Few artists in the darker corners of experimental and atmospheric music have navigated evolution quite like Mortiis. From his early dungeon synth origins to the industrial he later embraced, his work has consistently reflected a restless creative spirit unwilling to remain confined by genre or expectation. With Ghosts of Europa, he returns with a record shaped in isolation, born during the months of the pandemic and later released into a world that, uncannily, seemed to mirror its atmosphere.
In this conversation with Metal Imperium, Mortiis reflects on the creative process behind Ghosts of Europa, the importance of collaboration and letting go of control, and the realities of making music in an industry increasingly shaped by streaming, rising costs, and shifting audience habits.
M.I. - About the new record Ghosts of Europa… is it a sonic reflection of the current political situation in Europe, or are you conjuring something more ancient?
It’s definitely not political. It’s more of a personal idea that came to me during covid, when the earliest versions of the songs started taking shape. The title just appeared in my head, it felt mysterious and open-ended. I didn’t really know what it meant, but it resonated with me. I have my own “ghosts” from the past, so it felt right. Then, when the war in Ukraine started, I thought, “Oh no, people are going to assume this is political.” But I didn’t want to throw away a good idea because of that. So while I understand why people might interpret it that way, the background is completely non-political.
M.I. - You mentioned the album started during covid. What kind of mindset were you in at the time?
Not the best, honestly. It was a strange time! Everything shut down, you couldn’t go outside, cities were empty. I remember driving into Oslo and it felt like a movie… completely deserted. Looking back, those 18 months feel like a dream. Nothing felt real. That mindset definitely influenced the music... But I also try to inject some positivity, because staying in a dark place too long isn’t healthy. I always want there to be some light at the end of the tunnel.
M.I. - You’ve said the title track went through many shapes before finding its final form. When did you realize it had become something different?
It’s a gradual process. Ideas evolve constantly, so it’s hard to pinpoint one moment. But a big turning point for many songs was when the vocals came in. When singers like Sarah Jezebel Deva, Lori Ann Haus, and Iliana joined in and sent their parts back, the songs changed completely. There’s something magical about the human voice… it transforms everything.
M.I. - Do you give collaborators a lot of freedom?
Yes, absolutely. Sometimes I have a clear idea, but often I prefer to let people experiment. That freedom can lead to amazing results, and sometimes not so great ones, but that’s part of the process. Over time, I’ve learned that giving people space creates a better atmosphere and better music. No one performs well under stress.
M.I. - What’s the biggest lesson you’ve learned in working with others?
Let go of your ego. That’s the most important thing. Earlier in my career, I was more “my way or the highway,” and that created bad vibes. Now I focus on respect and communication. If something doesn’t work, you just say it in a constructive way and move forward.
M.I. - Has it happened that collaborators came up with ideas better than yours?
All the time. That’s exactly why I give them freedom. They’re specialists, especially vocalists. When they add their ideas, it often elevates the song beyond what I imagined. Sometimes I even rearrange the music around their contributions.
M.I. - You’ve described the title as feeling slightly prophetic. What do you mean?
It wasn’t intentional, but with everything happening in the world, it’s hard not to see it that way now. The title has taken on a darker meaning because of current events. I wish it hadn’t… but that’s how it feels to me.
M.I. - The title track has a very choral and cinematic feel. What drew you to that sound?
It started as a more synth-based track. But once I brought in Sarah and later other vocalists, it naturally evolved into something choral. I didn’t plan it, it just happened. The music kind of guides itself if you let it.
M.I. - What comes first for you: music or lyrics?
There are no rules. I collect ideas, melodies, lyrics and store them, sometimes for years. Later, I revisit them and combine things that fit together. It’s all about matching moods, like combining colors.
M.I. - How did the collaborations shape the final direction of the album?
In a big way. Vocals especially influenced the structure of the songs. I often rearranged parts to better fit what collaborators brought in. Guitars also played a role… we experimented a lot with textures and sounds, building layers.
M.I. - Did you have to leave any songs out?
Yes, a couple. The album was getting too long, and there were practical concerns like vinyl limitations and pricing. It’s always painful to leave songs behind, but they’ll probably appear on a future release.
M.I. - Do current global issues affect production costs?
Most likely. Rising costs in materials, shipping, and production all add up. In the end, the customer usually is the one who has to pay for it.
M.I. - Do you think that pushes more people toward streaming platforms?
Definitely possible. Streaming is convenient and cheap, especially for younger audiences. But it pays artists very little. Touring and merchandise are still the main sources of income.
M.I. - And what about venues taking cuts from merchandise?
That’s becoming more common, and it’s frustrating. Some venues take up to 20%, even though merch sales are crucial for artists. It can feel disrespectful at times.
M.I. - You’re heading to the U.S. soon. Do you enjoy touring there?
Yes, the fans are great. But the country has its challenges, especially visible issues like homelessness. It’s sad to see.
M.I. - You haven’t played much in Portugal. Why is that?
I’d love to! It usually comes down to logistics and promoters. Touring decisions are often based on finances and practicality.
M.I. - Finally, do you have a message for our readers?
I’m very grateful for the continued support. There’s so much music out there, so the fact that people still listen to what I do means a lot. Hopefully, I’ll get to play in Portugal someday.
For Portuguese version, click here
Listen to Mortiis, on Spotify
Questions by Sónia Fonseca
