A Beautiful and Engulfing Release from Abstract Vortex
- BuzzSlayers
- 23 hours ago
- 7 min read
An album release from Abstract Vortex delivers a very unique approach to building soundscapes using elemental and electronic textures that grow, swell, sway, and wash you away all at the same time. The record has a way of letting you get engulfed in everything that's happening and as you do, you become surrounded by this atmosphere that each different song delivers.
The MMXX does give off quite a vast and spacious atmosphere for a lot of the time, but it also brings in such lush electronic instrumentation as well that at times, can be minimalist, while others can grow into something robust.
The way the record starts slowly pulls you in and gives you the essence of what you might expect in terms of that expansive and vastness I mentioned before but the first group of songs has a growth of their own when you put them together so right off the bat, I can tell that this is the kind of album that you listen to from beginning to end so that you can really experience it for what it's worth.
The record has layers of gorgeous texture and sound that bring moods with them so as you listen to songs and pieces unfold, you can start to sense their moods.
There were multiple times that this felt like a concept record and unique ways that songs interconnect with each other which again, is another reason to listen to this album in full.
This Record is a full-on experience, and it's meant to be heard from beginning to end. The soundscapes are deepening at times, haunting others, bright at times, and bring those electronic elements that create beats, and different approaches. The coolest part about it is that when you do listen to the full album, you need to reacclimate yourself back to reality again when it's over.
This is an escape. It pulls you away from wherever you are or whatever you're doing, and it puts you in this other world. So, when it's all over, you have to snap yourself out of it.
Each individual track has its own mood as I mentioned earlier. It's something that very few records deliver and this is something that blends and bends genres at free will.
While certain tracks come with a thick and cinematic backbone, others have that EDM, or electronic style beat with synths that glimmer and shine bringing a certain kind of brightness and effect to everything.
This is an album that has waves of intensity as it unfolds, and to me, it was incredibly beautiful simply because of all the tonalities that come together throughout its course.
It seems to me like the tones of the instruments, keys, synths, beats, and everything else involved, is really what helped drive this record to be so different.
It gives me the sense that there was a lot of attention to detail throughout the creation of this record but also that there is a deeper meaning behind it. There is not just mood, but a story that lurks just beneath the surface of the songs.
To me everything had this beautiful and sort of natural forward-moving flow that let the songs connect with each other but also let you float right alongside some of them.
I definitely got wrapped up in a lot of these soundscapes and loved every second of it.
It was a deepening record that makes you think, can cause memories of your own to pop into your head at random, and again, lets you escape into it in a certain way.
It was something you don't come across often so when you do listen to this record do it with headphones on because it's really the best way to soak in all of those layers and textures that are coming in and out of the record.
It also lets you connect and attach yourself to the moods that each one comes with.
With the release of such a well-woven and beautiful record we had a chat with Abstract Vortex to talk about where this album actually came from and what might be coming next.
Here's what happened.
Buzz Slayers: Where did this record come from?
It originated from a series of songs written at the end of 2019, most of which were created during the COVID-19 lockdown. At that time, I was deeply into ambient music, experimental sounds, and synthesizers, which shaped the overall atmosphere of the album.
Buzz Slayers: How do you record your stuff? What sort of setup do you use?
I used several apps on an iPad to record most of the MMXX songs. In general, my setup is a hybrid one, combining Logic Pro, synthesizers, drum machines, loopers, and guitar effects pedals. Most ideas start from a single beat, and from there, I layer different elements—chords, bass lines, vocals, melodies, and various textures. I’ve also created songs using mobile apps. Honestly, anything can be turned into a sound source.
Buzz Slayers: I’m hearing several styles on the album. Can you give me some of your biggest musical influences?
The biggest influence on Abstract Vortex is Ulver, particularly Perdition City, Lyckantropen Themes, and 1993–2003: 1st Decade in the Machines. Other influences include Zavoloka, Apoptygma Berzerk, and Ryoji Ikeda.
Additionally, I’d like to highlight the music of Diego Yañez Aguilera and La Bestia de Gevaudan, which have been hugely influential on me, as well as Vermillion Project, an amazing ambient artist from Venezuela/Argentina.
