Hydrate With Sounds Of JudgeHydrogen

“My art is inspired by apocalyptic myths. I believe they are self-fulfilling prophecies. Many deceive themselves into believing that an apocalypse is a supernatural event but it is not,” said Judgehydrogen, “we are sadists and masochists that cut deeply into our own skin and look to the sky for redemption from an imaginary deity.”

People may first be familiar with the name and music because of his track A Body of Water in the film Sinister used as the background of the eerie pool scene. His music is beautifully unsettling, brilliantly uncomfortable and makes you want to take a shower after listening to it. At times, some of the songs make you feel like a voyeur, in the dark closet of someone you are stalking.

Judgehydrogen is a mind-bending musician of half Norwegian and half reptilian breed. The name comes from the interest in “apocalyptic myths and technology”. From judgment that’s found in biblical myths and the technological source of the hydrogen bomb, his visual and audio art is explosively dark and nightmarishly beautiful; like driving by a car accident you can’t look away from hoping to see the carnage, even thou you won’t admit wanting to. Like scales on a reptilian that can regenerate skin as it’s peeled away, Judge keeps his layers evolving as well.

Living in Madison, WI, his musical talent started young. He began playing the electric guitar with the interest in classical musick and began composing for his friends that played violin, cello, and classical guitar. After a few years of focusing energy into classical guitar and it reaching the mediocre level, he decided it simply wasn’t worth it and peeled into the direction of visual art. “David Lynch and Francis Bacon were my biggest inspirations,” he said. Putting his passion into drawing, which he always has an interest in, and applying energies into computer art, he found the love of animation. His works quickly became and reflected the abstract and ethereal that no one enjoyed but him. “The difficult truth is that I still struggle with is that people only appreciate things they can recognize,” he said. Feeling boxed in his house and social corner, he rarely went outside or socialized. He would drowned himself into dark, ambient and atmospheric musick that he was his only audience for.

He is under the belief religion makes humanity inherently crowded and unstable. A humanistic way of looking at the world with no apology. It is for soft minds that are willing to go and die for war. “If you think you are going to heaven, you won’t mind dying for a cause,” he states, “it is a testament to your patriotism or whatever the religious equivalent would be.”

“There is in every madman a misunderstood genius whose idea shining in his head frightened people and for whom delirium was the only solution to the strangulation that life had prepared for him,” Antonin Artaud.

Judgehydrogen’s first work is titled Infection from 2000. While creating a lush aural environment for 3d animations in 2001-2003, Biopathy I, II, III were his hallmark visual compositions during this time. He continued to stretch himself and psyche with a final 3d ambient work in 2003-2005 titled Impetus. It’s 2d and 3d abilities in an odyssey in creation, annihilation, and rebirth. Atheistic God was released in 2007 and following that in 2008 was Cult of Blood. After the completion of Cult, he started making plans for a third album. He filled 2009-11 with attending horror conventions to expose more people to the dark, unappreciated beauty of who he is and what he’s about. Revolutionary Suicide found it’s release in November of 2011. This is the final component to the aural triptych and a return to the dark ambient and industrial roots.

Like the Id of the brain, Judgehydrogen has this undeniable impulse, drive and aggression to create; almost an obsession he can’t hide from. The wants and desires we contain, it is the force that encourages the tendency to seek gratification of any impulse.

His music expands the mind into multiple processes of cognitive function, defenses, and spiritual organization of the psychic agency known as conscience. From there he builds around his meditative state where he often forgets the wicked world. His ideas are far from the mainstream so it’s necessary for him to forget the ideal pretty and create deformed notions of beauty.

“To me, my aesthetic is not radical in any way,” he put plainly, “I do not try to create musick and art for a genre. I couldn’t make mainstream musick even if I wanted to. I am a foreigner in a foreign land.”

So it makes sense that many of his influences might be from artists and musicians not familiar to many; Sisters of Mercy, Coil, Laibach, Coph Nia, Rome, The Sisterhood, Heimataerde, Rammstein, Ordo Rosarius Equilibrio, and Christian Death. He finds pop music toxic and rock bores him to the point of guttural disarray; “We consume poisoned food so why not consume poisoned art?”

His art takes us to the basic existence of being human. He’s studied evolution and anthropology. They provide the essence of cornerstones into his ethos. It is elegantly destructive to look at and has you mesmerized because your eye will view the askew of what each work contains. It has the tendency to evoke feelings that you want to take all the way to the Nth degree. Seeing what the darkest parts of you look like and where in the cerebral hemisphere it is. What are the Amygdala and it’s allies planning in the way of terror and anger?

“It is my obligation as an artist to capture visually life tearing itself apart. My work focuses upon apocalyptic myths,” he says, “these myths shape our conscious and subconscious minds and provoke great conflict.”

He’s currently doing the convention circuit and having five albums completed. As he’s deciding on when to release them, his next project is an album of new apocalyptic mythos. A wicked combination of fictional narrative and mystic, apocalyptic myths. This is his strongest album musically and conceptually.

As well as other musicians that help influence him, authors Cormac McCarthy and Carl Sagan have been an influence. McCarthy’s apocalyptic vision is terrifying but a potential future for us. His next read is Perdurabo: The Life of Aleister Crowley. He has just finished Darkly Dreaming Dexter and is into The Dreadful Death of Edgar Switchblade.

To stay up to date and on point with him, visit www.judgehydrogen.com.



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