Krampusnacht is a traditional dungeon synth project, who’s taken back the original melodies of old European folk tunes that were turned into Christmas Carols by various composers throughout the ages. We’d like to thank Krampus for his time in this interview.

Your Bandcamp states that Krampusnacht “is a traditional dungeon synth project who’s taken back the original melodies of old European folk tunes that were turned into Christmas Carols by various composers throughout the ages.” What specific tunes were the most important to you and what old European composers were the most inspiring to you as well?

For the debut album, this was certainly true, I’d done a lot of research into each carol/hymn/tune I’d chosen to cover, re-purpose, and transpose into a minor key. Of course, many people know that ‘carols’ were sung during solstice events prior to Christianity adapting them to suit their Christmas celebrations. ‘Wassailing’ – which is more alcoholic in origin than religious, is basically an extension of traditional folk tunes, pub songs, working songs, but gathered outside a house or public space during yule celebrations.

Alot of the hymnals we recognize today – their origins are in pagan folk music, and are attributed to multiple authors, who’ve borrowed melodies. An example is ‘Good King Wenceslas’ – which I titled ‘Václav’ on the debut. The melody is from a 13th century springtime song “Tempus adest floridum”, but not officially published until 1582 in a Finnish songbook. In the 1850’s a ‘High Church’ author John Mason Neale wrote the lyrics – essentially, Christening the song. “God Rest Ye Merry Gentlemen” – which I re-titled “Ebenezer Scrooge” already in a minor key, is from the Roud Song Index, a collection of traditional pieces with no known composer. ‘Ding Dong Merrily on High’ – previously known in the 1500’s as ‘Branle de l’Official’ is a secular dance piece, again, with no connection to the church, until the 1900s, when lyrics were fitted to the melody.

“Deck the Halls” – or in the original Welsh tongue ‘Nos Galan’ had more to do with drinking alcohol and interior design than Christmas… But again, it became a hit in the Church! See a pattern here?As for listed composers, I’d say Tchaikovsky and Mendelssohn would be the most influential.

Do you recall where your interest in Krampus began? Alternatively, Do you have a particular interest in the Santa legend from specific areas of the world?

Basically I wanted to see what the rest of the world had to offer for end of year and mid-winter celebrations, I found the Austro-Bavarian ‘Krampusnacht’ festivals to be the most fascinating. The outrageous costumes, the really dark and disturbing principle, the fact literal demons walk around threatening to eat children in the mountains in winter – should be really unsettling! But no, it’s more of a celebration and ancient tradition that brings together communities. Similarly throughout Europe there are characters of Krampus’ ilk, such as Perchta, Ded Moroz, a variety of Yule Goats, Belsnickel, Turońs – all who may have influenced the modern day tales of Santa and his reindeer. Of course, around the world in December there are plenty of other celebrations that I’d like to explore, not just from the old western world.

The latest Krampusnacht release is “Trinity: I – The Father.” What can you tell us about the rest of this forthcoming trinity and the over-all story?

So ‘Trinity’ being 3 EP’s of material tell the story of Krampus The Father, Son and Holy Goat. The first (Trinity I: The Father) is as traditional as I could make it, borrowing tunes from carols, transposed to a minor key, with its roots in some pre-Christian European tradition… Well, with the exception of the final track ‘Trešnja Maraska’ which serves as a bridge piece into what will be Trinity II : The Son. The 2nd EP will have more ‘modern’ carols re-interpreted which shows the youth of this Krampus deity, and his purpose to create horror atmospheres in modern yuletide classics.

Lastly, ‘The Holy Goat’ will probably allude to even more modern musical elements, as I’ve explored in ‘Superstar’ with trap music and futurefunk being influential on parts of that recording. My main prerogative is to reinvent carols/christmas songs and these overly familiar and rather irritating tunes, into a terrifying yet listenable collection of songs, that serve as alternatives to the music played in retail spaces, for the sanity of all workers and shoppers. Plus it’s fun.

Do you have to be inspired during the winter months or do you work on Krampusnacht during the year?

