From the misty heights of the Andes emerges Urku Llanthu, a one-man Dungeon Synth and Dark Folk project shaped by ancestral mysticism and the spiritual weight of forgotten landscapes. Through minimalistic compositions, ritualistic atmospheres, and deeply introspective soundscapes, the project invites listeners into desolate villages, silent mountains, and timeless inner journeys. With the release of WACHUMA, Urku Llanthu pushes even deeper into ceremonial and meditative realms, creating an immersive experience where sound, nature, and perception become one.
Asmoth: Urku Llanthu is a one-man project blending Dungeon Synth and Dark Folk Metal—can you introduce the project and its origins in Ecuador?
Urku Llanthu: Urku Llanthu is a deeply personal project born in Ecuador, where music becomes a direct extension of identity, landscape, and memory. Behind it all is a single creative mind seeking to explore the connection between the ancestral and the obscure, blending the immersive atmospheres of Dungeon Synth with the organic, emotional force of Dark Folk Metal.
The project’s origins are closely tied to Andean geography and spirituality. “Urku” —meaning mountain— and “Llanthu” —meaning shadow— reflect a duality between the majestic and the introspective. From Ecuador, a country shaped by volcanoes, mist, and ancient traditions, the project draws inspiration from both the natural environment and cultural roots, reinterpreting them through a melancholic, ritualistic, and evocative sound.
Rather than functioning as a conventional band, Urku Llanthu exists as a solitary sonic journey: each composition emerges from introspection, building soundscapes that invite the listener to wander through imagined ruins, sacred mountains, and deep emotional states. At its core, it is a project that connects the local with the universal, carrying an Ecuadorian vision to an international audience through a musical language rich in atmosphere and symbolism.
Asmoth: Your music carries a very distinct atmosphere—what are your main influences, both musically and culturally?
Urku Llanthu: The atmosphere in my music comes from a very intentional blend of sonic and cultural influences that I’ve been shaping over time. Musically, I’m deeply inspired by the raw emotional weight and immersive qualities of Dungeon Synth, as well as the earthy, introspective nature of Dark Folk and certain branches of Black Metal. I’m drawn to sounds that feel timeless—music that creates a sense of place, almost like stepping into another world or a forgotten era. Obviously, I have a strong musical influence from Mortiis artistic works, Tiamat, Jim Kirkwood progressive work, as well as my great appreciation for the musical works of Klaus Schulze.
At the same time, my cultural influences are just as important. Growing up in Ecuador, surrounded by the Andes, there’s a natural connection to landscapes that feel both imposing and spiritual. The mountains, the fog, the silence of high-altitude spaces—these elements shape the emotional core of what I create. I’m also influenced by ancestral perspectives, indigenous symbolism, and a sense of respect for nature as something sacred and alive.
All of this comes together in a very intuitive way. I’m not trying to replicate any specific tradition, but rather to channel a feeling—something that resonates on a deeper, almost ritual level. The goal is to create music that feels immersive and honest, where the listener can experience both introspection and a connection to something larger than themselves.
Asmoth: Your new album WACHUMA has just been released—what is the concept or meaning behind this title?
Urku Llanthu: “WACHUMA” is a deeply symbolic title. It refers to the sacred cactus known as San Pedro cactus, traditionally used in Andean spiritual practices for healing, vision, and connection with the natural and ancestral world.
As a concept for an album, WACHUMA suggests a journey inward and outward at the same time—something ritualistic, meditative, and transformative. It evokes altered states of perception, where reality blurs with memory, myth, and spirit. In a Dungeon Synth / Dark Folk context, this can translate into soundscapes that feel ceremonial, ancient, and immersive—like wandering through forgotten Andean villages, abandoned temples, or highland plains under a cosmic sky.
The name also carries a strong cultural and geographical identity. Wachuma is tied to Andean cosmology—mountains (Apus), earth (Pachamama), and the unseen forces that connect all living things.
So the album title can be interpreted as an homage to ancestral knowledge, but also as a personal exploration of solitude, mysticism, and the shadowed beauty of the Andes.
Asmoth: How did the creative process for WACHUMA differ from your previous works?
Urku Llanthu: WACHUMA, the creative process was much more introspective and ritualistic compared to my previous works. While earlier material was driven more by atmosphere and aesthetic, this album came from a deeper, almost meditative place.