Beyond that, I draw inspiration from artists like Ryūichi Sakamoto, Brian Eno, The Haxan Cloak, Wojciech Golczewski, and Statiqbloom, as well as the cyberpunk aesthetics of The Wachowskis (The Matrix, etc.).
Buzz Slayers: Are you inspired or influenced by film at all?
Absolutely. Films, animé, and TV shows are a huge source of inspiration for me. Some key influences include Akira, Ghost in the Shell, Mr. Robot, Six Feet Under, and The Matrix.
The last song I released was heavily influenced by sci-fi films and series like Westworld, Better Than Us, and Blade Runner.
Buzz Slayers: Did this release take you long to put together?
Not really. After working on several tracks, I realized I had enough material for an album. Initially, MMXX was divided into two chapters (both available on my Bandcamp). The first three songs function almost as a single long track, while Chapter II consists of more distinct pieces.
It took me around three months to decide on officially releasing the album.
Buzz Slayers: Do you do any sort of live performances?
Yes, I perform live sets using only hardware—synthesizers, drum machines, loopers, and guitar effects. I also create custom visuals for each show to give them a unique personality.
Each live set is different. For example, when I opened for THISQUIETARMY in Santiago, I prepared a more ambient-oriented performance. In contrast, I’ve also played more industrial and experimental electronic sets.
Buzz Slayers: I love the electronic elements on the record. Did you take time to find the right sounds and tones for each track? What was that process like?
Finding the right sounds was definitely a process, but it’s a crucial part of my creative approach. It’s similar to cooking—you have to take time to find the right ingredients and seasoning.
Some elements I incorporated were field recordings and movie dialogues. In the song Humano, you can even hear my cat Polito’s purring—he passed away a couple of years after the album was released, so that moment holds a lot of sentimental value.
Buzz Slayers: How did this all start for you as a producer and artist?
It started out of necessity. As a musician, I needed to create during the pandemic, when playing live or collaborating with other musicians wasn’t possible. I also wanted to explore different musical styles and instruments.
I don’t consider myself a producer in the traditional sense, but I had to learn the basics of recording and mixing to make my music happen. Everything was DIY, though I was lucky to have the right contacts for guidance.
Buzz Slayers: Do you write for film soundtracks or other artists?
Not yet, but I’d love to. It would be a dream to have one of MMXX’s tracks featured in a film, TV show, or short film.
As for writing music for other artists, that would be an interesting challenge—something I haven’t really considered before but would be open to.
Buzz Slayers: Were any of these collaborations? If not, have you collaborated with others before?
Not on MMXX, but in August 2024, I collaborated with Chilean experimental musician Thanatoloop on the track Disfraz Mental. He handled the vocals, while I composed the music.
This track was part of the Resiste Palestina compilation, released by Templo Sagital Records. The project is an act of protest against the genocide in Gaza, condemning the global forces enabling these atrocities. Musicians from all over the world came together to contribute a diverse range of genres—electronic, post-punk, hardcore, and experimental—creating a powerful sonic statement of resistance.
Buzz Slayers: Now that the record is out, what can we expect next? Are you working on anything right now?
I plan to continue writing and releasing music. My next material will likely shift toward a more industrial and EBM-inspired sound while still maintaining an experimental approach.
I love ambient music, but I also enjoy exploring different sonic textures and styles. Sticking to one genre has always been difficult for me because there’s so much room for experimentation.
I already have a few finished tracks that I’m planning to release in 2025.
Buzz Slayers: Before we go, what would you like to express to fans of the music?
First, I want to thank everyone who listens to my music—especially those who attend live shows and support underground and experimental music. You know who you are!
I also want to give a special thanks to my family, my wife, and my friends, who always support my crazy ideas.
Lastly, I’d like to highlight the incredible work being done by FeRal Collective in Chile. They focus on the digital and live dissemination of diverse sonic explorations, with an emphasis on post-metal, alternative metal, and experimental music. FeRal serves as a creative space for boundary-pushing artists who seek to expand the limits of heavy and atmospheric music. I’ve had the pleasure of participating in some of their festivals, and their work deserves recognition.
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