Interview: Torchlight

Image from Torchlight

Hailing from the ancient lands of Italia, Torchlight is a dungeon synth artist with a fairly large catalog of music, as well as a rich embrace of Medieval-inspired melodies. As you will learn further in the interview, the spiritual aspects of life also permeate the artist’s music, inspiring the atmosphere and composition.

I’ve never been to Italy, but it’s impossible to deny the archaic and historic significance of the country in the story of humankind. The richness of both humanistic history and spiritual history lives on, clearly an inspiration on Torchlight’s music. It would be hard to live in such a place without it changing one’s perspective on life into a more intellectual and spiritual worldview.

Blacforje is pleased to present you with this interview with the artist behind Torchlight. I hope you enjoy it!

Thanks so much for joining Blacforje for an interview! I love your music, so it’s an honor to connect with you!

You’re based in Salerno, Italy. Correct?

Yes! The area of Italy where I live is permeated with uncontaminated nature, majestic castles, ancient churches, and evocative shrines. Every small town harbors mysterious stories, passed down through time, immersed in ancient popular traditions and art. This place stands out for the fusion of religiosity and art, magic and philosophy, creating a very stimulating atmosphere for me.

Your first album, Realms of Oblivion, was released in 2018. After 6 years with the Torchlight project, how do you feel the project has grown and evolved?

Yes, it's been quite some time since the release of ROO. As I repeat in every interview, the unexpected success of this album is due to the fact that it was composed in about a month, with melodies swirling in my head during that period. Therefore, Torchlight is a project born "without pretensions" after discovering the dungeon synth genre. It was created more as an outlet for my creativity and my love for the ancient world, fantasy, nature, and mystery in all its forms. After the success of the first album, which could be described as a "miscellany" without a common thread among the tracks, I decided to pay more attention to both musical and thematic details, composing conceptual works with an overarching story that ties each song together, adopting a more cinematic and adventurous style.

Beyond everything, Torchlight evolves with each album because each new work represents another building block of its essence. Through them, and through a journey marked by discernment, setbacks, and restarts, the project has found its true identity. I believe that the albums that best represent the growth and evolution of Torchlight, or rather the path that suits it best, are The Long Quest and Woods of Spellbound Ruins. Not just for the themes, but also for the use of instruments. Originally a rock and metal musician, I'm not a big fan of the dry sound of digital. In fact, through the use of reverbs and feedback, I try to give my albums an analog feel, as if everything were played live in some forest or other natural places, like a symphony orchestra accompanying the wanderer with a torch in their mysterious explorations and getting dirty with him. Furthermore, I've realized that the "minimal" style doesn't quite fit Torchlight, as much as I might strive to be simple both musically and thematically, complexity takes the lead. This also represents how I approach life in all its nuances. In conclusion, I could say that from the beginning to today, the project has certainly become more complex and complete, both thematically and musically (and symphonic).

Your most recent album is titled The Fallen Leaves Tell A Story…, which was fantastic! What inspired that record and the themes of Medieval atmosphere?

My latest album is a tribute to the video game Elden Ring. Despite not being a fervent enthusiast of either tabletop or virtual games, exploring this title led me to rediscover in its open-world settings the atmospheres, stories, and dynamics that I had long sought to evoke in my music. This extraordinary adventure inspired the creation of a complete album, where each track represents a location, or more sporadically, a character from the video game. The Medieval fantasy genre, with its richness of magic, decadence, horror, death, intense emotions, conflicts, and battles, has always been a passion of mine, and I sought to convey it through my music. The album's title is the first phrase heard in the initial images of the game. From the very first moment, I loved the intrinsic poetry of the work. Exploring it has truly been an incredible journey.

‘The Fallen Leaves Tell A Story…’ by Torchlight

What originally got you into making dungeon synth music? What inspired you to start Torchlight?