I approached composition as a kind of ceremony rather than just songwriting. Instead of building tracks in a structured way, I allowed sounds to emerge slowly—repetitive patterns, minimal melodies, and textures that feel almost like trance states. Silence and space became just as important as the notes themselves.
There was also a stronger connection to the Andean environment. The influence of the San Pedro cactus—Wachuma—shaped the emotional direction of the album, guiding it toward something more organic, spiritual, and immersive. It wasn’t about creating songs, but about channeling a feeling or presence.
In contrast to my earlier works, which were more externally inspired—fantasy, landscapes, and imagery—WACHUMA feels more internal. It’s less about depicting a world, and more about experiencing one from within.
Asmoth: The combination of Dungeon Synth and Dark Folk elements creates a very immersive sound—how do you approach building such atmospheres?
Urku Llanthu: For me, building an atmosphere is the core of everything—it comes before genre, structure, or even melody. When I work with Dungeon Synth and Dark Folk elements, I don’t think of them as separate styles, but as textures that serve the same purpose: creating a place you can enter.
I usually start with a very simple foundation—drones, distant pads, or a repetitive motif—and let it evolve slowly. In the Dungeon Synth side, I focus on synth layers that feel aged, almost decayed, like echoes from forgotten spaces.
Then, with Dark Folk elements, I introduce something more human—acoustic tones, subtle melodies, or rhythms that feel grounded and organic. A big part of the process is restraint.
I avoid over-arranging, so the sound has room to breathe. Repetition plays an important role too—it helps induce a kind of trance, where the listener stops analyzing and just exists בתוך the atmosphere.
I also think a lot in terms of imagery. Each track is like a scene: an abandoned Andean village, a cold plateau at dusk, or a ritual taking place far from time. I try to translate those visions into sound, layer by layer, until it feels less like music and more like a space.
Asmoth: Being a solo project, how do you handle composition, recording, and production on your own?
Urku Llanthu: Being a solo project gives me complete control over every stage, which is both freeing and demanding. I handle composition, recording, and production as one continuous process rather than separate steps.
Most of the time, I start with a feeling or an atmosphere instead of a fully formed idea. I’ll sketch a sound—usually a drone, a synth line, or a simple motif—and build from there.
As I compose, I’m already thinking about how it will sit in the mix, so recording and production happen simultaneously.
Working alone also means I can move at a very personal pace. Some tracks come together quickly, almost intuitively, while others take time to evolve. I revisit them, reshape them, or even strip them down completely if they lose that initial essence.
On the production side, I keep things intentionally raw and minimal. I’m not aiming for a polished or modern sound—I prefer something more organic, slightly imperfect, like it exists outside of time. That aesthetic fits naturally with the atmosphere I’m trying to create.
Of course, the challenge is that there’s no external feedback during the process. But I see that as part of the identity of the project—it becomes a very introspective dialogue, where every decision reflects a single vision without compromise.
Asmoth: What are your future plans for Urku Llanthu—more releases, collaborations, or perhaps expanding the project in new directions?
Urku Llanthu: Urku Llanthu, the path forward is still rooted in the same essence, but I’m definitely open to expanding the project in subtle ways.
There will be more releases—this is an ongoing journey rather than something with a fixed endpoint. I’m interested in going even deeper into the atmospheric and ritualistic aspects, perhaps creating longer compositions that feel more like continuous soundscapes than individual tracks.
At the same time, I’m open to collaborations, as long as they align with the spirit of the project. I think working with other artists—especially those connected to dark ambient, folk, or even traditional Andean sounds—could bring new dimensions without losing the core identity.
There is a project that I did years ago with a band from Germany, forming a shared album between Ocinn and Urku Llanthu, which we will update for 2026 with new musical compositions, among other international bands from countries mainly in Europe and Asia.
I’ve also been thinking about expanding beyond just audio. Visual elements, physical releases, or even more immersive concepts could become part of the project—something that feels like a complete world rather than just music.
But overall, the direction will remain organic. I don’t want to force evolution—the project grows naturally, like a landscape changing over time.
I would like to express my sincere gratitude to Serial Metal Fanzine for the space and interest in my project Urku Llanthu. It is an honor to be part of a platform that supports and promotes underground music, keeping alive the essence of dark and atmospheric sounds.
I deeply value the time and dedication invested in listening to, understanding, and sharing WACHUMA. This kind of support is essential for independent projects, and it undoubtedly helps these expressions continue to find their place and resonate with new audiences.
Thank you for your trust and for being part of this journey.