Valgorth: "This is a war against the mundane"
Cannibalism is Valgorth’s debut album, a dark/black ambient project where sound and image intersect. Concepts drawn from cosmology serve as reference points. The recording presents an auditory model for imagining speculative states in which structure collapses. In this interview, the artist discusses its conception, process, and approach to creativity.
Place of birth: Argentina
How did the project begin, and what drew you to cosmology?
It started as an experiment to create a soundscape I could listen to while working—a way to retreat into my own void. At first, I kept it to myself, but releasing it felt necessary, either to connect with others or to close the process and move forward.
Cosmology became central because it’s an extreme environment that interests me. We originate from dead stars, and that perspective carries meaning—it provides a clear, functional foundation to build from.
How would you describe your sound?
Drone, noise, and the tension between minimalism and maximalism, structured through coded aesthetics. Cold, scientific, and dehumanized—between dark ambient and black ambient. At the same time, it's the kind of music I look for as a listener.
What led you to the concept of “cosmic cannibalism”?
The concept came from studying self-transforming systems in astrophysics, along with ideas from quantum physics and mathematics dealing with transformation under extreme conditions.
In these contexts, “cannibalism” describes processes where systems persist by consuming their own structure—galaxies merging, particles reorganizing through annihilation and dissipation. Everything exists in continuous breakdown and reconfiguration.
I realized the recordings already reflected this, so I pushed it further: slow consumption, where structure dissolves and is reabsorbed into silence. It mirrors the universe itself—neither hostile nor benevolent, just indifferent.
I don’t translate science literally. The goal isn’t to explain, but to evoke dynamics: collapse, instability, accumulation, dissipation. The album doesn’t aim for beauty or comfort.
How was Cannibalism recorded?
The album was recorded between 2023 and 2025, combining dissonant textures with raw undertones and exploring psychoacoustic phenomena and low-frequency sound. It unfolds as a continuous three-part composition, intended to be experienced like a film.
The initial idea formed quickly, but refinement took much longer. I developed multiple variations—testing plugins, building alternate versions, and adjusting structures. The mix exceeds 100 channels, shaping a dense sense of tension and immersion. My process is both analytical and intuitive: I follow internal rules and patterns, while leaving space for accidents and unexpected results.
How do visuals connect in the project?
Sound and visuals go hand in hand. I usually develop the visuals after the music, though sometimes both emerge simultaneously. I worked in a real-time, node-based system, allowing continuous transformation and animation, later refined in post-production. It’s a 3D audiovisual work rather than traditional design—cold, functional, and avoiding painterly approaches.
Developing the visuals took months and many iterations, leading me to build new workflows and learn additional tools to construct the environments with precision.
The images are conceptually fundamental. They suggest how conditions or forms might behave—their dynamics, their logic, or the possibility that no logic exists.
Why do you work with non-representational sound and visuals?
I focus on non-representational sound and visuals as a way to move away from depiction and work directly with structure, behavior, and sensation. Instead of representing specific sounds or scenes, the work is built from abstract forms—textures, frequencies, and interactions.
The aim is not recognition, but experience: to engage perception without relying on familiar references. This approach allows for a more open and subjective response, where meaning is not imposed but emerges through the interaction itself. It also removes constraints, giving me freedom to construct and explore without predefined limits.
How did your collaboration with Lars Broddesson shape the final sound?
We collaborate across different projects, including his band HILD, and share a similar mindset. His precision and consistency made him the natural choice for mastering. He helped define the technical direction. His attention to detail had a direct impact on the final result. The album wouldn’t have been possible without him.
He also developed the isotype, creating a bindrune based on Valgorth, Ginnungagap, and war-death symbolism, drawing from his knowledge of Old Norse.
For the technical aspects of mastering, he can explain in more detail:
Lars Broddesson: Mastering more ambient related stuff was new to me and a fun challenge, especially since it was Valgorth material. He´d been keeping me in the loop since the beginning of his project and I was very keen on hearing what he´d been cooking up.
The mastering process proved easier than I´d expected. Firstly, I´d just get a quick overview, then proceed into detecting frequencies and colorations not to my liking and getting rid of those, followed by detecting elements I´d like more of. Then, it was just a process of getting INTO the music and kind of merging with it. Which is quite easy with Valgorth, it´s hypnotic and draws you in. What I aimed for was getting the soundscapes more in your face and surround you, enhancing the feeling of being inside the music, part of it. I used a selection of analog equipment emulators, eqs, compressors and a slight touch of stereo width enhancement and a hint of gain automation where needed. Keeping alot of the dynamics was key, but still adding power. At this point I have mastered two tracks with the same basic mindset. On the first, which is the first full-length album, I worked alot with upper midrange stuff to bring out details and space. On the second, I did alot of low end work. It´s all about asking the song what it needs to pop in the right way.
You are also known for your career in Judo and Brazilian Jiu-Jitsu. Do martial arts influence your creative process?
Yes. Martial arts are about progression—discipline, consistency, and forward momentum. You improve by training with those better than you; friction is necessary. Competition taught me that failure becomes information—you analyze it, adjust, and continue. Focus stays on the objective; everything else is preparation. Inspiration is built through hard work, and you have to continue until the work is finished.
I approach creative work the same way: as an ongoing internal conflict to understand how things function. It is part of a learning process that demands patience and refinement.
Is Valgorth an ongoing project? What comes next?
Yes. I already have material for future releases and am deciding what to finish first. Everything connects to the same universe, seen from different angles.
Do you see your work as a form of confrontation?
That depends on what is meant by confrontation—whether internal or external. Internally, there is no conflict. Art and sound are a clinical process to me; I don’t experience artistic awakenings or identity crises. Those narratives are often exaggerated to attract irrelevant attention.
As an external factor, creativity can function as an intellectual force directed at confronting reality, but that depends on the individual. Personally, I don’t make art to raise banners, gain followers, or oppose anything. It is a tool for exploration and inner development. If there is anything I oppose, it is ignorance and stupidity.
The work can offer a sense of internal sanctuary, but it doesn’t shape my outlook or align me with any position. It remains an investigative activity—closer to conducting an experiment.
Nothing here is trivial—this is a war against the mundane.
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