Before Torchlight came into existence, I enjoyed creating albums with my dark/ambient project "Rex cryptae”, which I could consider the precursor to Torchlight. Although Rex cryptae is significantly different from Torchlight, careful listening can reveal some themes that would later be explored and refined. Not only from a musical perspective, but also in the song structures of Rex cryptae, as it is also my project, one can recognize elements that echo the construction of Torchlight's tracks.

If you were to ask me what motivated the extraction of Torchlight from Rex cryptae, I would probably respond that the themes of the latter were a bit too restrictive, focusing exclusively on death, depression, sadness, mourning, hell, and damnation. With Rex cryptae, I felt trapped in a claustrophobic crypt among corpses, coffins, and endless catacombs. With Torchlight, on the other hand, I chose to abandon this confinement to explore the magical worlds of imagination, enriching the experience with more fantasy and less dark themes. The element of death is still present in the new project but approached from a different perspective, less aesthetic, and perhaps more as an exploration of the unknown.

Nevertheless, Torchlight retains numerous innovations, including the medieval setting, magic and sorcery, adventure, and a philosophical reflection that serves as the backdrop to each work.

To answer your question, there wasn't a specific subject or moment that inspired me in creating Torchlight because Torchlight is me. There is much of myself within it. I simply had to embody my feelings and imprint my experiences in the music. I always say that when I record, I do it not for economic reasons or because I am drawn to success, but because it is a deep need of my spirituality. I feel the need to find clarity within me through the non-verbal language of music, losing myself in those places as nonexistent as they are eternally present, where I can rediscover myself. In those forests of the soul, among the ruins of a glorious past, even in a world of decay, my heart finds rest, lulled by melancholy. I am sure that many DS musicians will understand this sensation.

Image from Torchlight

Have you found many like-minded fans of dungeon synth and fantasy music in Italy?

I've noticed that in Italy it's challenging to find people who are familiar with this genre, especially in the area where I reside. Thanks to Torchlight, I've had the privilege of connecting with some Italian artists who share my passion for dungeon synth, and I've been honored to be interviewed by enthusiasts of this genre, even though they are quite few.

I express these considerations not with bitterness but with a sense of pride, as I'm pleased that dungeon synth remains a niche genre, relatively unknown to the general public. In Italy, the dungeon synth culture has never taken deep roots, and I doubt it ever will. Perhaps, in fact, I hope it won't, despite my country being steeped in ancient culture, castles, medieval places, magic, and philosophy, as mentioned earlier.

However, these reflections are based solely on my personal experience. I've never conducted in-depth research on the presence of fantasy music in Italy, and although communities and groups appreciating it may exist, I personally remain unaware and not particularly interested.

Perhaps the beauty and preciousness of this genre lie precisely in being something rare and unique, akin to a flower that can be admired only in specific places on Earth. For this reason, I would like everything to remain as it is, and I oppose the commercialization of dungeon synth music. I'm not against t-shirts, hoodies, stickers, or patches, but I struggle to accept, for example, tea mugs or basketball caps with DS band logos. I believe it's too much of a marked dissonance.

Let's strive to preserve this genre in its deepest and most spiritual place within the souls of us knights. Let's not allow it to transform into a mere brand.

Outside of music, who are you as a person? What are some of your hobbies and interests?

Currently, I work as a teacher of Christian religion at high schools, although some might label me as “post-Christian”. In my approach with the youth, I prefer to tackle existential themes rather than confining myself to catechetical teachings, guiding each student in the wonderful journey of self-discovery.

Raised in a Catholic Christian family, this faith has influenced my passions since my childhood, directing me towards the sacred, the gothic, the spiritual, the supernatural, and the demonic. Thanks to this background, I've developed a deep interest in the philosophical aspect of reality, as my mind tends to seek the ultimate meaning in everything. From a young age, I've loved antiquities, religions in general, ancient texts, and mythology. I constantly question - and will continue to do so - what it means to be human, where we come from, and where we are going.

I admit that delving into such abstract thoughts can be complex in the long run. During the study of various philosophical and theological theories, I might perceive reality losing consistency, appearing as a symbol of something higher and immaterial. My way of expressing myself clearly reflects a passion for mystical literature.

