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With Malevolent Forces, Nightcrawler dives into a realm where tension becomes both architecture and narrative. The EP unfolds like a pulse that never fully stabilizes — a world of controlled pressure, restrained explosions, and atmospheres that feel on the verge of breaking. Blending industrial techno, ambient horror, and synthwave not as genres but as textures, Nightcrawler shapes a sound that balances aggression with eerie spaciousness, allowing silence to become as expressive as noise. The project reflects both external forces and inner weight: the constant push to move forward despite exhaustion, the anxiety of a rhythm that never slows. Visually charged and deeply cinematic in its construction, Malevolent Forces plays out like a sequence of nocturnal scenes, the kind that evoke mystery, discomfort, and psychological intensity — a universe David Lynch himself could translate effortlessly into image.
Malevolent Forces feels like a study on tension itself. How did you approach translating emotion into structure?
I built the tracks like a pulse that never settles. I let the emotion dictate when something should tighten or collapse, and the structure just followed that instinct. It’s all about keeping the listener slightly on edge.
There’s a fascinating restraint in Acid Rain and Corrupted System. Was that control part of the concept?
Yes. I wanted them to feel contained, like something peligroso que está a punto de desbordarse. That tension only works if you hold back a little.
You’ve blended industrial techno, ambient horror, and synthwave — genres that rarely coexist. How do you balance aggression and atmosphere?
I treat them as textures rather than genres. The aggression pushes forward, the atmosphere opens space, and I just let both breathe without fighting each other.
The title Malevolent Forces suggests an external pressure, but does it also reflect an inner one?
Absolutely. It’s both. There’s the outside noise, but also the internal push that te obliga a avanzar incluso cuando estás agotado.
R.U.S.H. turns social anxiety into rhythm. What was the starting point for that idea?
It came from that feeling of going too fast all the time. I turned that anxiety into patterns repetition, urgency, breathing room that feels too short.
Do you see your work as cinematic, or is that just how others perceive it?
I think it’s both. I don’t force it, but I naturally think in images when I produce. The tracks almost feel like scenes.
How important is silence or space in your compositions?
Essential. Space is where the tension actually lives. Without silence, everything loses impact.
If you could have one filmmaker design visuals for the entire EP, who would it be?
David Lynch. He understands atmosphere, mystery, and discomfort in a way that fits perfectly with this EP.
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