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1.On the new album you also captured a lot of NASA and space samples, can you tell us a little bit more about the research, time and effort you put in the new album concept?
Yes, this album was the result of a long and immersive process. I’ve always been fascinated by the idea that space, though seemingly silent, actually has a voice, one we just can’t hear with our ears. That idea led me to explore data sonification, particularly the recordings and raw data made available by NASA and other space agencies. I spent several months researching these materials: radio waves, plasma fluctuations, electromagnetic fields, collected by probes like Voyager, Cassini, and Juno. These signals aren’t directly audible, so scientists use various techniques to convert them into sound: frequency scaling, filtering, and time compression, among others. I didn’t just sample these sounds randomly. I carefully listened to hours of sonified material, selected specific recordings based on their texture, rhythm, or tonal qualities, and then processed them further to create immersive soundscapes. The goal wasn’t just to illustrate space sonically, but to let the cosmos speak in its own strange, abstract language. In many ways, I felt more like a medium than a composer, channeling the raw energy of celestial phenomena into an experience the human ear can perceive, and hopefully feel on an emotional and psychological level as well.
2.On previous recordings you have also covered mythologies, paranormal and conspiracy theory themes, can you tell us a little bit more about your interest in these topics?
These themes have always fascinated me because they represent the shadow side of human knowledge, the areas where science, belief, and imagination intersect. I’ve never approached them as dogmas or fixed truths, but rather as conceptual frameworks, rich in symbolism and ambiguity. Whether it’s ancient mythologies, paranormal experiences, or conspiracy theories, they all offer alternative narratives about our place in the universe, often challenging the limits of what we consider rational or knowable. For me, sound is the perfect medium to explore these zones of uncertainty. It allows for abstraction, suggestion, and emotional resonance.
3.What are some of the other themes you have explored over the years with your music?
Over the years I’ve explored a wide spectrum of themes in Sonologyst, each one a unique “sonic documentary” that blends research, abstraction, and layered atmospheres. Among them: Cold War radio transmissions, ancient death cults, sounds that science can’t explain, interdimensional lifeforms, etc..
4.What is the meaning and inspiration behind the name 'Sonologyst'?
The name Sonologyst comes from the fusion of two concepts: “sonology,” which is the study of sound, and the idea of an “analyst” or “explorer” of sonic phenomena. I coined the term to describe my personal approach, investigating sound not just as an artistic medium, but as a form of inquiry, a method of probing reality. The “-gyst” at the end suggests someone engaged in a kind of continuous research, not bound by genre but guided by curiosity. So in a sense, Sonologyst is not just a project name, but a statement of intent.
5.Can you tell us a little bit more about the artwork that is presented on the new album cover?
Planetarium benefits from the visually arresting, deeply atmospheric design by Abby Helasdottir, who has been a consistent collaborator with Cold Spring for many years Abby brings a rare blend of disciplined graphic sensibility and cosmic aesthetic, qualities that align perfectly with the sonic and conceptual world of Sonologyst.
6.Over the years you have worked solo and also with other musicians, which one do you prefer?
Both approaches have their own value, and I’ve learned to appreciate them in different ways. Working solo gives me complete freedom to shape a sonic world exactly as I envision it. I can follow instinct, experiment without boundaries, and go deep into personal themes or technical explorations without compromise. Collaborations, on the other hand, bring surprise, challenge, and new perspectives. When I work with other musicians I'm exposed to different creative logics, techniques, and emotional textures. It pushes me out of my comfort zone. Personally, I prefer working solo, as it often leads me into a meditative state while sculpting sound.
7.You have also released a great amount of collaboration albums, can you tell us a little bit more about the artists that you have worked with on these albums?
I have collaborated with several artists, including, among others, Robin Storey (Rapoon, Zoviet France), M.B. (Maurizio Bianchi), and David Lee Myers. With the exception of Robin Storey, with whom I shared a similar mindset at the time of our collaboration, I approached the others by letting the wilder side of my experimental nature emerge, allowing the unpredictable potential of my sonic explorations to come through freely.
8.You also run a couple of record labels, what are some of the releases you have planned for later this year?
On my Unexplained Sounds Group label, I’m currently working on the 11th Annual Report, a compilation featuring some of the most interesting experimental pieces I’ve come across during my research. Meanwhile, on Eighth Tower Records, I’m continuing to work to a series of reissues from the classic Italian post-industrial scene, along with a tribute to the English master of dark fiction, Clive Barker.
9.On a worldwide level how has the reaction been to your music by fans of dark ambient, drone and experimental?
Over the years, I’ve received a very encouraging response from listeners around the world, especially within the dark ambient, drone, and experimental music communities. It’s a niche audience, but one that is incredibly attentive, curious, and open to deep listening experiences. What I’ve noticed is that many listeners are drawn to the conceptual side of my work. They appreciate not just the sound itself, but the research and narrative behind it. In this regard, Cold Spring has played a key role. They deeply understood the nature of my work and share a similar interest in the “documentary” approach I take to sound. Over the years, through excellent production and promotion, they’ve helped me build a solid and dedicated listener base for the project.
10.Where do you see yourself heading into as a musician during the future?
I’ve never considered myself a musician in the traditional sense, but rather a sound sculptor and sonic documentarist. I hope to continue along this path, because it’s the way of working that feels most authentic to me.
11.What are some of the bands or musical styles you are currently listening to nowadays?
Since I spend many hours a day working on experimental ambient music, I usually prefer to listen to something completely different in my free time. Lately, I’ve been drawn to indie rock, especially doom-inflected styles, as well as dub and downtempo. One of the bands I appreciate most is The Samsara Blues Experiment (unfortunately they’re not active now).
12.Before we wrap up this interview, do you have any final words or thoughts?
First of all, I want to thank you for this interview, and I extend my gratitude to the readers of DarkUnderground Magazine. I also want to thank everyone—especially the listeners of Sonologyst, who take the time to truly listen. In a world saturated with noise and constant distraction, deep listening has almost become a radical act.
