MSLi 69 channels raw emotion through a fusion of analog-recorded black metal and atmospheric ambient textures. In this interview, Snow reflects on imperfection, nature’s duality, and the evolving sonic path of the project.
1. MSLi
69 blends ambient soundscapes with raw black metal intensity. What first
inspired you to explore this particular fusion?
Snow:
Probably the album 'Filosofem' by Burzum has a lot to do with it. That album
showed me that black metal was much more than double bass drumming and fast
guitars. It opened the door to a new world.
2. Your
debut album tree was fully recorded analog to tape. What draws you to analog
recording in an age dominated by digital production?
Snow: I
struggle to enjoy a lot of modern digital recordings because they are literally
made to be perfect. Often, every note is edited to sound exact and precise and
for me it's boring and sterile. It's not music. It's numbers. Music should be
about emotion, mood, capturing moments in time. Good and bad.
3. You’ve
mentioned wanting to create a “uniquely human sound” in an AI-driven world.
What does “human” mean to you in the context of music?
Snow:
Imperfections and the beauty in imperfections.
4. The
guitar harmonies on tree feel both meditative and unsettling. How do you
approach crafting these atmospheric layers?
Snow: I
find it very difficult to explain my approach, but it might help to know that
my guitars are tuned in open minor tunings. This is an obvious idea, but it
also instantly creates the sound and feeling which I feel is right for MSLi 69.
5. Black
metal often leans into chaos, while ambient music embraces space. How do you
balance these opposing energies in your songwriting?
Snow: The
storm and the calm. I try to embrace the chaos of the live analog recording and
for me the ambient side just sits perfectly as a natural balance. I can't have
one without the other.
6. What
role does place—especially Scotland’s landscapes or atmosphere—play in shaping
the mood of MSLi 69?
Snow:
'tree' was recorded both at home in Scotland and in Norway. The nature of both
countries is incredible and of course it influences me greatly. This reminds me
of the film 'Antichrist' by Lars von Trier. Moments of that film are so
incredibly beautiful, but other parts are so horrific and this is an example of
what the nature of Scotland is like. The combination of true beauty combined
with the potential of true horror.
7. The
vocals on the album are described as spellbinding. Do you treat the voice more
as an instrument or as a narrative tool?
Snow: The
vocals are an outpouring of what's inside of me. They are very strange, full of
multiple meanings and often I am singing parts which you would not realise are
vocals.
8. What
was the most challenging part of bringing tree to life using analog gear and
tape recording?
Snow: The
limitations of the analog equipment I am using are both a curse and the best
thing ever. Obviously, I try to record to a high quality (not too high), but I
actually love the fact that the limitations put on me, force me to make music
in an old school, natural way. Also, I can't fix mistakes or tuning etc...it's
as raw and as real as it gets.
9. Is
there a central theme or emotional thread connecting the tracks on tree?
Snow:
'tree' is about isolation and the darkness both inside myself and in the world
we currently live in.
10. As a
solo musician, how do you maintain creative momentum and push yourself without
external collaborators?
Snow: I
don't need anyone to push me. I wait until the moment is right, then I create.
I've been a musician for so long that it's really forged into my DNA.
11. Black
metal has evolved drastically over the years. Where do you feel MSLi 69 fits
within the current landscape of the genre?
Snow: I'm
not sure it fits anywhere. I'm not sure anyone will like it or get it, but
'tree' is a first step into a new world for me and my creative juices are
flowing.
12. With
tree now released, what direction do you see the next chapter of MSLi 69 taking
sonically or conceptually?
Snow: I
think it's going to get more extreme. I'm actually going to record drums for
the next album (out July 13th 2026), in a few weeks at the very end of this
year (2025) and I think what's coming will be more tracks featuring drums, more
riffage, but also more extreme ambient soundscapes. I really like the
juxtaposition of the chaos with the calm.
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