My first encounter with Wanderer’s work was getting lost in the Forest of Orthanc. I have always loved the fantasy genre, which makes it easy for me to fall into his sound creations. Honestly, I was sold at the thought of fungus gnomes. Wanderer is engaged in emotional world building and what he is crafting contains both dark corners and unsettling but beautiful landscapes. When we started to correspond, I discovered that there were more manifestations of his musicality coming into being and I was very pleased. Wanderer is well worth following down paths forgotten and familiar. Please listen as you read our discussion.
CR:
Can you describe Frost Root Records, Stone Ram, and Forest of Orthanc? What was your musical background before you started these projects?
W:
I’ll start with just a little background. To be honest, I can’t remember a time when I wasn’t obsessed with noises and making sounds. Stainless steel mixing bowls were my first instrument. As a young child I went to what you could call a hippie school, highly focused on arts and culture, with Shakespeare plays every year and the like. Anyhow I began with violin and piano around 7 or 8. Shortly after I started playing cello, which became my school instrument and piano lessons after school. I hated it. Around the age of 11 or 12 I discovered the Misfits, Metallica, and Megadeth (via lime wire) - instantly I thought piano and cello were uncool and I was determined to become a punk guitarist. A year later my mother gifted me her classical guitar. I ripped the strings off, strung it left handed and started to play.
The feelings of excitement, intrigue, freedom, confidence, rage, and love all seemed to blend together and the only way I can describe it is like seeing a shapeless object that constantly changes shape and color and texture. In that feeling I found a sense of control, meaning that I could change the shape, touch the texture, and smell the colors of the sounds I was making. They all felt like paints I could capture and share. I have been obsessed with this concept ever since. I was heavily influenced by anything punk or metal, if there was blood or drugs involved I wanted to be part of it. But living in a small town in Colorado there wasn’t an abundance of that, though a few great diy punk venues did exist at the time such as the Feral Book Café in Glenwood Springs, which has a special place in my mind. I started a few small punk and metal bands that went nowhere and well, I always seemed to have a hard time working with others. So I decided I want to just make solo music.
That brings me to Stone Ram, which was once known as Belial’s Bleeding. I have some silly old recordings and maybe even released a song or two circa 2007-09. Fast forwarding to 2018: I was mentally not in a great place, old habits and that old story...living in a sad town in western Colorado known as Montrose. I decided it’s time to get serious: “ just fucking do it” I would say to myself and than I’d wander off and start writing this anger down. Many of the riffs for the Stone Ram album had been bouncing around my head for years.... I had to get them out get them offloaded. The lyrics had not been written, but I felt that I had some things from my past, so maybe I could finally articulate some of the experiences I’ve had.
Forest of Orthanc has been a concept in my mind ever since I read the Hobbit in 2008. I knew that I wanted it to have a natural feel and I knew it would involve keys. That was about it. So just this past October I recorded ‘A lonesome walk through Fangorn’ and somehow it just happened on the first go. I sat back and had never ever felt that “ wow it’s done “ feeling. So naturally I had to capture that momentum and record a few more. Something about this Forest Project is so freeing and open ended for me. I think I’ll be chasing this for a while. Although the name refers to Tolkien it serves as an homage. Tolkien’s world opened my mind in a way that I never want it to stop, so of course it has inspired me to begin writing the Forest Books and drawing some maps that eventually I would like to accompany the music. But this is all far in the distance; right now I’m just working on more music.
That leads me to form a small cassette label known as Frost Root Records. It’s just in its beginning stages and the seed shells have only just begun to crack. My goal with FRR is merely to curate and share artists music with the world through the lens of nostalgia and fantasy. This world is filled with so many issues that deserve our full attention. Some are great with numbers and others with people and still others are great with art. All are important, but as one human can we honestly do everything well? I’m not sure, all I know is that if you have a passion for something you absolutely should heed to that call. Doing so has given me a purpose.
CR:
It sounds like you have a form of synesthesia. That is pretty cool, I have strong emotive responses to music and can see the form in my mind, sometimes those converge into a sense of color, but nothing in the way of true synesthesia; my experiences are more of an emotive thought construct. I find it interesting to think about how the concept of the artist is interpreted by others. I don't see the art you are making in the way you describe, but I perceive it through my own filters. I'm colorblind and I've been thinking about that in relation to painting and descriptions for quite awhile. The color red is connected to other things in our society: fire, stop, rage, warmth, love; even though I don't see red in the same way (or sometimes realize that I am looking at red), I have all the cultural associations. You may experience a sound as light yellow, a warm sensation on the back of your neck, and the smell of warm bread while I experience that sound through my own matrix. Both of us may be influenced by cultural associations, maybe in ways we don't even realize. Manipulating all of those sensations can be a joy, though sometimes I get lost in a quagmire during my explorations.
