Through the Ruins of Sound: The Drofnosura Interview

What does Ritual of Split Tongues represent for Drofnosura, and how does it push the band’s sound into darker territory?

'Ritual of Split Tongue' is our transmutation; growth and decay, order to chaos, the merging of opposites into one. It represents an evolution of us as individuals and as a collective.

Where was the album recorded, and who handled production for this Transcending Obscurity release?

Guitars, drums, and bass for “Ritual of Split Tongues” were recorded in Kingston, ON, with Greg Dawson at BWC Studios (he has worked with Thantifaxath, Panzerfaust, etc.). The vocals, synthesizers, and some percussion were done at our respective home studios. The album was mastered by Brad Boatright of Audiosiege Mastering (who has worked with Yob, Churchburn, etc.).

How did the recording environment influence the atmosphere and performances captured on the album?

This was our first time in an actual studio, so nerves were a bit heightened. However, the relaxed, casual atmosphere of Greg's studio made it easier for us to feel comfortable and focused, allowing us to play to our standards. Greg’s years of experience and technical expertise enabled him to capture our performances with the clarity and character our music demands.

What part of the recording process had the biggest impact on how the album ultimately took shape?

Every part of the recording process for this record was important for the overall experience of what we captured. However, being able to take our time while recording vocals and synths in our home studios allowed us to push ourselves and experiment in ways we may not have been able to under the time crunch of someone else’s studio. Overall, this allowed us to develop more in-depth soundscapes and layering for each track to expand the feelings and atmospheres explored throughout the record.

Did any unexpected sounds, techniques, or studio experiments end up becoming key elements of the record?

There were a couple of experiments and ideas in and out of the studio that found their place on the record. One was the end of “The Well of Seven Heads”. We initially had a different outro, but once the creative juices got flowing in the studio, we wanted to make the ending more crushing and claustrophobic. With creative use of reverbs and harmonies, we were able to sculpt an ascending wall of dissonant texture that gives the final section of the track a disorienting sense of dread.

Secondly, the solo at the end of the title track was performed by Luke Roberts, an outstanding guitarist with a unique sound and approach. His playing perfectly matched the spirit of the song, capturing the unhinged, chaotic feeling of summoning something beyond our perception.

Lastly, the chanting at the end of the title track and throughout "ἐγείρω" was a field recording W.L.F. and his wife captured on their trip to Iceland a few months prior to our studio sessions. There was no intention to use this for the album; they were just exploring an old fish oil refinery and recorded some audio as the resonance was haunting. The eeriness in the audio was a perfect pairing for the track, so we cut and sampled parts of it into the song.

Are there influences from childhood—music, films, stories, or early fascinations—that still shape the band’s approach to darker themes today?

W.L.F. - One of my earliest childhood memories is the 'Fantasia' film. I distinctly recall being fascinated to a degree of obsession with the closing segment, 'Night on Bald Mountain'. The fusion of dark macabre imagery and sinister, moody classical music absolutely set the groundwork for my still-standing interest in the darker side of art.

D.A.S. - When I was a lot younger, I saw the original 'Black Christmas' from 1974. This movie scared the hell out of me and lodged into my brain from that point on. It has palpable tension, a raw and terrifying atmosphere, dissonant and discordant piano breaks, as well as absolutely unhinged phone calls that sound demonic, creepy, and downright insane. This film definitely triggered my interest in dark art and inspired me to pursue creative projects that might elicit a comparable visceral response.

Is there a track on Ritual of Split Tongues that evolved dramatically from its earliest idea once the band entered the studio?

The track that we feel evolved the most from its earliest idea, while we were in the studio, was the title track. When we were listening back to the drum takes with Greg, we accidentally stumbled upon a better way to transition from a more ambient passage into a heavier section, which resulted in a bigger impact. Additionally, in our home studios, we experimented further with different vocal approaches and effects, as well as synthesized textures to push this track to its most tormented form.

What is the origin of the name “Drofnosura,” and how does it reflect the band’s identity or worldview?

Generally speaking, we felt that most of the great band names had already been taken, which pushed us to get more creative and think outside the box. We created a name that isn’t tied to any fixed meaning; in this way, we become its definition. That freedom allowed us to build our own universe, untethered from preconceived notions. It also invites listeners to enter our universe with curiosity and without expectations of what we should or shouldn’t be.

How has working with Transcending Obscurity influenced the rollout, presentation, or vision of this album?

Working with Transcending Obscurity Records gave us the opportunity to have more visibility in the global metal scene because of their reputation for quality. Furthermore, because of this visibility, it has allowed us to print our album on more physical formats with a high-quality presentation.

We are deeply grateful to Transcending Obscurity for believing enough in our work to take a chance on us.

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