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| This interview was made with Last Cathedral Records |
In this interview, Gianluca Moreo discusses the origins and evolution of Scent of Darkness, his approach to Funeral Doom, and the artistic influences behind the project. He also looks back on its return in 2026 with Memoria in Tenebris, the inclusion of “Bonae Memorie” on The Silent Remains, and the importance of combining underground music with a meaningful social cause.
Asmoth: Scent of Darkness began in 2018 as a Funeral Doom Metal project in Turin. When you first started writing music under this name, what kind of atmosphere or emotional world did you want to create? Was there already a clear vision of what Scent of Darkness should become?
Gianluca Moreo: The project officially started in 2018, and I began writing right from that moment. Back then, I was listening a lot to bands like Draconian, Saturnus, and Doom:VS, which really inspired me to kick off this new musical journey. I wanted to act as a sort of 'catharsis' or a deep breath—a blend of darkness mixed with colors, lights, and shadows — and I wanted the music to truly reflect those sensations.
Asmoth: Your music often feels less like a collection of songs and more like a journey through darkness, solitude and introspection. How do you translate these very personal and sometimes difficult emotions into music without losing the atmospheric side of the project?
Gianluca Moreo: I appreciate that perspective, as it ties directly into what I mentioned earlier. It is something deeply instinctive and personal, almost hard to put into words. Over time, I’ve realized this stems from the fact that my inspiration usually strikes while walking through a forest, inside a cathedral, or exploring abandoned, bleak, and obscure places. I like to listen to places, not just look at them. Inspiration comes when, within those environments, I can truly listen to myself. To quote Edward Hopper: 'If I could say it in words there would be no reason to paint.' I try to do the exact same thing with music. It is entirely instinctive.
Asmoth: Funeral Doom gives you a lot of space to develop an atmosphere through repetition, slow tempos and long passages. What role does silence and space play in your compositions, and how do you know when a song has reached the point where nothing more needs to be added?
Gianluca Moreo: Silence and space are absolutely fundamental, almost as much as the notes themselves. In Funeral Doom, time stretches out, and silence becomes the very breath of the music. I often use pauses and slow passages to give listeners the time to process the emotion, much like walking through an empty space and hearing the echo of your own thoughts. I know a track is complete when I feel that perfect balance: there is no need to add more noise or notes when the existing sounds and the silence together manage to convey the exact sense of emptiness I wanted to express.
Asmoth: Looking beyond Metal, what kinds of influences feed the creative side of Scent of Darkness? Are there particular forms of art, literature, places or personal experiences that have influenced the way you approach the project's dark atmosphere?
Gianluca Moreo: Yes, I carry a deep passion for art history within me. I like to imagine every track I write as an expressionist canvas, painted with sounds instead of colors — because that is truly how I perceive my music. I constantly nourish my creative soul through paintings, sculptures, and the melancholic verses of Crepuscular poets. Gazing at or reading certain masterpieces has this profound, almost magical ability to tear down the walls of time, transporting you to another era. It allows me to envision forgotten faces, untold stories, and new landscapes. Ultimately, art is a doorway to those hidden worlds that shape the very essence of Scent of Darkness.
Asmoth: Turin has its own history and identity within the Italian underground. From your perspective, what is it like to develop a Funeral Doom project in this environment, and do you feel that the local scene has changed since you started Scent of Darkness?
Gianluca Moreo: Turin is a city inherently built on contrasts — historically divided between light and darkness, and famously known for its esoteric, magical atmosphere. For a project like Scent of Darkness, this environment is a constant source of quiet inspiration. Developing a Funeral Doom project here feels natural because the city itself breathes that exact same heavy, melancholic, and twilight energy.
Since I started back in 2018, the local underground scene has undeniably evolved. It has become more mature and multi-faceted. Today, Turin is pushing boundaries and gaining well-deserved international attention through incredibly unique acts like Ponte del Diavolo, who perfectly blend doom, black metal, and post-punk, as well as great blackened realities like Feralia. The scene has shifted from being purely traditional to becoming a hotbed for sonic experimentation, proving that our city's dark heritage is more alive and creative than ever.
Asmoth: After the project's return in 2026, you released Memoria in Tenebris, featuring “Bonae Memorie” and “Vulnerant Omnes, Ultima Necat”. Did returning to Scent of Darkness feel like continuing something that had been left unfinished, or did you approach the project almost as a new beginning?
Gianluca Moreo: I took some time to reflect because, until just a few months prior, I had absolutely no intention of reviving the project. But then, life happened... family losses and heavy experiences over the past year felt like an undeniable calling, a sudden need for Scent of Darkness to return. In my previous EP, Insanitude, I explored psychological themes and shared personal anecdotes from my past.
Memoria in Tenebris, however, was an experiment devoid of vocals, leaving only raw sensations locked within a purely instrumental work. It deals with our bond with death, approaching it and experiencing it like the ticking away of hours, realizing you have lived enough to finally prepare for it. So yes, emotionally it acts as a continuation, but compositionally I chose a very different path compared to Insanitude. I find myself in a middle ground, as I often do: it is a continuation in terms of thematic depth, but a completely new beginning in regards to my stylistic choices.
Asmoth: Bonae Memorie was included on The Silent Remains. What was your first reaction when you were invited to contribute to the compilation, and why did you feel that “Bonae Memorie” was the right piece to represent Scent of Darkness within this particular collection of Doom Metal bands?
Gianluca Moreo: When I first received the invitation to join the compilation, my initial reaction was a mixture of surprise and profound gratitude. Being asked to share a space alongside so many established and respected acts in the international Doom scene meant a lot for a project like Scent of Darkness, which operates in such an intimate and niche underground dimension. As for why 'Bonae Memorie' felt like the right piece, it came down to its meditative and evocative nature. Since the track is entirely instrumental and built on a very solemn, nocturnal gravity, I felt it could act as a bridge into the soul of the listener without the distraction of words. It captures that specific sense of lingering memory and suspended time that defines the current chapter of Scent of Darkness, making it a fitting companion piece for a record exploring the deeper, darker corners of doom.
Asmoth: The Silent Remains brings together twenty bands from different corners of the Doom underground, while also supporting nina+nico e.V., an organisation helping people affected by sexual, psychological and physical violence. What does it mean to you to have Scent of Darkness involved in a project where music, underground solidarity and a concrete social cause come together?
Gianluca Moreo: Being involved in a project like The Silent Remains goes far beyond the music itself; it touches a deeply human and ethical chord. The metal underground has always been a tight-knit community, but seeing this solidarity channelled into a concrete social cause like supporting nina+nico e.V. is incredibly powerful.
Art, and dark music in particular, often deals with pain, suffering, and trauma on a conceptual level. Having the opportunity to transform those dark, artistic reflections into real, tangible help for people suffering from physical, psychological, and sexual violence gives a profound purpose to what I do. It proves that even from the deepest darkness we explore in Doom, a light of genuine solidarity and hope can emerge to support those who need it most. I am immensely proud that Scent of Darkness could be a small part of this vital mission.