Interview withGil OS (music, vocals) from Amorphous
Gil OS, the creative force behind AMORPHOUS, has consistently pushed the boundaries of electronic music, blending elements of EBM, Industrial, and Techno with a unique flair that has captivated audiences worldwide. His latest project, ‘Skepticism’, showcases his ability to tackle complex themes such as societal decay, disillusionment, and the influence of technology while maintaining the distinctive AMORPHOUS sound.
In this interview, Gil OS delves into the creative process behind the album, exploring how he balances innovation with his signature style, and how his personal experiences and observations of the modern world influence his music. In our interview, Gil OS discusses the inspiration behind ‘Skepticism’, highlighting his approach to integrating heavy thematic content with fresh, dynamic soundscapes. He shares insights into the challenges of balancing the harshness of societal critique with reflective moments, the influence of technology on both society and his music, and the experimentation with new sounds and techniques that shaped the album. Additionally, Gil reflects on how his personal experiences, including his battle with bipolar disorder, inform his creative process and the philosophical underpinnings of his work. About ‘Skepticism’ and more.
Reflections of Darkness [RoD]: First of all, I want to say how much I love the versatility and dynamism of ‘Skepticism’. The album is incredibly rich with heavy thematic content, tackling complex subjects while maintaining such a fresh and individual sound. It’s one of those rare albums where it’s difficult to pick just one favorite track because each song brings something unique to the table. Yet, despite its innovation, it still carries that distinctive AMORPHOUS trait that fans have come to appreciate. Could you share a bit about how you approached creating this album, balancing your signature style with such fresh and diverse elements?
Gil OS: Thank you for such a nice comment about the new album. For some years, I decided to move away from the old-school EBM / Industrial music template but also not completely adhere to the new EBM / Techno new school, so I tried my best to balance it, and that was the result.
RoD: This album delves into heavy themes such as societal decay, disillusionment, and the role of technology. What inspired you to tackle these themes, and how did you balance the album’s dark tones with its more reflective moments?
Gil OS: My creative process is based on my current mood and state of mind. I always make all the instrumental tracks first and leave the themes and lyrics for the end. The album is what resulted from the moment I was living in. Sometimes I research a theme to express it in the best way to fit the songs.
RoD: Throughout the album, you explore profound concepts like the influence of technology and societal breakdown. How did you approach integrating these ideas into your music, and what message are you hoping to convey?
Gil OS: Technology has an impact on society, including the potential for society to progress or decline, in both good and bad ways. Our society is shaped by technology, which has both beneficial and harmful consequences. How we use technology decides whether its effects are beneficial or detrimental to us (society).
RoD: The music achieves a seamless blend of harsh, confrontational elements with the mesmerizing magic of synthesizers. How did you strike this balance, and what challenges did you face in creating such a dynamic soundscape?
Gil OS: Experimenting with new sounds (new gear) and listening to old and new projects that I love helped me to make my songs, add the textures, etc.
RoD: The album navigates new sonic landscapes while maintaining a cohesive aesthetic. How did you ensure that your work stayed true to your signature style while also pushing the boundaries of your sound?
Gil OS: I think it is embedded in my subconscious and works like an instinct. Also, my previous projects with psychedelic trance, house, and lounge music gave me some freedom to add techniques that usually are not used in EBM / Dark Electro / Industrial styles.
RoD: The energy throughout the tracks is described as extraordinary. What was the driving force behind the intensity of this project, and how did you channel that energy into your compositions?
Gil OS: I wanted it to be more dynamic and less static, so I pushed into EBM / Techno / Electro sequencer and drum programming. I also did some research about musical scales, and this album was mostly done in Phrygian mode. I found the Phrygian scale resonates well with our ears, especially in clubs, and is great for producing deep, impactful bass notes. This scale, with its dark harmonic structure, works perfectly for creating one-note grooves and intricate melodies.
RoD: Electro dynamics and systematic electronics play a significant role in the sound. How did you incorporate these elements into the album, and were there any specific influences or inspirations that guided your approach?
Gil OS: I have been listening to bands like KONTRAVOID, YEARS OF DENIAL, BROKEN ENGLISH CLUB, CHRIS SHAPE, MAELSTROM, QUAL, SCHWEFELGELB, so I guess they inspired me to add the elements that you mentioned.
RoD: Given the themes of disillusionment and societal decay, do you see this project as a reflection of your personal experiences or observations, or is it more of a broader commentary on the state of the world today?
Gil OS: I would say both. This is the real state of the world we all are living in; we are all part of this karma collective.
RoD: You delve into the interplay between technology and society. How do you view the role of technology in shaping our current world, and how does this perspective influence the music and themes of the album?
Gil OS: Technology has had an increasingly influential impact on the world, and it is now a well-known fact that we shape our tools and then our tools proceed to shape us. It is the growth of the internet that has had the most impressive impact on the world, transforming the way we educate ourselves, inform and entertain us, connect us with others who share our dreams and view of the world, and shape not just where we shop, but what we buy and what we read and write.
RoD: In terms of production, what were some of the key techniques or tools you used to create the distinct sound? Did you experiment with any new equipment or software that helped shape the album’s unique sonic character?
Gil OS: Oh yes, loads of new analog & digital gear, also many new effects and synthesizer plugins. I am a bit addicted to buying and selling gear, and I only keep gear that I make use of, the ones that are essential for my music production and cannot be replaced by virtual software. I love to watch YouTube channels about music production, new techniques, and new gear, it always adds more to my songs and production.
RoD: The title suggests a questioning or doubt about certain aspects of life or society. How does this theme play out in the music, and why did you choose this title?
