project has some Vinyl and a Cassette Album coming, Voidloss 2.0 has a cassette and I think a vinyl release, but I have literally just finished building this new sound (which took a year) so I am still working out what to do with this music. I have a remix out on a well respected underground techno label, I think next week, under another alias with quite a few releases. As mentioned I am doing a The Voidloss Doom metal EP and instrumental classical album. Erm. It`s actually a little hard for me to keep track for these aliases so I might have left stuff out. I have been thinking about axing some of these aliases as it is splitting my time too much.

Oh yes, well I have finally made a live PA of the Voidloss 2.0 stuff, so I want to get some gigs sorted for that. I have no idea where I would play this music though, I`m not sure if it fits in a techno or drum and bass or industrial/experimental context, but a recording of my new PA is debuting on Darkfloor radio soon.


Stream / Buy: bit.ly/3mMhH6D