I’ve explained the process to a few close friends, and there’s two conclusions, the first makes the most sense to me. I need to begin the writing process about 2-3 weeks prior to December 6th. I contact my loyal artist Damien Lee about the concept of the album, and we start forming the vision. The music basically writes itself as soon as I begin reworking the melody into a minor key and a ‘dark’ collection of musical voices. The inspiration is one part urgency and one part black humor. The second conclusion is I’m literally possessed once a year by the Krampus demon and forced to create an album serving his purpose to bring terror and joy to those who choose to listen.

What tools do you use in your studio to create?

Roland Sound Canvas, Novation Synth, Korg ‘Kaossillator’ and various notation programs, from Cakewalk to even Fruity Loops. There are some guitar parts I’ve slipped in, and some baritone vocal hums, but they barely come through in the recordings, just add a little ambience and atmosphere to the overall production. The sleigh bells and bodhran drums come through quite nicely though.

If you could do away with any 2 awful traditional holiday “hit” Christmas songs or re-work them what would they be?

Well, don’t tell Mariah but I’ve already appropriated the chord progression and melody from her most iconic Christmas hit, on Trinity I… There’s a few other ‘easter eggs’ in that recording that I’m likely to get sued for. I guess the biggest challenge will be Wham’s ‘Last Christmas’ and Jose Feliciano’s ‘Feliz Navi Dad’ – which I intend to tackle on both Trinity II and III. Luckily nobody can take legal action against a cryptid, so Krampus won’t get a cease and desist order anytime soon.

There are moments in the new release where the music borders on electro or even funk. What non-dungeon synth artists in these fields do you think helped to inspire your sound?

Massive question to unpack, since I’m influenced by so many genres and composers I’ll have to hone in on a few examples. On Superstar and Trinity I there’s a prevalence of slap bass, and coupled-bass / synth lines, which are directly influenced by Sister Sledge, Chic, and other disco-soul artists. I’ve always loved a decent bassline, it’s the backbone of every brilliant song, to my ears anyway. There’s a definite nod to Andrew Lloyd-Webber on ‘Superstar’ – the layout and artwork, the ‘Overture’ and ‘Reprise’ of the album.

As for the trap and hip-hop element, I’d say Chief Keef, Three-6, Kanye and Future probably influenced the production behind ‘Ded Moroz’ and a couple of new tracks I’m working on for Trinity II. If one were to take away the 808/303 loops, pitchshifting hi-hats, and kick drum from alot of modern rap backing tracks, it’d be sonically very similar to dungeon synth. Industrial music definitely plays a part too, 80’s new wave, synthpop, and I’m also a very engaged listener of Futurefunk, Italo-disco, and Vaporwave/Synthwave.

Other than Part II of the Trinity series, do you have any further plans for the coming months?

Yeah, I hope to have the Trinity series completed by April, and work on a costume to perform live events in December 2020.

What do you think the biggest misconception about the Krampus figure is?

That he’s a friend of St Nicholas! He basically has to share a holiday with him! Also, the footwear in the Krampus movie… Come on! Actually that movie is alot of fun…

What do you feel the most significant landmark dungeon synth records are?

Mortiis – Ånden Som Gjorde Opprør I consider the greatest, and his side project Fata Morgana. Of the more modern artists, I’d say Thangorodrim’s ‘Taur Nu Fuin‘ is the best modern classic. Hedge Wizard, Til Det Bergens Skyggene, and Lord Lovidicus are among my favorites in the genre.

Thanks for your time. These final words are yours.

Thank you very much for taking an interest in this somewhat bizarre channel of output from Krampus, and I’ll continue to slave under his will every Yuletide for the rest of my days! Massive thank you to everyone that purchases and supports Krampusnacht’s music each year – I can guarantee the resources are being put to *hic* great use *hic* and totally not being *hic* used to purchase ingredients for my rather potent – seemingly endless batch of Glögi.

https://krampusnacht.bandcamp.com/

http://www.facebook.com/krampusnacht666