{"id":820647,"date":"2026-04-23T11:17:42","date_gmt":"2026-04-23T09:17:42","guid":{"rendered":"https:\/\/elgarajedefrank.es\/?p=820647"},"modified":"2026-04-23T11:17:42","modified_gmt":"2026-04-23T09:17:42","slug":"interview-nightcrawler","status":"publish","type":"post","link":"https:\/\/elgarajedefrank.es\/en\/interview-nightcrawler\/","title":{"rendered":"Interview: Nightcrawler"},"content":{"rendered":"
We first discovered Nightcrawler as one of the pioneers of synthwave\u2014though he\u2019s one of the few artists who has managed to go beyond the label. Like Marvel\u2019s character, this Catalan producer slips<\/span> effortlessly through time and space, shifting styles while maintaining his unmistakable sonic fingerprint<\/span>. Since 2011, he’s dragged us through neon-soaked journeys into the most unsettling depths of the 80s and thrust us into hauntingly vivid visions of dystopian<\/span> futures. He\u2019s accompanied us as we drove along endless highways under starless skies<\/span>, and he\u2019s also shown us the darkest corners of his inner self. These past months have seen him paying homage to cult masterpieces<\/span> like Scarface and Blade Runner, while also shaping the present through his incredible collaboration with New Born Ghost. Today, he opens up about the road that brought him here.<\/span><\/span><\/strong><\/div>\n

\"\"<\/strong>\u2014 You chose the name Nightcrawler because, for a while, you were working a lot at night as graphic designer. Is Nightcrawler\u2019s music something you also like to make when the sun goes down?<\/strong><\/span><\/p>\n

\n

\u2014 Yes, but too many times at night I\u2019m tired, so I bring that moment closer by closing the blinds and turning on the red studio lights. when I produce, I like being in the dark, with dim lighting.<\/span><\/p>\n

\u2014 In the \u201990s, you were part of a hip-hop crew\u2014something you revisited slightly in the track \u201cSavage.\u201d Can you tell us more about those early steps and how they may have influenced your later career?<\/strong><\/span><\/p>\n

\u2014 It was a great period and I keep great memories of it. Everything was very organic. In fact, I can tell you an anecdote: now, when people release music, what they want is for it to have as much diffusion as possible, to have maximum visibility and reach people. Back in my hip-hop days, with the demos, it was the opposite. When someone would give you a demo, they\u2019d tell you, \u201cDon\u2019t pass this on to anyone.\u201d It was like it wasn\u2019t for everyone, and having it became something very exclusive. Often you had to earn it just to get it passed around. If you didn\u2019t stand out in the scene in some way, you weren\u2019t really \u201centitled\u201d to it. Later, everything became a bit more commercial, and demos were sold in specialized stores alongside graffiti fanzines, etc., but I remember that for a while it was like that.<\/span><\/p>\n

\u2014 After a few years away from music, in 2011 you decide to return to composing, this time moving into electronics. What motivated you to make synthwave?<\/strong><\/span><\/p>\n

\u2014 Seeing a genre start to emerge that connected with all the imaginative world inside a kid\u2019s mind\u2014movies, 80s TV shows, and all that. It was incredible\u2014that\u2019s what motivated me!<\/span><\/p>\n

\u2014 Your music is inspired by movie soundtracks that marked your childhood, like Robocop<\/em> or Escape from L.A.<\/em> Did you fall for the music the first time you watched those films, or is it something you\u2019ve rediscovered over time?<\/strong><\/span><\/p>\n<\/div>\n

\n

\u2014 Yes, of course. I always loved music, but I never imagined that one day I would be making this kind of music. It\u2019s just the way life turns and surprises you.<\/span><\/p>\n

\u2014 John Carpenter is without doubt a very clear influence in your music. Don\u2019t you think he should be recognized as much as a musician as a director?<\/strong><\/span><\/p>\n

\u2014 Well, I think he already is. In fact, I saw him live at the Primavera Sound festival.<\/span><\/p>\n

\u2014 Continuing this line of thought: do you see all this retrowave culture as only nostalgia, or do you think there\u2019s something more behind the fascination with the \u201980s?<\/strong><\/span><\/p>\n