I could tell you many other things that are currently interesting to me, but I'll stop here.

I deeply love cinema and literature, having grown up immersed in horror books and films. Writers who accompanied my childhood are mainly E.A. Poe, H.P. Lovecraft, and Stephen King. Currently, I don't have much time for novels, as I'm engaged in delving into more spiritual, religious, philosophical, and scientific themes. Regarding films, I particularly appreciate those from the 50s to the 90s, although I acknowledge that quality works continue to emerge today. Slashers, gothic, folk horror, and the supernatural are my favorite sub-genres. However, recently I've reduced my consumption of horror films, as surprisingly, they disturb me more than they did when I was young. In the past, I hungered for that feeling of fear, the sublime, and the sense of the unknown, which are among the strongest and most penetrating feelings in the human soul.

In the cinematic realm, I also appreciate comedies, science fiction, and fantasy, anime, and productions from the studio Ghibli.

Photography is one of my passions, and in my free time I love walking in nature, taking photos, or recording videos of walks with the GoPro. Recently, I launched a YouTube channel titled “Walking in Samsara”. In the past, I've created some experimental short films.

Returning to music, I also manage a neofolk/psychofolk/acoustic project called “L’ira dell’Agnello” (“The Lamb's Wrath”). Without going into too much detail, it was my first project, created in 2008, and its albums are available on Bandcamp in digital or physical production. For those familiar with Torchlight, the themes are similar but with a perspective more oriented towards Christian mysticism. The project has five albums to its credit, and I'm trying to find time to record the sixth. 

I'll stop here. I believe I've shared enough about my hobbies and interests.

I am a person of faith who loves philosophy, which I often find drives artists in their work. Can you expound upon how your spiritual and philosophical worldview informs your art?

As mentioned earlier, I assume the role of a religious education teacher, immersing myself daily in philosophy and faith as an integral part of my existence. From a very young age, I felt an intrinsic attraction to the spiritual, the supernatural, and the magical. The constant questioning of the meaning of life has permeated my consciousness since my earliest memories. Fortunately, I've managed to find a profession that reflects my inclinations, although at times the school environment transforms into a bureaucratic labyrinth.

Regarding your question, my spiritual and philosophical outlook influences every creative effort of mine, but I believe such a connection is inseparable for any musician. Magic, in the creative act, manifests when the spirit shapes the music.

Responding to your question is complex. I've become a thorough scholar of all religions, from the ancient to the modern, discerning a glimmer of truth in each. I'm not talking about syncretism, but rather the theory of “semina verbum”, which suggests that every religion contains a “seed” of the Word of eternal truth. My foundational religiosity is anchored in Catholic Christianity, which, in my view, significantly respects human dignity and the need for a personal deity, a loving Father rather than an abstract and impersonal Being.

In my Torchlight albums, I strive to maintain a connotation as real as possible, granting little space to faith and giving more prominence to philosophy. The latter consistently permeates my works, addressing ontological questions such as time, the structure of knowledge, consciousness, the soul, and the essence of things. Religion, understood as the discovery of the magical and the supernatural, the desire for eternity and the finiteness of life, the infinite conflict between good and evil, constitutes a foundational element in my compositions. All these themes are symbolically expressed in the worlds I create.

Last question: Is Italian pizza really as good as people say it is, or is it overhyped?

Pizza is one of life's pleasures I would never give up. When I hear people say that Italians are only about “pizza and mandolin” (let's leave the mafia aside), I think to myself, “Is there anything better than pizza and mandolin?” Of course, as with all things, even in Italy, there is pizza that isn't good. It depends on the skill of the pizza maker. It's also important to know, especially in Campania where I live, that the style of pizza changes from town to town. For example, the pizza in Salerno is not the same as in Naples. If you ever find yourself in Southern Italy, give me a call, and I'll let you answer that question yourself.

You can follow Torchlight on Bandcamp, Instagram, and Facebook.