I have a long history of associating with punk and metal lovers who have difficulties working with others. I grew up in a small town myself, which definitely had pros and cons. It is weird having things bottle up creatively, what you said about getting old ideas offloaded is something I can relate to. I think I am still doing that in many ways, at least with my writing. I had a hard time feeling like I was ready to tell some of the stories from my life, that I didn't have the proper perspective and that the timing was off. Music wise, circumstances have caused me to pause my recordings for about a year now and I am going a little stir crazy, but that is different. I'm not carrying around the weight of it like I am with the stories.
I can also relate to being frustrated and have that come out in life choices, in the music I make, in the stuff I listen to. I don't think frustration is misplaced or that art is the wrong place to work with those feelings. A lot of my early music was centered on expressing the pain I was carrying that I wasn't able to get out in any other way. The same thing with a lot of the music I listen to. Even though I am not a huge punk/metal fan, I get the emotions expressed, I understand it and I could appreciate it when I heard it. The craft and emotive value of Stone Ram is there for me, and I have moods every day where listening to it soothes something in me. I'm glad you made it and I look forward to hearing more of it, I am interested to hear what Stone Ram is unburdened by some of the weight.
Forest of Orthanc sounds like a really healthy experience for you and I'm glad to hear it is something you are continuing. I first heard of you through High Mage Productions and I have some similar responses emotionally that I do when I hear their work. Like everyone, I've been through some intense things and fantasy stories pulled me through many of those. Not solely in an escapist way, either, they changed my existence in much the same way you describe the Hobbit as opening you up. There is an element of well constructed narratives, which is especially found in fantasy and science fiction, where the imagination is encouraged to expand and fill in the edges of the world conveyed, both emotionally and intellectually. Instrumental music which I find to be the most engaging does the same sort of thing. I don't find it in all music, but I do find it in Forest of Orthanc. My response to it has nostalgia in it, but also that wistful dreamlike world building, nothing concrete but more like the sense of movement on the edges as I listen. I really like it.
They are related of course, through you. I don't want to imply a binary which doesn't exist, but do you think Forest of Orthanc could have manifested without Stone Ram? The projects certainly seem complimentary.
Do they both exist in the same world(s) and what can you tell me about their contextual settings in your imagination? What do you see surrounding their peripheries?
W:
I feel that Forest of Orthanc actually existed in some way before Stone Ram. More in the ethereal sense that Tolkien created it but I was allowed to imagine it. From that place, maybe it’s own Pangea, other spaces started to reveal themselves. Stone Ram is one of those places. A dark and drudge through horrid mountains and deadly deserts. But heavy music has always intrigued and inspired me. Still, I am unsure if either project would exist without the other.
Frost Root is just a small pine in a vast forest but as it grows I’d like the branches to be exiting and new. Ever seeking and searching for nostalgic lights in the dark caverns of our distracted daily mazes.
CR:
Stone Ram being part of the tapestry of Forest makes perfect sense to me. Could you describe your gear, setup, and recording process for your various projects? What are you playing and how?
W:
Ah yes, gear. I am a creature of necessity and that has always lead me to look for used or unwanted equipment. Though I have a few instruments that were purchased new (and I cherish them).
I’ll start with Stone Ram, for the self titled I used my Washburn X-Pro guitar and a late 90’s model Marshall MG- 15 mini stack and only a boss DS1 pedal. At the time I felt that if I can’t pull off a song with the most basic setup than am I really a goat surviving the elements? I have a few more pedals now and they are basic. But I am starting to branch out into that world (but pedals are pricey).
Into the Forest of Orthanc:
Initially all I had was this big bulky Casio Ct something- that’s what I used on the wandering mage split. But with the digital world being so enticing I absolutely use digital instruments along with analog recordings. Sometimes I set out to do only analog recording to tape. Most of the time it’s the end result that matters, not how you achieved it. So in that sense, I’ll use anything I can get my hands on.
Oh and I forgot to mention, the guitar I’m using now is a Jackson Soloist ( lefty). Sadly my Marshall amp died last fall and I recently got some big monstrosity (2x12 cab) 50whead. I really enjoy playing the Casio SK1 and using reverbs.