\u2014 It\u2019s nostalgia and evolution. Lots of today\u2019s bands have influences from the \u201980s.<\/span><\/p>\n

\u2014 Your first EP, Bassferatu<\/em>, is from 2012. How do you see it with the perspective of time?<\/strong><\/span><\/p>\n

\u2014 Now it sounds like a demo\u2026 ha, ha, it was still very raw.<\/span><\/p>\n

\u2014 Your next two EPs, Knight Rider<\/em> and Road Blaster<\/em>, remind me\u2014at least visually\u2014of Kavinsky. For many of us who discovered the scene thanks to his music and the Drive<\/em> soundtrack, that\u2019s the image we associate with synthwave. How do you feel about the moment when synthwave starts becoming fashionable?<\/strong><\/span><\/p>\n

\u2014 Right now, at the point I\u2019m in, that era feels more distant, because I\u2019m focused on a different kind of electronics. But I have very good memories of my time in synthwave. It was something incredible that probably won\u2019t happen again. Being a pioneer in a genre\u2014being born as a producer in a genre that\u2019s also just being born\u2014those are things you can\u2019t plan. They just happen. And that\u2019s how it was. It\u2019s something I\u2019ll always be very proud of as an artist.<\/span><\/p>\n

\u2014 Metropolis<\/em>, your first full-length, is like a science-fiction movie soundtrack. How do you develop the concepts behind your records?<\/strong><\/span><\/p>\n

\u2014 I imagine they\u2019re movies and the songs are their soundtracks : )<\/span><\/p>\n

\u2014 From Strange Shadows<\/em> onward, you\u2019ve also been inspired by Italian horror\/suspense cinema. Do you like soundtracks by Goblin or Fabio Frizzi? What feelings do you want to inspire in the listener with this material?<\/strong><\/span><\/p>\n

\u2014 I love them! The basic feeling I want to convey is the atmosphere of dark horror and an immersive audio experience.<\/span><\/p>\n

\u2014 Beware Of The Humans<\/em>, your second album\u2014couldn\u2019t be a more fitting title for the moment we\u2019re living in. Do you think there\u2019s room for optimism in the world we\"\" live in? And in your music?<\/strong><\/span><\/p>\n

\u2014 The world is complicated right now on many levels\u2026 wars, inflation, technology vs. humanity\u2026 it\u2019s starting to feel a bit dystopian even, so I wouldn\u2019t rule out an apocalypse. As you can see, I don\u2019t really look at it from a very optimistic prism, haha.<\/span><\/p>\n

\u2014 With this album, you start broadening your influences toward darkwave and dark ambient, and you say your music is itinerant and can evolve. After so many releases and years working as Nightcrawler, how do you make sure you don\u2019t repeat yourself?<\/strong><\/span><\/p>\n

\u2014 In artistic disciplines, the usual thing is to have a style, choose a path, and try to be the best in your field\u2014but that bores me. I can\u2019t imagine making synthwave all the time\u2026 or always darkwave, etc. So I like to play with all of them. That said, there\u2019s always a common denominator: my music is dark\u2014and I don\u2019t think that will ever change. I know that can be complicated for branding, because maybe it\u2019s harder to follow an artist who keeps evolving, but to hell with branding\u2026 I can\u2019t conceive making music unless I\u2019m doing what I feel like in each moment.<\/span><\/p>\n

\u2014 After recording a track with Maxthor, titled \u201cVanished,\u201d you begin including more compositions leaning toward a darker pop or darkwave direction in your records. What kind of singers do you like for your tracks? Is there something common among them?<\/strong><\/span><\/p>\n

\u2014 They must have dark or melancholic voices.<\/span><\/p>\n

\u2014 Visionary<\/em>, in your words, is focused on your own life and it felt like personal catharsis\u2014like therapy. Does music help you know yourself better?<\/strong><\/span><\/p>\n

\u2014 Music is basically my best psychologist and therapy\u2026 the dopamine of finishing a track, feeling proud of it, and then hearing it on loop\u2014those are among my best therapies, along with sport, of course. It\u2019s a clich\u00e9, but exercising has been helping me a lot, and I recommend it to everyone.<\/span><\/p>\n

