Old Tower needs no real introduction as it has already taken on a life of its own in the realm of dungeon synth. The mastermind of Old Tower is The Specter. Their latest release, “Finsterstromung,” is part II of a three part EP series. We’d like to thank The Specter for his time.

Your latest release is the digital EP, “Finsterstromung” which is the second part in the “Grim Alchemy” trilogy. I was wondering if perhaps you could talk about this trilogy and the idea behind it a bit.

It first started with just the release of the first part, “Drachenblut”. I think the idea for the

trilogy came into the picture shortly after I finished work on this one. The idea behind the three EP’s is that they are ingredients for a final ‘product’, which is a new form of darkness. With these short releases I wanted to walk a new path, to explore a different side of Old Tower and see where it would take me. Because they are being released on Hospital Productions I wanted to try something that would fit the label. It was challenging for me to work on pieces as short as this, without changing too much between every EP. During the process of working on this trilogy I feel like I redefined myself sound-wise. It’s been an exciting ride and the third part will be out soon. After this, a compilation will follow with extra tracks.

What do you feel the common elements are that have drawn dungeon synth and black metal together, making them appear so closely related?

The idea of removing humanity from music and to take the listener to a different mindset or world, like a magic spell coming over you. For me it’s not about earthly matters, but ones that exist in different realms, inner and outward.

How has your studio equipment changed over the course of Old Tower’s life?

Almost nothing has changed. I did buy a new machine to record and mix my music but other than that I don’t think I’ve used anything new. Chris Bruni from Profound Lore gifted me a beautiful gong though to help record the new album. This is a very valuable and honorable asset to the Lone Enclave which I will use to the fullest potential.

Your bandcamp states, “creating atmospheres recalling the sad mist and forgotten places that were once treated by the likes of raison d’etre, archon satani and cold meat industry.” What were some of the landmark CMI releases that had the most effect on you?

Mortiis and his side projects of course and acts like Raison d’Etre, Aghast, MZ.412, Deutsch Nepal, Brighter Death Now, etc. The whole label was a portal for me to discover new sounds and ideas that I never heard anywhere else before I was even aware of the label’s existence. Very important stuff.

I’ve read in interviews some of your ideas about spirituality. Should you prefer to call this a “higher power” or whatever, how does this directly inspire the work of Old Tower?

Higher power are not the right words in this context I think. I try to cultivate the power and benefits of having a rich inner world to reach greater things. My inner world is something that does not correlate to this current reality at all so the inevitable clash tends to occur a lot. This struggle is what inspires me to make music and create art. Living in a society where spirituality has almost been entirely removed and replaced by consumerism and capitalism it’s important to reconnect to one self and try to find meaning in life in such a toxic environment. It’s what I try to do and art is a tool to connect to the inner self and the worlds that lay within and beyond. There are different worlds and realities laying beyond the one we are currently physically perceiving. You just have to know how and have the will to reach them. For me this was made possible through reading, music, writing and drawing.

Are you more inspired during specific seasons or times of the year?

It depends. Winter usually brings out the inspiration way more during the summer but I’m less productive. During the summer I’m usually more productive and energetic because of obvious reasons. Winter gives a lot of time to think, summer gives me the power to give life to these ideas.

How much of your composition is strictly improvisational and how much is thought out beforehand?

The main thing I start with is thinking of a concept. This is most important thing for me

because without a clear direction Usually I start by laying down a base of ideas or sounds, which is usually improvised. Then I try to add more layers. This process can take longer and is more intensive since everything needs to fit together. It is not so much a process of writing but putting together all the pieces in a way that the whole will flow. Tons of editing and revisioning will be done until everything flows perfectly. It’s a natural process that can take a matter of days before everything is complete or sometimes years.

You mentioned in an interview on Bardomethodology.com that part of the reasoned you abandoned the dungeon synth label a bit is because you are not able to relate to the newer “dungeon synth” movement of this day and age. Why do you think that is and where do you see this movement going?

It’s a genre that’s so focused on one particular thing that it’s hard to break out of that shell. I think I have more to offer and want to get rid of any specific genre tag if possible. If people still call my work dungeon synth, that’s fine by me. It’s whatever you want it to be. The dungeon synth movement is definitely growing as we speak and I believe it has potential to grow even more especially with these Dungeon Siege festival being organized in the States. We’ll see where it ends.

In the same aforementioned interview, you spoke briefly about a condition you had dealt with called “derealisation.” Could you talk about that a bit and say if it’s still an issue for you? In any case, how much of a burden and how much of a tool for inspiration was this?

It still is a burden. I still get these episodes every now and then after dealing with a ton of

stress or lack of sleep. It makes it hard for me to travel normally. The only route I travel

everyday is also the one that doesn’t give me stress since it’s part of my strict daily routine.

Other than that, things like flying or even travelling by car can cause these symptoms to

appear every now and then. It’s hard to pinpoint when and where they will happen but

usually in areas that I’m unfamiliar with and not sure what to expect. I can’t exactly call

these episodes inspirational since I’d rather not experience them at all. In the long run these experiences have influenced my perception of the world around me and therefore gave me inspiration as well. It’s a weird feeling to feel the reality around you slipping away and you’re questioning yourself if all of this happening is actually real or not. I’ve found plenty of ways to prevent this from happening too much and I can now say it’s easier to live with.

Other than the third part of the “Grim Alchemy” trilogy, what plans do you have for the coming months?

I’m currently taking a break from playing live shows. I’m working on a new album as we

speak, which should hopefully see the light of the day somewhere in 2020. Other than that, I’m not sure. Perhaps I’ll pick up work on some side projects again that have stagnated for a while now like the first Staar full-length. It’s also time to reflect on past mistakes and a dark period in my life and change its course on a spiritual and artistic level. The dark war has ended but the flame is still burning, brighter than ever.

https://oldtower.bandcamp.com/