And as far as cassette recordings go I’ll use anything I can get that “works”.
CR:
Man, pedals are pricey. I started with a guitar and a cheap amp and the closest thing I had to a pedal was a capo for my guitar. Things... evolved over time. I sold things, I obsessed, I compromised, and now I think I have enough to keep me occupied for a good while. I hear you though, there is something honest about doing without which I liked. I agree about the end result being the point as well, I don't have any ethical or aesthetic qualms about using digital effects.
Can you describe your music making process? Does it vary depending which project you're working on?
W:
Well my “process” is pretty far from that. I think of song when I’m walking, watching movies, or playing chess. Sometimes I’ll hum an idea into my trusty Dictaphone, other times I’ll sit down in front of my computer with nothing but excitement and start recording scratch tracks. Once a melody reveals itself to me than I’m just chasing the dragon. Once a riff or melody forms than it’s like the mad hatter has me bustling away and time disappears. And yes, that is a reference to a fickle mistress. Though it’s been about 10 years since I did that. Now a days I’d say the one constant is that I’m searching for a feeling. Cold, hot, green or umber....I’ll smoke copious amounts of marijuana to get me closer (I rarely drink anymore) and then hit record. Once I have the “backbone “ done that I just start from the top with another instrument and jam over my track. Smoke and repeat.
CR:
That process sounds completely legit to me. I usually improvise layers over one another, so what you're describing is pretty much exactly my own process (aside from the smoking- but I certainly don't judge anyone else's activities in this regard).
I love GWAR. I can see the shirt on your wall. They are ridiculous and I got to see them about twenty years ago. The opening act was vile (intentionally so, of course). The bathroom of the venue had a urinal which was a converted circular sink with the ring around you pushed down with your feet, like you see in shop classes or industrial settings. It wasn't working right and it was overflowing onto the floor of the men's room. The fluid was half an inch deep in the shallow spots. We were in Detroit and the car got stolen, along with our belongings we had locked inside. There were four of us and two of us were covered with gore from the show as we went to the police station to report the theft.
It was memorable.
I was assuming you were playing the drums on the Stone Ram songs, but I wasn't sure. I'm impressed that you're able to lay down these tracks with such precise timing. Do you start with the guitar on these?
Can you tell me about OpA MoteK? There seems to be a story there and I find this to be a charming release, nostalgic and engaging. It is really pretty and you balance having enough space for the listener's imagination to unfold while also having enough sonic depth to pull them into particular emotional head spaces. Also, could you talk about what comfy synth? I ask because it is a relatively new term to me and I bet a lot of people don't know what it is. OpA MoteK is not connected to the world of Stone Ram and Forest of Orthanc, which is why it isn't released as Wanderer, correct?
How did you first encounter and start playing dungeon synth and comfy synth?
W:
Ah yes, the process for Stone Ram is sometimes rigid. I generally start with a riff and build from it. Once I’ve recorded and deleted the song 100 times I feel ready to record it again. I exaggerate, but in reality I usually delete the song a bunch before I actually commit to it. Than come the drums.... an arduous sweaty rage filled display of adhd and major depressive episodes. I taught myself to play drums so I don’t consider my drumming to be great. To be honest, I always saw Stone Ram as a full band where I just scream. But loneliness becomes necessary and Stone Ram is its own thing now. Bass usually just flows and gets recorded on the first few takes..... than it’s into my messy notebooks. I snag sentences from old writings rearranged. Than I write more. I absolutely love doing vocals and seeing how far I can push a scream before passing out.
OpA MoteK is very personal to me, it is meant to be a place in time before we all got distracted by bills and the things that happen to us daily. It’s a place outside of the Wandering world. Maybe it’s even more rooted in reality than my other works. It’s me paying homage to my grandparents who survived the Holocaust as Jews in Germany. How they survived was not spoken of much. He was a quiet man with a loud mind. He’d say if you can play chess you will always find a way in life.
That brings me to “comfy synth”: I don’t know a thing about it other than the name. I like feeling comfy and some of the music in the genre does just that for me. It’s a way for me to just hit record without worrying about who’s going to notice if this was recorded correctly or if the song even has a structure. You get to leave all that at the door and just try to capture a feeling. Capture a moment or idea. Just for the pure sake of capturing it. Whether there is a “fan base” I don’t really care. I am Wanderer, I make music. I am also at times J.W. Altenbernd. And sometimes a few more.
CR:
Well good, that is exactly what I thought about comfy synth as well. I am really into the idea of art without restrictions, without genre being a focus, or money or how the art is going to be interpreted. It has an authenticity to it.
