Interview with Nightcrawler: “I’ve never felt tied to a single genre. If there’s a common denominator in what I do, it’s darkness.”
We visited Nightcrawler’s headquarters to talk about his new remix EP, musical evolution, artificial intelligence, and his more technical and creative side through NC Sound Studio, his new project focused on production, mixing, mastering, and sound design.
Hi Jordi. Thanks for welcoming us into your home. How did this new remix EP for Cold Transmission Music come about? Was it your idea or did they approach you?
I had already worked with some of their artists independently on collaborations like Deus Ex Lumina and SYZYGYX in single format, which I released on my own label, Nightcrawler Music. They were very well received, and we connected strongly on a sonic level. I thought it would be interesting to do something bigger, like a remix EP featuring more Darkwave vocalists. Just when I had that in mind, Andreas, one of the label’s founders, wrote to ask me for a remix for one of their artists. That was the perfect moment to propose the EP, and he loved the idea.
How did you select the bands and tracks to remix?
I carefully went through all the label’s releases and selected tracks that inspired me, where I felt I could bring something different. I sent the list to Andreas, he contacted the artists, and luckily everyone accepted enthusiastically.
In this EP you maintain each band’s essence while adding your unmistakable signature. What was the biggest challenge in remixing artists as different as Kalte Nacht, Rina Pavar, or Lovataraxx? Which one was the most experimental?
When I do a remix, the biggest challenge is respecting the essence of the original track while bringing it into my darker, more cinematic territory and giving it a new narrative.
In this case, the most experimental remix for me is Tilda Vaast’s track for Lovataraxx. It’s structurally freer, almost anarchic, and belongs to a genre that’s difficult to label.
There’s a clear cinematic tension in several tracks. Do you think in visual scenes when you produce?
I don’t visualize a specific film, but I am interested in creating a sonic narrative. I use pauses, intensity shifts, like you’re listening to a soundtrack at certain moments. But it’s not an image guiding me, it’s the need to tell something through music and let listeners imagine whatever they want.
You produced, mixed, and edited this EP in your studio, NC Sound Studio. What tools or synths did you mainly use?
I use so many that sometimes I don’t even remember. [Laughs] For this EP I used the virtual synths Hive and Zebra 2 a lot. They’re two of my favorites, especially for that dark, deep, apocalyptic sound I look for. For FX and wave shaping I used ShaperBox 3. For mixing and vocals, the CLA-2A compressor, Valhalla Vintage Reverb, R-Vox, Pultec EQ, among many others.
Do you see this EP as a continuation of your previous work or more as a parallel project?
For me it’s a parallel project. It’s not a solo Nightcrawler EP, but a collaboration with other artists. I experience it as something different, with a different focus.
What has it been like working with Cold Transmission Music?
Very positive. From the beginning they gave me total creative freedom. They trusted my criteria and ideas, and I value that deeply. I also felt a lot of trust from the bands. No one imposed a direction or asked for changes. That makes everything much more fluid. Everyone is very happy with the remixes.
You’ve worked with artists like Dark Vektor, Antoni Maiovvi, or Alpha Sect. What do you share artistically?
All those collaborations have given me a lot. Beyond the musical result, I take away experiences and friendships. Sometimes there’s more chemistry, sometimes less, but you always learn something. For me, that’s one of the best parts of making music, meeting other artists and maintaining a bond of friendship. The three you mentioned are clear examples of that.
Would you consider performing any of these remixes live?
I would only do it if the original vocalist or artist could be involved. Playing a remix without the real voice feels strange to me. If it aligned at some point, I could imagine a live collaboration setup, but logistically it’s complicated since everyone is from a different country. This EP is more meant to be listened to at home, enjoyed calmly… preferably on vinyl.
Are you already working on a new project? Will you stay on the club-oriented path or shift direction?
Yes, I’m working on it. Since 2012, there hasn’t been a single month when I wasn’t producing something. I’m always making demos. The new material follows a dark electronic, danceable, DJ-friendly line, but there may be surprises. I don’t want to reveal too much because I’m in a full creative phase. I can say exclusively here that there will be a collaboration with Newborn Ghost.
NC Sound Studio
Let’s talk about NC Sound Studio. How did it begin?
After years of producing for myself, I developed a method and technique that gives very strong results, especially for dark electronic music. I realized I could help other artists using this method as a mixing and mastering engineer. I also enjoy having that separate creative channel and independent income source beyond the royalties from my label releases.
You recently launched your first sound pack, MACHKINA. What can you tell us about it?
These are sounds I’ve designed over time that became part of my signature: sirens that sound like they come from hell, dystopian atmospheres, distorted kicks, and other elements I frequently use. I thought it would be good to gather them, organize them, and share them with other producers. It also helps me keep my own material more organized, because I’m a bit chaotic. [Laughs]
You’ve been self-releasing your music since 2012. What has that model given you?
Total freedom and control. Since I own 100 percent of my music rights, except in rare cases, royalties are one of my main income sources. But it also brings pressure. If you stop releasing music, your streams and income drop. I don’t like creating music under that kind of philosophy. I believe you should produce when inspired, not mechanically to chase results.
That’s why opening NC Sound Studio felt important. As I mentioned, I mix and master for other artists and develop sound packs for producers, so I’m not dependent only on streaming and live set income.
Early on your music echoed John Carpenter and synthwave. Now your style leans more toward EBM, Techno, or even Darkwave. Why the shift?
Each style, Darksynth, EBM, Techno, Darkwave, is a tool that feeds my productions. But I don’t feel part of any specific scene or movement.
What’s your opinion on artificial intelligence in music creation?
As a tool, I find it useful. I’ve used it to separate stems, clean vocals, even experiment with sound ideas. But as an artist, I don’t see the point in making an entire song by writing a prompt. You lose the process. It’s like finishing without the experience, it feels strange. In any artistic project you should maintain a percentage of work done by yourself and use AI only as a complement. It’s about balance. AI should not be everything, just a tool to solve limitations or do something you couldn’t achieve alone. You still need to bring your creative and human input.
Which artists would you like to collaborate with?
Void Palace, Julia Bondar, or Pye Corner Audio.
And finally… do you regret anything in your musical career?
No. Even if I’ve made mistakes, they’ve helped me grow. I wouldn’t change anything essential. Maybe I would have done the same things, but with better equipment. [Laughs] I’ve always stayed true to myself, and that’s what matters most.
From Other Voices, we can only thank you for your time, generosity, and hospitality. See you soon on stage.
If you enjoyed our interview with Nightcrawler, make sure to keep reading Other Voices.
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