1.For those that have never heard of you before, can you tell us a little bit about the musical project?
Sure, while exploring a way to articulate a unique interpretation of the Black metal genre, I found myself drawn to the specter of the 1980s satanic panic. This fervent societal hysteria, particularly fixated on the alleged presence of subliminal messages back-masked onto vinyl records, inspired me to combine record scratching with the vehemence and dark undertones of Black metal.
2.So far you have released 2 albums, musically how do they both differ from each other?
The debut album drew inspiration from a medieval treatise cataloging the seven princes of Hell. Song titles and lyrics followed a rigid, structured framework, while the music pulsed with a hellish intensity, reflecting the esoteric themes rooted in the middle ages.
The vision for the second album embraces a more expansive exploration of the occult, delving into Mesopotamia and it’s influence across human history and culture. Musically, the second endeavor strives for a more refined approach, where the instrumentation converges in a more harmonious and ritualistic blend.
3.With your music you also avoid the traditional use of metal instruments, can you tell us a little bit more about this concept?
As a self-taught musician, I utilize software that converts my voice into editable MIDI notes. This technology enables me to orchestrate a vast array of virtual instruments, forming intricate sonic patterns.
Embracing the overarching meta concept of my project, I deliberately feature the art of record scratching, focusing on creating abrasive, rhythmic passages that emulate the tremolo-picked guitar riffs and blast beat drumming inherent to Black metal.
To further enrich the soundscape, a distorted guitar synth is incorporated as a melodic device driven by the thunderous cadence of deep, bellowing drums. Finally, drone intonations herald ominous tidings, enhancing the immersion and adding layers of depth to the overall auditory journey.
4.A lot of your lyrics cover Occultism and Left Hand Path themes, how would you describe your interest in the dark arts?
Though I personally identify as an atheist, I have long been fascinated by occultism and its myriad themes. The rich tapestry of symbols, rituals, and esoteric wisdom woven throughout history has always intrigued me. The ancient framework of occult philosophies and its influence on contemporary doctrines and spiritual exploration is undeniable and worth investigating.
5.What is the meaning and inspiration behind the name 'Olde Scratch’?
Olde Scratch is a name historically synonymous with the devil. Rooted in British and early American folklore, "Scratch" was possibly derived from the Old Norse "skratte," meaning goblin or monster.
Beyond the obvious wordplay, choosing "Olde Scratch" subversively channels the spirit of the Satanic Panic era, a time when music was vilified for challenging societal norms and provoking moral outrage.
6.On both of the album covers you used artwork from Gustave Dore, can you tell us a little bit more about your interest in his work?
Gustave Doré has always captivated me. His baroque, surreal depictions of the underworld resonate perfectly with the themes I aim to explore, adding a timeless, otherworldly essence to my creative journey.
7.With this project you record everything by yourself, are you open to working with other musicians or do you prefer to work solo?
I’m open to working with other artists, whether on joint projects or splits. I have reached out to a few without success, so, we’ll see.
8.Currently you are unsigned, are you looking for a label or have received any interest?
I have been looking; however, several inquiries have yet to be addressed, and there has been no interest up to now, but I remain hopeful.
9.On a worldwide level how has the reaction been to your music by fans of black metal?
I have fans across North America and throughout Europe, including countries like Great Britain, Portugal, Switzerland, Spain, Germany, Italy, Poland, Russia, Finland, Ukraine, Greece, Bulgaria, Denmark, and Serbia. My reach even extends to Brazil and all the way down under in Australia. I’m truly proud and grateful for this incredible worldwide support.
10.Where do you see yourself heading into as a musician during the future?
I am eager to continue harnessing the art of record scratching in innovative and unconventional ways. My goal is to transcend its traditional boundaries to craft auditory experiences that are both captivating and inexplicable.
Simultaneously, I plan to delve deeper into the realms of the occult and esoteric beliefs. With This fusion of sound and mysticism, I seek to create immersive, transformative music resonating with symbolism and an otherworldly allure.
11.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?
I deeply appreciate the experimentation of modern jazz, the powerful energy of old school metal, and the distinctive, atmospheric beats of downtempo. My interests also extend to the more intense realms of blackened industrial and the unrelenting force of bestial death metal, complemented by the avant-garde artistry of Björk.
Recently, I have been particularly inspired by the evocative sounds of the Black metal underground. Bands such as Black Curse, Onw and Spectral Wound have left a significant impression on me.
12.Before we wrap up this interview, do you have any final words or thoughts?
My journey with Black metal has been a reflection on the interplay between chaos and structure, disrupting traditional genre confines and unsettling expectations. Blending raw intensity with the unexpected texture of vinyl scratching was not just a creative choice, but an exploration of how contrasting elements can coexist and enhance one another.
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