Gil OS: My bipolar disorder has been in some ways a hindrance and in some ways a benefit. One way in which bipolar disorder has been a bit of both has been its tendency to push me toward skepticism. Our moods and our thoughts are connected both ways, and the instability of moods creates an instability of thoughts. However, instability leads to skepticism for a number of reasons. I’ve both had to fight against this tendency and embrace the aspects of it that are good.
RoD: With such a powerful and thought-provoking project, how do you hope listeners will engage with the themes? Are there particular emotions or reflections you want them to take away after experiencing the album?
Gil OS: This is hard to say, as I have noticed not all listeners are connected and care about themes or lyrics like they did in the past, especially when vocals and lyrics are becoming less important or when distorted and effect-applied vocals only add an extra layer to the instrumental track. So, it is the listener who chooses what experience better fits into their mind, heart, and soul.
RoD: Looking back on the creation process, what are you most proud of, and is there anything you would do differently if you had the chance?
Gil OS: As with all of my previous albums, I had a full list of things to do and that needed to be changed in the creation process. In the end, I decided to delete it and accept what it is and release it, otherwise, you will never be able to say it is done and complete. I saved the list and templates of the good ones to be used on my next songs in the future.
RoD: Now let’s move on to questions about the specific tracks. ‘Emotional Dissonance’ is an intriguing title. How does this track explore the concept of emotional conflict or tension, and what inspired you to delve into this theme?
Gil OS: My childhood traumas, narcissism, and all the things that affected my adult life and things that I am still trying to fix.
RoD: The track ‘Brutalism’ suggests a harsh and uncompromising aesthetic. How does this concept manifest in the music, and what connections do you draw between brutalism as an architectural style and the themes you explore in this song?
Gil OS: I grew up in one of the biggest concrete jungles, a city called Sao Paulo, where most people are living in cages or just surviving. They are not living a natural life; there’s no contact with natural landscapes, no freedom, and no choices - just survive and obey.
RoD: In ‘Algorithm’, you touch on the increasing influence of algorithms in our lives. Can you talk about the inspiration behind this track and how you musically represent the tension between human agency and algorithmic control?
Gil OS: Social media algorithms determine what you see when you use social media, whether you’re on your phone or another device. Also, these algorithms track the content you engage with most to curate a feed you can’t resist. Social media algorithms not only know what you like now, but they predict what you might like in the future.
RoD: ‘Broken Mirror’ evokes imagery of reflection and distortion. How does this track explore themes of identity, perception, or self-image, and what was the creative process behind its development?
Gil OS: This was a way of myself trying to say to myself: Fuck off society, and I do not give a shit about what others think about me, but I am still fighting for this to happen.
RoD: ‘Technology & Control’ is a direct commentary on the relationship between technological advancement and societal control. How do you address these themes in this track, and what message do you hope listeners take away from it?
Gil OS: The title was inspired by ‘1984’ by George Orwell. If you read the book or watch the movie, that’s the message in the track.
RoD: The concept of “Cyber Futurism” suggests a vision of the future dominated by digital technology. How does this track explore the intersection of humanity and technology, and what inspired you to create this sonic representation of the future?
Gil OS: The new generation will have no idea what life was like before the internet and social media, and they will struggle much more to get rid of the virtual attachment.
RoD: ‘Virtual Uprising’ hints at themes of rebellion in a digital or virtual world. Can you elaborate on the story or concept behind this track and how you brought that to life through the music?
Gil OS: This track was inspired by ‘The Virtual Revolution’, an open and collaborative BBC 2 documentary about how the web has transformed our lives.
RoD: ‘In-Vitro Test’ seems to suggest themes of experimentation or artificial creation. How do you explore the ethics or implications of scientific and technological advancements in this track?
Gil OS: The world is being manipulated by companies that create what are known as clones of their own products, sometimes manufactured on the same production line as the original product and then branded and labeled differently, or produced to the same formula by an outsourced manufacturer. Number one is pharmaceutical companies.
RoD: ‘Out Of The Abyss’ has a powerful title that implies emergence from a dark place. How does this track fit into the overall narrative, and what themes or emotions does it convey?
Gil OS: The good feeling of when you go through hard times and a long healing process, and then you finally feel you have won.
RoD: ‘Embrace’ appears to offer a contrast to the more dystopian themes of the album. What does this track represent within the context of the broader work, and how does it contribute to the emotional arc of the project?
Gil OS: Self-therapy and acceptance of things that I cannot change but I can ignore to enhance “happiness”.
RoD: ‘Artificial Selection’ touches on a concept with deep scientific and philosophical implications. How do you approach this theme in the track, and what message or reflection are you offering through the music and lyrics?
Gil OS: The selective breeding that is imposed by an external entity, usually humans, to enhance the frequency of desirable features. Results can be good or bad (or evil!).
RoD: Now that the album has been released, what are your plans for promoting it? Are there any live performances or multimedia projects in the works to complement the themes?
Gil OS: I am doing my best to promote it by myself, but Brexit, family duties, and my ordinary job affect my schedule and cause some limitations on live performances.
RoD: Looking ahead, what are your plans for Amorphous after this release? Are there any new directions or experiments you’re eager to explore in your future work?
Gil OS: It is too early to give directions and make plans. Now it is time to get ready for possible live performances and enjoy the sense of accomplishment and satisfaction of how it turned out. I think I have been lucky enough to experience this in maybe 35% of my work. For the other 65%, I can always see something I will do differently on the next piece, but I still do not know what it will be.
RoD: Thank you for your time!
Gil OS: Thank you so much for the complexity of the questions, and your dedication, passion, and belief in the alternative scene! It was the longest interview I ever had!
Pictures by Karo Kratochwil and Petr Vones
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