\u2014 You say you prefer dark music to cheerful music. What have you been listening to lately that fits into that category?<\/strong><\/span><\/p>\n

\u2014 Belief Defect.<\/span><\/strong><\/p>\n

\u2014 As for the directors you like, you\u2019ve mentioned among others Gaspar No\u00e9 or David Lynch. Is there a modern\/new director you\u2019d love to work with?<\/strong><\/span><\/p>\n

\u2014 Yes, Panos Cosmatos.<\/span><\/p>\n

\u2014 Malevolent Forces<\/em>, your latest work to date, is the most physical and visceral\u2014where tension feels most palpable. How do you manage to add that touch of tension that characterizes your music?<\/strong><\/span><\/p>\n

\u2014 It just comes out. It\u2019s innate. I don\u2019t have any specific formula.<\/span><\/p>\n

\u2014 Resident Nightmares<\/em> is about your nightmares. What scares Nightcrawler?<\/strong><\/span><\/p>\n

\u2014 The tax declaration\u2026 or seeing myself alone in the middle of the sea, not knowing what\u2019s underneath\u2026 among many other things\u2026<\/span><\/p>\n

\u2014 We always like to ask questions about the setup\/equipment: what musical tools have you used on this latest EP?<\/strong><\/span><\/p>\n

\u2014 Basically all VSTs: the Zebra2 synths, Diva, DS Thorn, and the Hive.<\/span><\/p>\n

\u2014 Last year you released a remix EP of Cold Transmission artists. How did the idea come about?<\/strong><\/span><\/p>\n

\u2014 They asked me for a remix for one of their artists, and I told them: hey, what if we make an EP and I do several? I\u2019d been thinking about this idea for a while, and they said yes\u2026 it was one of those blessed coincidences that they reached out and I also had it in mind.<\/span><\/p>\n

\"\"\u2014 What can you tell us about your contribution to the documentary THE RISE OF THE SYNTHS<\/em>?<\/strong><\/span><\/p>\n

\u2014 Being part of a documentary among the pioneers of the genre is huge, and on top of that it\u2019s narrated by John Carpenter\u2014something that feels like history. Maybe one day my grandchildren will see it and say: \u201cLook, grandpa was involved in that whole scene.\u201d<\/span><\/p>\n

\u2014 How was composing the soundtrack for the arcade J\u00e4germeister Galaxy Hunter<\/em>?<\/strong><\/span><\/p>\n

\u2014 I did it the way I always do, but this time the world-building and the script behind the project were given to me.<\/span><\/p>\n

\u2014 You\u2019ve had a long relationship with J\u00e4germusic. How have they helped promote your music?<\/strong><\/span><\/p>\n

\u2014 They were key. I hadn\u2019t planned to do live shows as Nightcrawler<\/strong>, but that\u2019s exactly what they were looking for: building a roster of artists to play at major festivals on the stage they set up. So if I didn\u2019t have a live act, I couldn\u2019t be there. They convinced me, and my second live performance was on a huge stage at the SOS 4.1 festival in Murcia. I started \u201cwith the big guys,\u201d as a very underground and emerging artist\u2026 it was incredible.<\/span><\/p>\n

\u2014 Related to this, you\u2019ve played on the J\u00e4ger stage at SOS, at Primavera Sound, and at Ombra. Do you feel better in festivals where they already know your musical style?<\/strong><\/span><\/p>\n

\u2014 Yes, of course. It\u2019s always better when the audience is from your niche \/ musical scene.<\/span><\/p>\n

\u2014 Since Stranger Things was important for popularizing synthwave, did you like the series ending?<\/strong><\/span><\/p>\n

\u2014 I watched the first two seasons and loved them. But in the third, I started disconnecting\u2014it felt like too much at once, and honestly it\u2019s a series I haven\u2019t finished.<\/span><\/p>\n

\u2014 We want to ask you about two of your most recent collaborations: \u201cGhostless\u201d with Spammerheads and \u201cOscuridad Sint\u00e9tica\u201d with Dark Vektor. What can you tell us about them?<\/strong><\/span><\/p>\n

\u2014 Collaborating with artists is something I love\u2014not just because of creative synergies, but because many times a collaboration also leads to a great friendship.<\/span><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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