Mmrk, started in Leipzig, is from Bergamo, Italy and since 2009 has experimented with dark ambient structures focusing on noise elements. Conveyed emotions are realistic and humanistic.

Mmrk Website Link

What sparks interest when making music?
My relationship with music has always been something directly related to the contact I have with my emotions and feelings. I started as a listener, and then it grew progressively; the need to express in that language, that it’s not always only about sounds and noises. I got the clearance to realize that I was a good observer of music, going over notes and lyrics. Those principles are one of the engines that move my needs of expressing, I want to be as deep as possible on describing what my persona sees and feels in that environment. I don’t want to impose my vision, I want to make clear a point of view, the only one I could be honest about. I like the idea that what I do could talk to something within any person, such as many records gave me. Music is a proper language to communicate, I want to take every chance I meet to be as complex and deep as I live my interiority and the dialogue I have with it every day. I love to be as honest as I can and making art, in general, it’s the best way I found to have a satisfying result to share. I love the idea that I could do with noises and notes what cinema can do with images, talking to you without any word.

Considering its cultural and religious significance, why the name ‘Gandharva’ for your newest release?
Gandharva was the name of a musical project I’ve been part of in between something like 2014 and 2016.
I don’t remember the exact reason why one of the members proposed that name that we all agreed to, but it was closer to the Buddhist meaning of what a Gandharva is, a celestial body that moves through air skilled as a musician that could disturb the monks meditating.
We were a trio with two guitars and my soundscapes and noises, we developed our music in a dialogue between the guitars following my climaxes and movements.
We were invited to play live in a recording studio of some friends, and in the mixing process we had to close a lot my sounds to share space with the guitars and to not go over them, so I wanted to give full space to my work naming it “Soundscapes of Gandharva”.

What does Mmrk symbolize? Is there a meaning?
It’s a simple thing I came up with when I was in high-school. I did graffiti for a very short period and I was writing MR and the other friends I was going to paint with had the suggestion to had a letter because with just two of them they said it wasn’t ideal esthetically.  So I decided for MRK with meaning in response to them, I wanted to take this without any huge meaning. With the musical project, I extended that meaning with one more word making it as MMRK, revealing its nature would kill it for me and would make me change it as well, which I don’t want to. So it’s just gonna stay secret.

What instruments do you use? Which is your favorite?
I switch between lots of options: many mini-cassette and cassette recorders and players, a Tascam Portastudio 424, the Atari Punk Console which is a custom square wave generator, a Sine/Square wave generator by DAP Audio, a Volca Bass by Korg, both the Verdant Weapons by Chondritic Sound, many guitar and bass pedals, and various digital synth software. I like the most to record sounds on tape and adding effects to them, playing Absynth software from Native Instruments and throwing the Verdant Weapons on the Turbo Rat and the Digitech Death Metal pedals.

In your demo album ‘Eastern Demo,’ why add numbers towards the end of the track’s title?
Those numbers are the date when I recorded it, 14th of April 2011.
I don’t remember at all why I did it, but I decided to keep it.

Is there a concept in mind when building cover art?
I always focus a lot of work in cover arts, for me its a very important element of a record. Often the music comes parallel with the art I have in mind as sometimes I just work on graphics or draws and I decide later which of them is for what work. 90% of the time the art starts from a concept or an idea I have.

Are there any other styles that interest you?

Yes, almost about everything. It’s been always about periods on what I listen but I’m truly open to any kind of music if it brings me something I like or I wanna deep in. This period is mostly noise, grindcore, and electronic music listening.

Who are your favorite artists?
That’s a difficult question I could argue about for ages. There are many bands and projects that had a huge impact on me as a listener and a person. If I consider the music I make some big influences I have comes from Burial Hex, Merzbow, Maurizio Bianchi, Giuseppe Ielasi, Renato Rinaldi, Concern and every project from Gordon Ashworth, Pig Destroyer, Wicked Messenger, Amnesia Scanner, Autechre, Aphex Twin, Richard Ramirez, Tangerine Dream, David Lynch (considering The Air is on Fire), Swans and I could go on forever.

What’s next for Mmrk?
I’m working on 3 new records. The first it is gonna came out is kind of soundscapes and noisy synth ambient, then I have a harsh noise one and a record I started working with a couple of friends musicians in other projects that gonna fuse noises and tape recordings with electric guitar and bass guitar over it. And I keep looking for sounds, cause I never feel completely satisfied so I  always keep following new tones.


Listen to Mmrk’s ‘Soundscape of Gandharva’

Read the review of Mmrk’s Soundscape of Gandharva

Soundscape of Gandharva by Mmrk

Mmrk has created something visceral and unexplainable; devoid entirely of human feeling and focusing on transcendental avenues. His newest release, Soundscape of Gandharva, is simply – an epic journey. Going into solitude; digressing into your chamber, away from the disdain of society. The landscapes blossom with modulated worlds of clarity and dissonance; as the rays […]