Thanks for sharing more about the process of Stone Ram and the origins of OpA Motek. Speaking of authenticity, your music has that, in spades.
Can you tell me about the improvised sessions you have been posting recently? I've really enjoyed them.
Are you still working on a storybook and maps or Altengrad, which contains Stone Ram and Forest of Orthanc? Could you tell me about that part of your project?
Do you have any concrete ideas of where your art is going in the future?
Are there any artists you think might be deserving of a shout out, that people who like your work might be interested in looking up?
Can you tell me about the album artwork on your projects?
W:
Regarding the improvs, I’m certainly going to make more of them but I’m searching my mind as to “where” they belong. Possibly just backing sounds for some movies (wink, wink).
The book of Altengrad: this is in the preliminary stages as I have rough ideas and maps sketched out, but I’m not sure when this will be concrete. I’m considering releasing it in small stages. Wanderer, Stone Ram, and Forest of Orthanc all take place or rather exist in Altengrad. While Orthanc is a direct Tolkien reference, it is his writings that inspired my own fantasies of lands not spoken about by JRR. Tolkien.
Mentally, I am very excited about the future of all my projects, though in my mind it’s an abstract jumbled mess. In a way I feel obliged to create or rather capture the ideas as they appear in fear of never finding them again in my messy brain. The future is something I ponder often, though it can be exciting, I don’t like to plan too far ahead, it gives me anxiety. I just know that Stone Ram and Forest of Orthanc have just begun their journeys and Wanderer is to meander this plane of existence until he can no longer lift his limbs.
As far as the album art goes. Certain images hit me and I immediately love them. How have they been around for so long and so few eyes have seen them? It excites me to find an old artist such as Durand and immerse myself in the image.... all of the sudden new music starts tingling in my fingertips and whoosh, before I know it, something new has appeared by experiencing something very old.
First and foremost I would like to thank High Mage for their creativity, tenacity & the fact that they are great people to work with. https://highmagetapes.com
I’d also like to thank all those who listen to my music, it blows my mind that I have sent tapes to Australia, Canada, Germany, Croatia, and of course my listeners here in the states! All of you have motivated, inspired or enlightened me in some way, and that really does help.
I’d like to mention Weregnome records for their generous knowledge and willingness to share ideas.
https://weregnomerecords.bandcamp.com
I’d also like to thank Substandard Alien for reviewing the Forgotten Tongue Album and always being on the lookout for neat new artists. https://substandardalien.com/
I’d like the thank Evergreen from Fogweaver for much inspiration, and for always being willing to chat music. https://thefogweaver.bandcamp.com/
Harry Pedigo, what a great guy, and a great musician who is looking to melt genres and make music that has something unique in it which is seldom seen today. https://harrypedigomusic.bandcamp.com/
Lastly I’d like to thank Terry Pope, he was the first person to start buying my tapes and I honestly think it gave me just the push I needed to start Frost Root Records.
CR:
When people ask you about your music, is there something they are missing, or you wish they understood?
W:
I think that I just want the listening experience to in some way fantastic. I want the music to conjure imagery in the mind of the listener, I want to take them out of this place, even if it just be for a few moments. I want to share my daydreams and nightmares.
Since talking with Wanderer, he is featured in a split release as OpA Motek with Kertasníkir Töframaður. It is a delight and I highly recommend letting yourself get lost in it. Follow the link below with the picture of the fellow stuck in the honey pot.
At this point, I am certain that I’m going to follow my curiosity further down into the realms of comfy and dungeon synth and all their various offshoots. This conversation has helped me get closer to understanding what it is about this style of music which is capturing my attention. I am not sure I am ready to articulate or quantify what that is and maybe I don’t even want to do so. You can over think such things. I can tell you I like how genuine this music is, how much I appreciate the textures these artists are using to develop emotions commercially driven artists tend to neglect. People making music that their hearts feel called to express is always a good thing!
Pay attention to Wanderer. The more of himself he uncovers as he moves about, the more he chases those emotions, the better off I think we are. I want to thank him for taking the time to collaborate with me to share who he is and why he creates.
Follow the many links on this page to Bandcamp; Frost Root Records is Wanderer’s label. You can support him by buying his work in digital or cassette forms and by sharing his music with others.
Follow his projects on Instagram:
@frostrootrecords
@forest_of_orthanc
@Stone_ram_Official
@opamotek
Thank you so much for reading and listening!