THE MOTH GATHERER – Interview with Victor Wegeborn (Vocals, Guitars & Electronics)

When I first heard their debut album from 2013, I was so overwhelmed by this music that I could not free myself from these sounds, which it’s continues to this day. After their last album, I only confirmed myself, that it is the perfect music with which you can go insane with rage, cry with grief, and even die with hope for a better tomorrow… Yes, because there is always some hope…

It has been 10 years since the formation of the band, which was to be a form of therapy to struggle with the loss. The emotions that you have planted into your sounds and lyrics caused a powerful, dark, majestic and totally melancholy music… Are you still looking for a hope?

First of all, thank you! Secondly, I think we are, at least in some sense. While death is an intrinsic part of life, there is a necessity to overcome the overwhelming sorrow of losing someone. However, escaping the pulling forces from the darkest of voids is truly a challenge set over some period of time. Therapy can help, but for us it was music. With that being said, life in itself comes with a unique set of struggles. Therefore, we can never stop looking for hope.

Theoretically, every human being wants to be happy, feel the emotions of happiness, joy, contentment, but during of listening to your music I’m sinking into depression, living on pessimism and suffering of the soul… Then I love these emotions… Is it necessary to constantly live on these emotions to create such depressive music saturated with such strong emotions of sadness, despair and anger?

I agree with that theory. However, I think true happiness is momentary at best. Especially in our times, where our perception of others are being skewed by the everlasting parade of happy people on display. Consequently, we watch the world in dissonance and the darkness in our lives unavoidably grows bigger. On average, the majority of hours in a day is mundane and bleak, like the mean position of an oscillating object. Every now and then, the oscillation hit its extreme positions, and we are left with something to remember.

As for writing music, I personally think It eases the process if you are able to jack into those emotions and harness them in a creative way. I don’t necessarily think that I possess that skill, so much of my own writing is done when I’m low.

Anger is an essential emotion that appears in your music. What causes this anger?

I think It’s inherent from the discrepancies between my own set of values and whatever is happening around me. In essence, the things I cannot understand. This can be within my own personal sphere or at a global political level. I’m not saying that my values are some kind of moral absolute, or that they are morally superior to anyone else’s, but that the anger comes as a byproduct of me watching the world from my own set of eyes.

What is esoteric oppression? I mean the title of the latest album.

Our former member Alex came up with the title, and so I can only give you my personal interpretation of it. For me, it is a metaphor for being alone with one’s own depression. During periods of depression in my life, I’ve always felt alone, like no one could understand what I was going through at the time. This is the ‘Esoteric’ part. The ‘Oppression’ part comes from the depression acting as an involuntary force from within – a sort of psychological self oppression.

Ah… I admit that you have marvellously given away the essence of depression in these words. I am educated in the sphere of mental disorders and for many years I worked with people suffering from depression, so the more I am impressed…

… The premiere of “Esoteric Oppression” is already a few months behind us and I would like to know what inspired you to create this album this time?

At the start of writing this record, I remember that I was in a pretty dark place. I drew a lot of inspiration from that. I had also just discovered Nils Frahm and Ólafur Arnalds record ‘Trance Frendz’, which really resonated with me. One particular track was ‘23:52’, which inspired me in terms of electronic soundscapes. I know Alex drew inspiration from George Orwell’s books when he wrote much of the lyrics for this album. I think we all drew inspiration from a variety of things, from all over the place.

And it is wonderful that thanks to such conversations we discover more wonderful sounds. You inspired me to find the music of Ólafur Arnalds & Nils Frahm. Such beautiful minimalist music with wonderful melancholy atmosphere… Thank you!

…And what does this symbol mean in the title of the song “PL – C17 – 18 – 00803 – Utopia”?

Haha, there’s no subliminal meaning to that. It must be the ISRC code showing up as metadata in the media player you are using!

Some musical themes of your music are so powerful and overwhelming that it’s scary me to think about some people with weak minds (listening to your music) that the music can lead to getting lost in some negative emotions… There are known cases of self-injury and suicide attempts under the influence of music (especially young people with problems)…

That is a great ethical dilemma you are pointing out. As i was saying with the oscillations of life, it will contain both the brightest and darkest of times. As these fluctuations in highs and lows transcend human life, I think all of the nuances in life should be expressed. They are integrated into all lives. Perhaps, that is why ‘dark’ music resonates with people in the first place. Or ‘happy’ music, for that matter. With that being said, I think the critique is valid and is something that should be discussed. For those who suffer from mental health issues.

But you know what’s so damn good in your music for me? This, as in some songs, these moments of doubt and despair are ending and after that there are sounds bringing hope and alleviation, as in the song “The Failure Design”… The beautiful ending…

…You have made the video for “The Drone Kingdom”. Do these shots come from some “video stocks”? I really like this concept… The combination of the music with these clips created a powerful, monumental and majestic movie.

The video was produced by Claudio Marino. I think he did one helluva job! We are all super pleased with how the video turned out. As for “stock video”, I don’t know. There might be some. You’d have to ask him!

In addition, Messy Mathi (BARST) sang in the song. Could you say something more about that person? Her singing additionally introduced despair to this song…

She is the singer of the Belgian band ‘Barst’. I saw them at Dunk!Festival a couple of years ago and was truly blown away. During the process of writing ‘The Drone Kingdom’ we were trying to find a female vocalist for that part of the song. We got in contact with Messy through a mutual friend, and from there we gave her free hands to do whatever. A week later, Messy sent us the vocals and we were blown away. She is a wonderfully talented singer!

The album ends with the song “Phosphorescent Blight”, in which the last sounds mysteriously silence the negative emotions, although we do not know what will happen next…

Right! To me, it sounds like an ending of an era. Who knows what the next chapter will hold!

It looks like your cooperation with the Polish label Agonia Records is very well…

Yes, Filip and the people at Agonia have been really kind to us. We’ve been with them since the first album. I can only praise them for what they’ve given us in terms of support!

I saw some clips from your concerts. You’re rather introverted on a stage…

I am an introverted person in real life, so I guess that probably make its way on to the stage as well. I’ve tried adopting a stage persona in the past, but I wasn’t comfortable doing that. Instead, I go out there and try to be as humble and true to myself. I am my own biggest critic, and so I try to give myself a break when I’m on stage.

What concert plans do you have for the rest of 2019?

We have some stuff planned coming up in October. Unfortunately, It’s not official yet.

However, make sure follow us on Facebook and Instagram to get updates!

Media define your music as Post Metal. In fact, your arrangements differ significantly from classical Metal genres. It’s true that we can hear Doom Metal or Sludge Metal in them, but there are many influences from Post Rock or Shoegaze. In addition, your image, although it is dark, is more suited to “post” music (Rock or Metal). I am curious about what you listen to every day (beside the above mentioned)…

Right now, I’m really into Jon Hopkins and that scene. Also, the debut album of Såver – “They Came With Sunlight”. That album just might become my AOT. I enjoyed the new single ‘Homicide’ by Logic featuring Eminem. I know the others listen to variety of stuff. Much of our influences comes from other places than post/doom/sludge metal.

Thank you for the conversation. Does THE MOTH GATHERER have anything to say at the end?

Thank you!