For a debut record, Cotton Mouth’s Homeward Ryder comes fully formed. Both icy and uplifting, it synthesizes pulsing electronic music with more blurry sonic concerns. From a purely textural standpoint, this is music that might trigger an errant shiver or two. IDM, trance, and ambient coagulate and dissolve in ways that were only hinted at in past decades. The project comes from the Swedish artist Victor Zakarias Svedberg, who has played music as part of the groups Team Rockit and Chariot; additionally, he serves as the art director for YEAR0001—the label that released Homeward Ryder. Svedberg agreed to answer some questions we sent over. Read the interview and listen to the new deluxe version of Homeward Ryder, which features fresh remixes, below.

What is the ideal context to listen to Homeward Ryder?

Victor Svedberg: I once dreamed of a sound system that consisted of a swarm of small flying spherical speakers, moving like a flock of birds. Each speaker played a sound from the song. One played a synth melody, one played the piano, one hi-hats, etc. Together they played the whole song. That would be a good sound system for my album.

Tell us about the deluxe edition of the record.

It includes all the original tracks plus remixes by Fire-Toolz, Gooooose, Five Star Hotel, and Xen Model. Great artists that I like a lot. Angel (Fire-Toolz) mastered the record as well. Five Star Hotel was kind enough to deliver two remixes. It felt right to include both of them.

What can you do with Cotton Mouth that you haven’t been able to do in other projects you’ve been a part of?

Since I don't sing or use my voice as Cotton Mouth, maybe it's the other way around. When I'm in my band, I'm a vocalist and write lyrics too. But being a solo musician comes with a certain freedom, I guess. I can go deep into certain technical rabbit holes that others might find boring or frustrating.

Would it be possible to give an example of the steps you take to process a sound?

It depends. I usually like to try to make synthetic sounds feel organic and the other way around. I try to find balance between all the elements in a track. A heavily processed synth sits nicely next to a raw field recording with little to no EQ or editing.

Do you like ASMR? Do you think of the music you make in relation to those kinds of sensations?

I have never sat down and listened to any recorded audio that classifies as ASMR for my own pleasure, I think. I do however listen actively to the sounds around me all the time. Especially when I'm outside. Many sounds evoke an immediate emotional response in me. I’ve recently become interested in birdwatching and a big part of why it feels so natural to me is the listening aspect. Paying close attention.

How does your work as Cotton Mouth relate to your work as a graphic designer?

I find that the same principles apply to most creative work I do. Adding and subtracting elements until it feels right. Thinking beyond synthetic and organic. Trying to find balance between symmetry and imperfection. All crafts have norms to which you have to adhere, whether you follow them, break them, or both at the same time.

Are there any 2000s glitch or IDM artists that are particularly influential to you?

The usual bunch. The ones I grew up with. The early Warp artists. I like the approach to sound design of a lot of classic artists from that era. And the general sense of exploration. I really liked a record label called Type when I was in my late teens. They released Mokira, Deaf Center, Khonnor, and stuff like that. That's probably when I became really fascinated with timbre and texture in electronic music. But when it comes to melodic elements I mostly find inspiration in other kinds of music. 

If Homeward Ryder was a meal, what would it be?

Maybe a bowl of rice, topped with marinated mushrooms and raw vegetables. And some disgusting neon colored energy drink or something. To balance it out.

Photo Credit: Philip Svensson