Monovoth Interview

 

1.Can you give us an update on what has been going on with the solo project since the recording of the new album?

Much of the work over the last couple of months has focused on putting the finishing touches on the visual aspects of the album, as well as the overall marketing and media strategy. While I’ve already started writing some songs that reflect the evolution of the project, it’s still hard to know which of them will eventually make it onto the next album. What I do know is that I’m constantly writing and trying to express myself through music.

2.In February you have a new album coming out, musically how does it differ from the stuff you have released in the past?

I think people are going to be surprised by To Live in the Breath of Worship, as it’s vastly more dynamic than the previous records. I tried to write songs from a more universal perspective while maintaining the core Doom / Drone / Funeral essence. What were already quite dynamic compositions were elevated even further by Martin Visconti’s drumming contributions. I believe listeners will discover a more eclectic side of Monovoth this time.

3.You have worked with a variety of many different extreme metal styles in your other projects, how would you compare the music of 'Monovoth' to what you have done musically in previous or current groups?

I’ve worked on grindcore and death‑metal‑oriented projects before, but approaching Monovoth allows for a grandeur in scope and composition that I can’t express within those genres. The length of the songs, the layers, the atmospheres and moods all allow Monovoth to be an ‘all‑around’ experience—both as a composer and as a listener.

4.Most of your music so far has been instrumental but you did experiment a little bit with vocals on the new album, are you planning on expanding on that aspect on future releases?

Not really. I generally have one or two guest vocalists in Monovoth, and only on specific songs or sections, for artistic or textural purposes. I see Monovoth mainly as an instrumental project, but vocals can—and will—appear now and then as another instrument or layer, if the song calls for it.

The most I’ve done with vocals was a shared EP with a local singer (Ber Stinco in 'Elogio a la Noche'), leaning more into a Nick Cave‑like, very experimental territory. For now, it remains a one‑time collaboration—but who knows what the next few years will bring? Experimentation and art are central to how I envision the project.

5.Can you tell us a little bit more about the themes you explore on the new album?

The new album is about lonely gods in a universe without faith, part mythological, part philosophical, maybe. But as the album evolved, and considering how reality is unfolding nowadays, I began to see it as a metaphor for many of the negative things happening around the world. In a way, we are all lonely gods begging for attention under the paradigm of the algorithms. And at the same time, how many lonely gods are begging for power and attention while ruling various countries today? The parallels are endless.

6.Can you tell us a little bit more about the artwork that is presented on the new album cover?

In harmony with the album’s theme, I stumbled upon an artwork by Santiago Caruso purely by chance. He’s an outstanding Argentine artist I’ve been wanting to collaborate with for ages, and I feel his piece represents the concept and the music perfectly

7.With this project you work mostly solo but have worked with musicians in other bands. Do you prefer recording by yourself?

It’s funny, this is a ‘solo project,’ yet at this point I have a group of underground Argentine artists, whom I consider the best of the best, who have been tagging along with small (and not-so-small) contributions since the first Monovoth album. I’ve also worked with Andrew Notsch (Manipulator, Ex-Sunless) on our project Golden Cannibal, with Lindsay O’Connor (Coma Cluster Void) in Blvgth, and on many other things as well.

I love working alone, and having full artistic direction is very comfortable, but it can also get tiresome and overwhelming to handle every aspect myself. So I’ve been trying to lean on other people more and more.

In the creative process, what others can bring to your songs is always a plus. I see it as colors outside my own palette—and the results are outstanding.

8.On the new album you also have a few quests, can you tell us a little bit more about who they are and also their contributions to the recording?

On To Live the Breath of Worship, first and foremost, Martin Visconti plays drums once again, but this time he truly delved into the composition and creation process with me, so his contributions to the album as a whole are incredible. Federico Ramos (Avernal) delivers a solo on Cosmically Orphaned. Ivo Bisceglia (Atadues, Los Últimos Días), a young and mind‑blowing talent, arranged parts for The Fallen. Martin Passaro and Andrew Notsch contributed vocals here and there, and Kevin Hufnagel (Gorguts, Dysrhythmia) was kind enough to play on Crimson Red Wound.

I’m so humbled to have these people perform on something I wrote. Last but not least, Sebastián Barrionuevo (Medivm) mixed and mastered the album and also contributed guitar on Crimson Red Wound.

9.On a worldwide level how has the reaction been to your music by fans of underground metal and drone?

The reaction to the first two records was really unexpected—especially for a one‑man band from Argentina, you know? Trepanation Recordings from the UK released those albums physically, which was incredible for me. I’ll be forever thankful to Dan and all his work. The label closed shop last year, so at the moment I’m not attached to any label

10.What is going on with your other musical projects these days?

Not much, but I do have a couple of things in the works for Monovoth—even ideas that wouldn’t normally fall under what people expect from the project. I’ve decided not to have any more parallel projects for the time being and to channel all my creative output through this one.

11.Where do you see yourself heading into as a musician during the future?

I always find it a bit grandiose to consider myself ‘a musician,’ in a way. But I’d say something like: play better, play more, look forward and never look back. That’s the attitude and the motto behind everything I do.

12.What are some of the bands or musical styles that you are currently listening to nowadays?

Lately I’ve been diving back into Pink Floyd and Cynic in terms of ‘classics.’ But when it’s not that, Primitive Man, Avernal, Imperial Triumphant, and Krallice are usually in my regular rotation.

13.Before we wrap up this interview, do you have any final words or thoughts?

I just hope everyone enjoys the records. Thank you for this space and opportunity. And as a reminder, all proceeds from now until after Bandcamp Friday (Feb 6) will go toward supporting the fight against the wildfires in southern Argentina.”

Regards,

Social Media:

https://linktr.ee/monovoth